This celebrity is overly enthusiastic!

Chapter 24 The Divine Script
In the Wuliangye advertisement, Chen Yuan gave Bao Qiang, who played a water carrier, two frontal shots.

Aside from the 15-second commercial break on CCTV, where every second is precious, you can't see his face.
In the other 30-second versions, you can see him carrying a wooden bucket full of mountain spring water, looking directly at the screen with a simple and honest smile.

After the advertisement aired, Chen Yuan didn't need to do anything else; the satisfaction progress bar rose rapidly, and the task was completed in less than half a month.

If the lights weren't already off and everyone was asleep, Fan Binbin would definitely be surprised to see Chen Yuan now looking just like she did an hour ago, with an 'Ahegao' expression of rolling his eyes, drooling, and acting like an idiot.

Chen Yuan was thoroughly enjoying the "experience of a senior martial arts choreographer from the Jackie Chan Stunt Team," and he was almost going crazy with delight.

This is absolutely a treasure of a reward!

In the early days of Hong Kong cinema, numerous action choreography teams coexisted, resulting in fierce competition and a wealth of talent.

After experiencing the rise of Hong Kong films in their early days, to their glory days when they dominated Hollywood films and swept across Southeast Asia, and now being completely crushed by Hollywood blockbusters, the most famous Hong Kong action choreography teams are now the Yuen Clan, the Sammo Hung Clan, the Ching Clan, and the Jackie Chan Clan.

The Yuen Clan is the most versatile, capable of handling various styles with ease. They have appeared in blockbuster films both domestically and internationally, and Yuen Ho-ping is even hailed as the world's number one action choreographer.

The Sammo Hung Stunt Team pursues a violent aesthetic of power and speed, and excels at designing high-intensity close-quarters combat.

The Cheng family troupe leans towards impressionistic and romantic styles, and is adept at using a lot of wire work to create a fantastical sense of flying and escaping, which deviates from the logic of real physics.

The Jackie Chan Stunt Team's style is unique in both Hong Kong and mainland China's martial arts instruction system.

It emphasizes spatial dynamism, and the fighting actions are generally not limited to fixed scenes. It is good at designing fights in moving scenes, such as galloping carriages, scaffolding, and the exterior walls of tall buildings.

This dynamic fighting style is a perfect fit for a 'furniture mall god of war' like Naruto, who uses various surrounding props as fighting tools.

The dynamism gives the fight scenes a flexible and varied style, with a well-paced rhythm.

It can incorporate comical mistakes to create 'painful humor', and also make fight scenes more coherent, smooth, tense, and exciting.

As we all know, the difficulty of shooting a few actions at a time and then piecing them together through rapid editing is on a completely different level from the difficulty of shooting a long take of a series of fight scenes.

The Jackie Chan Stunt Team prioritizes realistic cinematic language and excels at designing continuous long takes.

With his systematic experience as a martial arts choreographer combined with his years of practice in Pi Gua Quan (a style of Chinese martial arts), Chen Yuan seems to have gained some insights into enhancing the sense of impact and visual expressiveness in "Kung Fu Panda."

After months of arguments and adjustments, and with Chen Yuan constantly using his "face-to-face transmission" cheat code, the Kung Fu Panda project team has finally entered a relatively smooth production phase.

Even with all two hundred-plus artists in the factory working together, the production progress was still relatively slow, which was determined by the Shanghai Fine Arts Factory's traditional hand-painted production method.

There was no other way but to learn from the advanced experience of later animation production—subcontracting.

Chen Yuan and the already well-coordinated creative team produced storyboards and drafts, while the Shanghai Animation Film Studio art directors, who were already skilled in their work, acted as foremen.
Establish rules and acceptance standards, and subcontract the drafts to other animation studios, art academies, advertising companies, and other individuals or organizations capable of undertaking the project.

After production is completed, the finished product is collected and then revised as appropriate by the staff of Shanghai Animation Film Studio.

Shanghai Jahwa has been deeply involved in the industry for many years, and the capabilities of the partners it has selected are beyond doubt.

That's how it's done. Judging it by cinematic quality will inevitably have some impact on the overall unified style of the finished film.

But Chen Yuan couldn't worry about that now. To capitalize on the momentum of the successful Olympic bid, he had to resolve all the post-production, censorship, and overseas distribution issues for the film by the first six months of next year. Plus, money was pouring in. Even with low labor costs, the sheer number of drawings—over 30—still set a record for domestic animated films, making it impossible to keep costs down.

Chen Yuan and Fan Binbin worked hard to earn money, but Yuan Universe didn't accumulate any wealth throughout the year; they invested it all in this film.

