How did you recover the three minutes in the finals of I am a singer?

She shared a passage with me: "Many times, our living environment is not planned in advance, and the sounds we hear happen by accident, such as the plane taking off, the emergency brake, the hair dryer, or the train heading for the intersection. The first awakening of human emotions may be that mammoths are roaring, and most people in the world are still dominated by annoying noise. " Later generations created the possibility of their own choice. The percussion of sticks and stones triggers the rhythm, and then the rhythm produces notes and scales, so they merge into a melody, and then music is produced. After all this, it's already midnight, but we all feel wonderful. Han Hong's "Cloud in My Hometown" Scene Setting Map

Why the program "I am a singer" is so recognized by everyone, in fact, a large part is because, in addition to music and melody, singers sing with emotion and make people feel human. So we also created several extreme landforms to match the singer's voice.

Creativity needs to be strictly carried out from creativity to every frame of the screen, which is the most test of people's work and skill mastery. Including the matching of shooting time, the combination of special effects and real shooting, and the realization of creative shots. Although there are only two tense shooting days and the time specified by artists, what kind of screenshots will be brought by the cooperation with the shooting team and the early planning during the shooting process?

Peng Youlun: We decided to talk about noise against silence and the generation of sound in the short film. Then take out a lot of sound effects in our daily life and a lot of notes we hate and make a short film of sound. The creative process is a process in which directors and photographers learn from each other and compromise with each other. Before shooting, we will hold many shooting sessions. From his point of view, the photographer thinks this filter is the most comfortable. From the director's point of view, the camera pays more attention to the expression of characters and content.

Before shooting, the director and photographer have reached an agreement on which shots to shoot and how to shoot them, because before shooting, we have to have a round to see the scenery and a round to shoot again. In the process of seeing the scenery for the second time, we must use this formed shooting scheme to discuss the position of each shot, the position of the artist and so on. So in fact, my cooperation with photographers is basically very tacit.

Shoot the upgrade picture with a high-speed camera Phantom.

This time, Phantom v642 high-speed camera is used, with the highest frame 1200. It is necessary to take pictures of many animals in a short time. The technical aspect is not the real challenge. What is more difficult is how to talk to these animal actors. This is almost three words, "take a chance."

Film and television industry network: how to communicate with the post-special effects team during the live shooting? And how does the live shooting cooperate with the later stage?

Peng Youlun: After entering the shooting stage, we should strictly follow the established plan, especially the shots involving CG production, and we can't make any mistakes. Because our production cycle is basically very tight, if there is a little mistake in shooting, it will bring endless trouble to the follow-up work. Director Peng Youlun's work photo

In the process of shooting, there are two main points:

The first is the effect. Some photographers who have worked together before are not imaginative enough. They can judge whether the current picture is beautiful, but it is not enough to judge the shooting effect after the completion of later works. Therefore, in order to pursue immediate results, we often make a picture full, leaving no room. When you enter the later stage of work, you will often encounter trouble. This requires special effects personnel to have enough picture imagination to make an accurate judgment on the final effect in front of the display.

At the same time, for the sake of safety, when time permits, we usually have clear atmosphere maps and dynamic mirrors to guide shooting. When shooting on the spot, it is clear at a glance, which saves a lot of communication costs consumed by "guessing" in the communication process. Screenshot of blue screen special effects shooting

The second is execution. We want attention, not make do. If the effect is controversial, you can try it. Then the implementation after the effect is determined can't be a little sloppy. It must be strictly implemented to avoid all risks. The special effects team needs to do more than just the basic work of arranging green screens on the spot. Especially in the current market and audience, the appetite is becoming more and more acute. Even for short and fast projects, we try our best to demand high standards. Screenshot of special effects lens

The composition, trajectory, lighting and scenery of photography are closely related to the later work. In fact, the early shooting and the later work are inseparable, and each link needs to do its best for the later execution to ensure that the work will not be unsatisfactory.

