New Age Artists

Chapter 279: Pursuing the Truth, Godfather is Going In (33)

There are enough managers, and the grassroots executors become small management.

Make sure there is someone responsible for the extras, break down the shooting plan into smaller pieces, and find the specific person in charge.

Everyone knows what they do.

The war scenes were still shot in groups, with three groups working simultaneously.

Shen Santong no longer directs the work himself, he mainly focuses on management and coordination.

The first scene filmed was Huang Gai burning Cao Cao's chained warships.

To summarize, Zhou Yu and Huang Gai selected dozens of fast-moving warships, such as the Mengchong and Doujian warships, filled them with hay and soaked them in kerosene.

Then they covered it tightly with curtains and put flags on the boat to pretend it was a grain transport ship.

These warships were designed as fire ships, with a small fast boat (zouge) prepared behind each fire ship for the soldiers to ride on after setting fire to the fireship.

In order to make the ship-related scenes more realistic and textured, Shen Santong built ten warships.

One large tower ship, three fighting ships, three Mengchong ships, and three Zou Ge.

The size ratio is one to one, but they are all empty frames and look real from the outside.

In addition, the interior of the battleship was also built.

That part has been shot in the indoor stage.

Shen Santong filmed this scene in the canal, based on the principle of proximity, close to the factory where warships were custom-made.

In the scene where Huang Gai pretended to surrender to Cao Cao, all ten warships were used.

midnight.

Movie time: December 208, 12.

To make it more realistic, the movie will also include the starry sky of the ancient battlefield of Red Cliff in December. These shots were shot before the filming started.

The southeast wind was getting stronger and stronger, and at midnight, Huang Gai set out.

When they reached the center of the river, Huang Gai's troops raised torches together to identify themselves.

They shouted to Cao's army: "We are General Huang's men, and we are here to surrender."

Therefore, Cao's army did not shoot arrows to stop Huang Gai's fireboats (disguised as grain ships) from approaching.

Huang Gai ordered the firewood to be lit and the burning fleet flew forward quickly with the wind and rushed towards Cao's camp.

Unfortunately, Huang Gai was hit by a stray arrow and fell into the water on the way. When he was rescued, the Wu army could not recognize him and placed him in the toilet bed.

Huang Gai had no choice but to shout to Han Dang, who found him and undressed him with tears in his eyes, so that he was able to save his life.

Shen Santong filmed this short close-up war scene in two nights.

Continue to shoot close-ups of the Battle of Red Cliffs and Borrowing Arrows from the Straw Boat.

The boat used for borrowing arrows by straw boat needs to be a smaller and lighter boat with good shelter conditions.

The two types of warships that Huang Gai used to set fire, Doujian and Mengchong, are more suitable.

The interior scenes of Borrowing Arrows from a Straw Boat have been shot.

The indoor scenes were shot by two other directing teams, and the plot was about the sailors' reactions to the flying arrows.

There is no such thing as being indifferent when arrows fly at you.

Even if you hide well, when arrows hit the hull, you will still worry that the boat is not strong enough.

The boat tilted to one side, and Shen Santong deliberately tilted the scenery as well to achieve the most realistic effect.

In the story of borrowing arrows from a straw boat, Zhuge Liang was not on the boat.

Wu Yusen's version of Zhuge Liang boarded the ship, and the plot is in the second part.
Mainland actors were asked to play funny roles, and the boat was hollow, with arrows flying around.

The film no longer showcases Wu Hou's intelligence, wisdom, and courage, but instead portrays him as a psychopath.

Shen Santong's version of Borrowing Arrows by Straw Boat ends at the first part.

The first part has Borrowing Arrows from a Straw Boat, and the second part has The Burning of Red Cliffs, ensuring that each part has a big scene.

Shen Santong will also experiment with using some 3D technology to make the feeling of flying arrows more realistic and exciting.

Part of the war scene of borrowing arrows from a straw boat.

The footage captured the details of boat maneuvering, as well as the scene of arriving at the designated location and hiding back in the cabin.

There were arrows everywhere in the cabin, and the sailors were excited, thrilled, and a little scared.

Shen Santong specially filled a Mongolian warship with arrows to show the details.