The initial estimate of 3000 million yuan for production, based on "The Lotus Lantern" as a benchmark, was far too optimistic and simplistic; the actual cost is likely to far exceed the estimate.

But the biggest selling point of Kung Fu Panda is the imaginative fighting between the various animal characters.
To maintain the effect, high-quality, high-frame-rate animation is required, and computer effects cannot be too rough; there is no way to cut corners.

Fortunately, thanks to Chen Yuan's tireless efforts, Yuan Universe has secured a healthy cash flow from its advertising business, preventing Chen Yuan from being forced to seek financing or loans.

After a month of airing, the satisfaction ratings for "Love Comes Like Spring Tide" – a work created by Chen Yuan – can now be tallied.

Thanks to the advanced MTV music advertising model, cinematic picture quality, and the popularity generated by Li An's "Crouching Tiger, Hidden Dragon," the public satisfaction rating this time reached A.

Even if you wait another year or two, the satisfaction level of a commercial advertisement will not reach S level. Chen Yuan did not choose to wait and started drawing directly.

[System: Congratulations, host, on obtaining an A-level reward: the animated series "Rainbow Cat and Blue Rabbit Seven Swordsmen"]

What the heck, Rainbow Cat and Blue Rabbit?
Chen Yuan sighed. He had received too many good rewards from the system recently, and it was time for his good luck to run out.

Although he loved watching this 108-episode animated series when he was a child, it would be a different story to ask someone who spent half a year drawing the storyboard for "Kung Fu Panda" to watch "Rainbow Cat and Blue Rabbit".
Uh, it's really hard to give a rating.

The fight scenes in "Kung Fu Panda" are undoubtedly a pinnacle of animation.

Of all the anime and animated films Chen Yuan has ever watched, aside from "Ne Zha 2" with its explosive special effects and powerful emotional impact,

None of them can compare to the first and second Kung Fu Panda movies.

The training of Po by the Little Panda Master, the release of the Leopard from prison, the battle between the Furious Five and the Leopard, the master-disciple showdown between the Little Panda and the Leopard, and the climax of the battle between Po and the Leopard for the Dragon Manual—the fight design, emotional rendering, and character development are all perfect.

Even though Kung Fu Panda tells a story with a Western core, Chen Yuan personally believes that it is told more clearly and better than stories with strong emotional appeal like Ne Zha 2.

Comparing "Kung Fu Panda" with "Rainbow Cat and Blue Rabbit Seven Swordsmen" is indeed inappropriate, but it's really hard for Chen Yuan to keep his composure when he sees all sorts of animal protagonists fighting in his mind, making "ho-ho-ho" sounds.

I was thinking that once "Kung Fu Panda" was released, I would poach some people from Shanghai Animation Film Studio to optimize and produce the animated film, as a way to kick off the Metaverse animation department.

As Chen Yuan watched, he noticed something was wrong, setting aside the exasperated "Whoa, whoa!"

"Today, as long as I, Lan Tu, am here, the flowers will bloom." Lan Tu cuts open her artery and bleeds to water the seven-petaled flower, a symbol of true love and compassion.
When the Demonic Cult surrounded and attacked Da Ben and Sally, Niu Xuanfeng shielded them from arrows with his own body, and said with a smile before he died: "Brother, it was worth it!"

Jump Jump, who had been an undercover agent for the Demonic Cult for ten years, suddenly knelt down and kowtowed when he saw the Divine Doctor Dou Dou hesitate to save Rainbow Cat, tearfully recounting the blood feud of his parents: "I have endured humiliation for ten years just to kill Black Heart Tiger, please grant my request!"

Chen Yuan's expression went from tense to surprised, and then from surprised to shocked.

The righteous yet wicked Rainbow Cat, the pitiful yet strong Sally, the cunning and treacherous Pig Wujie, the arrogant but charismatic Black Tiger, and the infuriating Ma San Niang.
Whether it's the protagonist or the antagonist, each character is uniquely portrayed and truly exceptional!
In terms of plot design, the story begins with the Demonic Sect launching an attack on Mao Family Village, and the White Cat Fire Dance whirlwind covering her son as he breaks through the encirclement with the Qilin.

The story unfolds with a battle of wits and courage between the two sides at Jade Toad Palace, a mystery surrounding the undercover agent at Golden Whip Creek Inn, a split-up to find the remaining seven swordsmen, and a grand finale where the seven swordsmen reunite. The entire story is captivating, with one exciting moment after another.

Holy crap, what an amazing script!!!
It's such a waste to make it into an animated film; such a great story should be made into a TV series!
(End of this chapter)