I just want to copy books quietly

Jiang Youxi and Xu Qingya immediately started fighting.

This paragraph is where Huo Linger asks Wang Chao for advice in the plot.Try to restore the kung fu that Feng Yuxiu used to kill people, so as to deduce Feng Yuxiu's identity.

The action design of this section is also one of the most thoughtful actions of the screenwriter team, Zhao Zhekun and Su Yunhua.

For the other few fights, as long as the design is good-looking and the fights are wonderful.

And this part of the confrontation has a clear purpose, and it must match the lines.

For example, the screenwriter wrote that Wang Chao said, "This trick of 'grabbing the bird's tail' is from Wudang. As for which Wudang school it is, it is still open to discussion. I think it should be the Songxi school or the Yisong school. .Although other sects also have this trick, but there are subtle differences in the way of exerting force."

So when Zhao Zhekun and Su Yun are doing action design, they can't design randomly, they must design to attract the bird's tail.

But it can't be the same as the bird's tail that everyone usually sees, otherwise it won't show the brilliance of this trick.

In order to design this action, they can be described as painstaking.

Spend several days designing just a few moves.

The actual shooting, but ten seconds.

"stop!"

Du Caige focused on the monitor.

For this scene, he arranged 5 cameras.

Among them, there are 2 fixed positions, one orbital moving position, and two handheld cameras.

Shoot this scene from different positions and angles, and finally cut out the best visual effect through editing.

In the eyes of others, this is just a piece of embroidered legs, and the effect looks very ordinary.

But in his mind, a whole picture could already emerge.

After watching it several times, Du Caige announced: "This one is good, let's save one first. Let's adjust the camera position and take another shot to see the effect."

Naturally, it is impossible for everyone to disagree.

When shooting an action movie, the choice of camera position is very important. The same fight is shot from different angles, and the effect will be completely different.

Give the simplest example.

Early kung fu movies, such as Bruce Lee's version of "Fist of Fury", were shot with wide-angle lenses, and the scenes looked huge.

When Bruce Lee challenged the Hongkou dojo, the Japanese stood in a circle on the outside, constantly moving, jumping around, like a ghost.

Then they rushed up one by one, and were beaten flying by Bruce Lee with one punch and one leg.

The audience had a question, why did they rush up one by one and use this kind of refueling tactic instead of rushing forward?

When the camera shows Bruce Lee showing off his power, it can be clearly seen that the rest of the Japanese are standing on the periphery and become the background board.

Are these Japanese badass?Don't know how to swarm?

of course not.

It was due to the limitations of the shooting skills and shooting concepts at that time. If there are too many people involved in a fight, it is easy to go wrong with the cooperation.

And if one person has a problem, a little faster or a little slower, it will cause the entire lens to be scrapped.

If you shoot a group of people swarming up, that shot may not be shot well for many days.

So I had to do it as a last resort, and let most of the little guys serve as background boards, delivering dishes one by one.

But later, after the shooting skills improved, there was a different way to deal with this kind of multi-person fight.

For example, in Cheng Long's movies, there are sometimes shots of a dozen villains chasing the protagonist.

Such scenes are handled in an orderly manner, busy but not chaotic, exciting and exciting.

How did Cheng Long deal with it in the movie?

It is through the ingenious setting of the camera position that only the protagonist and one or two villains are shown in the camera at the same time.

After the protagonist Cheng Long defeats these two minions, one or two other villains appear from the edge of the camera.

At this time, we switched to the shots taken by another camera to show this new fight.

As for the previous villains and other villains who are about to enter the scene, they are outside the lens of this camera.

The effect of the final editing is that the perspective is constantly changing, and Cheng Long keeps moving, running, and constantly defeating the villains.

Here, two people were knocked down from the front, and then two people sneaked up from behind at the same time. He immediately turned around and kicked these two people down, and three people attacked from the side... The whole scene was very tight, and the rhythm was very tense, fast, and intense.