Close-up of the Battle of Red Cliff, which took two weeks to shoot.

It took about a month to shoot all the medium and close-up details related to the ship.

In the last few days, in order to present the details of the battle where countless soldiers and horses were burned to death or drowned, all ten warships were ordered. Even if they were empty shells, ten warships were not cheap, and they cost more than five million.

It was Shen Santong who was in charge of this matter. If it was a Hong Kong director, the price might have been more than 10 million or even 20 million.

Shen Santong set the whole place on fire just to enrich the details of the film and give the most realistic fire effect.

As for the long-range views in war scenes.

Huang Gai lined up ten fireboats in a row and sailed towards the opposite bank in a horizontal formation.

Increasing the contact area with Cao’s warships as much as possible will make them burn faster.

The southeast wind was strong and the fire was fierce, burning all of Cao's warships. The fire also spread to Cao's camp on land.

In an instant, thick smoke and flames covered the sky and the sun.

There is also the part about borrowing arrows on the straw boat, where the warship returns with full of arrows.

These are later stage works.

Film is the art of deception.

A lot of the long shots in war scenes involving warships were not real shots and it was impossible to shoot them real shots.

It’s another way of presenting it.

The Red Cliff special effects team determined the plan, and the domestic factory was responsible for making the warships in different scales.

In the process of cooperating with domestic factories, Shen Santong gained a lot of knowledge.

Domestic toy factories and furniture factories are even better than professional physical model makers.

It is only a fraction of the price of a model maker, with low cost and good craftsmanship.

In the part about borrowing arrows with straw boat, the boat is one meter in size and is shot with arrows that are scaled down in the same proportion. All the arrows are real.

The warship model of the Battle of Red Cliffs is much smaller, only about 30 to 40 centimeters.

In the later stage, the model of the warship for borrowing arrows from straw boat has been completed.

The warship models used in the Battle of Red Cliffs are still being made because there are too many of them and it takes too many man-hours.

These models are only part of the process, and the special effects team still needs to study how to create the best movie effects.

The Battle of Red Cliffs, where the chained warships were burned, was filmed in a pool.

From the details of the burning of the battleship, the wind direction, and how the pools show the effect of the river water.

Some scenes require the use of green screen to make the effect more shocking.

The final release version must also be edited with close-up shots of characters.

Shen Santong's understanding of special effects is that, like in "The Wandering Earth", they should be as realistic as possible, the more realistic the better.

It is best to let the audience feel the real texture in the unreal movie.

3 month 25 day.

The war scenes related to the Battle of Red Cliffs and Borrowing Arrows from the Straw Boat have been completed, and the war scenes are entering the final stage.

Zhao Yun and Liu Chan killed each other indiscriminately, and were defeated at the Battle of Changbanpo.

The crew size is getting bigger and bigger. As the filming progresses, the crew number will exceed 3,000 people at most.

Shen Santong divided the shooting into five groups, and he was responsible for the overall work.

Zhao Yun's Battle of Changbanpo is one of the highlights of the first part.

Shen Santong invited Yuan Heping as the action director.

The effect he wants is clean and sharp, no tricks or routines, and a killing blow with every strike.

There is a small emotional ups and downs every few seconds, and it is also a bit calm and humorous, which is closer to the Hollywood-style action scene model.

Shen Santong was busy with crew affairs.

Liu Yifei and her daughter were desperate for help.

Godfather Chen Jinfei doesn't want to leave in a dignified manner, so he wants to go in.

Shen Santong has always been willing to help others, so he helped out and got Liu Yifei's full agency contract.

Liu Yifei is a gold mine. Her identity label is invincible, and her advantages become greater in the Internet era.

Although the influence is fake and virtual, and attached to the U.S. narrative, traffic data, media recognition, and platform recognition can bring benefits.

If you have money but don't make it, you're a bastard. If Shen Santong doesn't make it, someone else will.

It's a pity for Liu Yifei in her previous life. If she and her mother were a little more normal, not just wanting to have ready-made things, not being dependent, and just filming TV series in mainland China, it would not be difficult for them to earn tens of billions.

(End of this chapter)