In the later stage, the team needs to watch the monitor carefully, imagine whether the part that CG needs to produce can achieve the expected effect in the current shot, and need to shoot the lights in the scene in HDR to match the lights in 3D software.

At the same time, it is necessary to place tracking reference objects on the spot to facilitate camera matching in the later stage.

Even if it is only the basic work that most people know, there are actually many stresses, such as the material of the green curtain, whether it absorbs light, whether it is flat, the distance between people and the green curtain, and the degree of reflection of the green curtain. Every detail will be magnified ten times and one hundred times in later works.

Post-polishing is more than just editing.

The latter part of the promo basically includes atmosphere setting, editing, music, sound effects, CG and color matching, which is almost the re-creation or final presentation of the whole promo. Only 10 days to complete the post-work, at this time, what will be the story of the cooperation between the director and the post-creation? Peng Youlun: There are two important points in the main communication time between the director and the later team.

The first one, before shooting. After understanding the director's ideas, the later team needs to make a judgment on the current ideas. Under limited conditions, can you achieve the effect, thoughts and feelings imagined by the director? And from a technical point of view, is there a faster and cheaper way to achieve it? The communication work in the early stage can make the director have a clearer understanding of the film, and the other is to avoid the execution of the film going to an uncontrollable danger zone.

The second is after the shooting. Even if we are fully prepared, we can't avoid all the special circumstances. At this time, we need to discuss with the whole later team and work out a more timely plan. This is the time to really test our brains and what we can do on the basis of existing materials.

After the new scheme was released, it entered the real later implementation stage. Actually, it's more conventional here. According to the determined artistic atmosphere map, make corresponding pictures, edit and confirm, make audio with pictures, and make films with colors.

Film and television industry network: What ideas have you encountered in the post-production process that need to be revised or subverted, and how do you deal with them?

Peng Youlun: In this case, I didn't encounter the problem of modifying and subverting ideas, but in the post-production process, almost all the films that need to modify and subvert ideas failed, so I think it's the same sentence. The pre-planning and preparation must take into account the feasibility of implementation, the expressive force of the whole work and the rationality of the whole post-production process. If you want to supplement the unclear or defective places in the previous shooting through the later stage, this work is definitely a failure. It is very dangerous to subvert or change ideas in the later stage of implementation, and the only way to deal with it is careful and rigorous planning in the early stage.

Whether you are a director, photographer, planner or special effects artist, technology, feeling and expression are the three essential skills. I think there are several important criteria to determine whether a painting is good or not. The first one is whether the picture completed by this special effect has reached the plot, text, or emotional and content expression needed by this song. Second, this special effect map must not be the most prominent, beautiful, extreme and awesome place in the whole article. If it is, it will be the most inappropriate and abrupt picture in this film. Because you have to consider the overall concept of the film, not just a certain picture is extreme.

So I think special effects are a basic means to realize screen technology, but now many special effects personnel in China often ignore what is, one is the concept of shooting, and the other is the feeling of script and a work. Once these two problems are solved, maybe we can all finish a very awesome movie with the simplest method. This is one of the most important issues in my creative process and in the process of cooperating with my later special effects group.

What does the font mean for the promotional film?

The fonts in gravitational space works are very unique, labeled and symbolic. From the first Super Girl to the present, the characters in "Happy Boys" and "I'm a Singer" all add the director's own style to very simple fonts, and the subtitles become unique and powerful.

Peng Youlun: Our font forms and formats are strongly contrasted, and the selection and creation of font forms are more arbitrary and exaggerated; The purpose is to form the first contrast visual impact. The use of fonts should not be kitsch. Now many fonts are designed in English, and then they look very foreign and tall. But in a short film, in a graphic work, any color, any element, including words, is meaningful. Not because it looks good, not just because it looks good. But what is the temperament and information you want to convey, which is the first thing the creator should consider.