This is to show the wonderful fighting process by cleverly setting up the camera position, and then cleverly editing the pictures taken by different camera positions.

Chapter 593 The Style Du Caige Wants

Du Caige doesn't think there is any action movie on earth that can be called "the pinnacle of action movies".

Because he feels that the best action movie is always the next one.

peak?It's far from here.

With the evolution of photographic equipment and the advancement of photography concepts, various methods of cleverly using real shots to create action effects have become more and more mature.

Many dizzying action scenes can be achieved even without the use of expensive special effects.

For example, "The Bourne Shadow" is the representative. When depicting the fighting scenes, the camera is almost attached to the characters, so that the audience can feel the tension and excitement of the scene and the danger of those close-to-body bunt movements.

For example, "Hardcore Henry" uses the No.1 perspective to present action scenes, which is also unique.

For example, "Sword Rain" combines traditional martial arts shooting with some modern new methods, and the action design is beautiful.

The part where the monk Lu Zhu taught Xiao Yu the four moves of swordsmanship, the movements are graceful and graceful, like a dragon swimming, is it so beautiful that it makes people cry?

"Bourne" still has at least one good story.

The stories of "Hardcore Henry" and "Sword Rain" are actually quite weak, and there are problems with logic, but they can be widely praised. It is really because the action scenes are so well shot.

Although on earth, Du Caige is not famous for shooting action movies, but he is not ignorant of action movies.

Du Caige is able to stand on the shoulders of giants, and he has the valuable experimental experience of many directors on the earth. He can learn from many techniques and concepts that have not been developed in Azure Star.

This is a kung fu movie, a national martial arts movie. It doesn't need all kinds of exaggerated special effects, it doesn't need a burst of energy to create an explosion effect, and it doesn't need actors flying around with wires hanging on them.

This is not a traditional martial arts movie. Most of the expressions in previous martial arts movies cannot be copied.

Du Caige can learn from Chinese movies that are unique in action design and lens use. Earlier, there were "Jing Wu Heroes", and in the contemporary era there are "Slaying Wolf", "Embroidered Spring Knife", "Master", "Archer Liu Bai Ape" and other excellent works.

In the case of "Sword Rain", after removing those elements that come and go, some action designs can also be called textbooks.

There are also many excellent action movies abroad.

Such as the "raid" series.

Such as "Bourne Shadow" series.

For example, the "Quick Chase" series in recent years.

The first few "Pirates of the Caribbean" are actually good in terms of action design and camera use.

There are several Japanese works that can be used for reference, such as the live-action trilogy of "Rurouni Kenshin", the "Hot Blood High School" series and "Thirteen Assassins" filmed by Takashi Miike, etc. These are all realistic styles, which are very suitable for reference.

There is also "The Witch" that Du Caige admires more. I don't comment on the plot of this movie, but only talk about the action scenes, which can be said to be refreshing.

It is obvious that the protagonist, the witch, has supernatural powers, she is extremely powerful, and she is not a normal person, and the fighting effects are very exaggerated, she can punch through walls, smash steel plates, and smash her head with one hand, but the scene looks extremely real.

Your mind tells you it's false, but your eyes, your brain tell you it's true.

Of course, we can't forget "Kung Fu Panda". Although the protagonist is a panda, the supporting role is a group of animals. Although there are many magical and fantasy elements, the action design is really unique.

Of course, Du Caige does not intend to make his "martial arts" into a hodgepodge.

It is impossible to learn from and learn from, and wear away one's own style.

No matter what you want to learn from, you must first have something of your own.

Without our own things, the style cannot be unified, and the film produced will be very messy.

So what kind of style should the fighting scene be in the "national art style" universe that I want to create?

Du Caige also thought about it for a long time.

First of all, Chinese martial arts should feel very real to people, with punches to the flesh, with muscle feedback, and with the limits of the human body. Shaking someone's arm can dislocate a few bones, but it's really not good to hit a cow from the air.

Bullet dodging can be predicted in advance, but it certainly cannot be described in the way of "bullet time".

This is a realistic action movie, not a sci-fi movie.

Then, one of the styles he wants to show is "realism".

To give people a sense of reality.

Secondly, because in "The Romance of the Dragon and Snake", the actual combat of the national art has been emphasized, and the national art is divided into "practice" and "fighting", saying that the national art "only kills the enemy and does not praise", emphasizing the danger of the game.

So how to show the danger of play?

We can learn from "The Bourne Shadow" and use some short-distance shots to shoot close to the actors, showing the fast-paced, fierce, and dangerous fighting process.

Again, Dan Jin fights against each other, after all, it's not a fight between street gangsters.

In addition to reflecting the danger and cruelty of the fight, it is also necessary to reflect their grandeur and master demeanor.

Then we need to attach great importance to the beauty of the lens, which can be learned from several Japanese action movies.Especially the "Rurouni Kenshin" trilogy.

Let's take a look at Kenshin vs. Sojiro (the first fight), Kenshin vs. Shishio, Sagara Sanosuke vs. Anji, Hiko Seijuro instructing Kenshin's secrets in the bamboo forest.

The use of light and color, and the arrangement of props are all beautiful.

The design of combat actions is both practical and ritual.

It is indeed a film worth studying.

Otomo Keishi's skill is not in shaping characters.

At least Takeru Sato, who plays Kenshin (who also starred in "If Cats Disappeared from the World"), didn't have a particularly stunning performance under his hands.

But the texture of the picture and the use of light are really at the textbook level, which is worth learning from Du Caige.

Finally, props and post-production special effects must be used to reflect the cruelty of the battle. Plasma, broken bones, and residual limbs are all indispensable.

But you can't shoot disgustingly, but you have to reflect the aesthetics of violence.

This point can be learned from Hot Blood College, Thirteen Assassins, and even Violent Streets, League of Assassins, etc.

So to sum it up, the key word: realism.dangerous.fierce.The beauty of the picture.Ritual sense.Aesthetics of violence.

This is the action style that Du Caige intends to create in "Wulin", and then in the entire martial arts movie universe.

Currently filming the action scenes of Wang Chao and Huo Linger in Southeast Asia is a very important process.

This is the process of Du Caige and the action guidance team getting to know each other and working together.

It is necessary for the two action directors to truly understand what kind of things they need, and then let them combine their own shooting styles to design the subsequent fighting scenes and actions.

Although the time is short, the effect is not bad.

Both Su Yun and Zhao Zhekun are people who are willing to keep learning. They are not rigid, always want to try new things, and have enthusiasm and curiosity.

Du Caige's cooperation with them, at least in this initial stage, is very pleasant.

Apart from filming, Du Caige also revealed to them that he wanted to create a series of "Romance of the Dragon and Snake" movies.

He didn't use the term "movie universe", which doesn't exist in Celeste yet.

In fact, he doesn't need to say, just the name of this movie, "The Romance of the Dragon and Snake: One Personal Martial Arts", has already revealed his ambition.

This is definitely developing in the direction of a series.

Movement guidance also requires food. Knowing that they may get a long-term meal ticket, Zhao Zhekun and Su Yun will of course put more effort into it.

Chapter 594 The Aesthetics I Want

Du Caige closed his eyes, and a picture appeared in his mind.

It was a picture with extremely rich color levels. The firelight reflected on the wooden barrels and wooden walls, with bright and shadow interlaced.

There are embers of flames floating in the air, flickering and flickering, just like Shi Zhixiong's real ambition, scorching hot and blazing, but it has come to an end.

Zhi Zhixiong is covered in bandages all over his body, holding his favorite knife "Infinity Blade", standing in a bold and majestic posture.

Even if you haven't read the original work, and don't know the character, the audience who just happened to glance at it can immediately feel some of the character's characteristics through the actor's appearance, stance, and demeanor.