Why is the "Awakening" for a long time, the interview director Li Yanqing | Behind the scenes of the front line

"Awakening" can become a good work that can resist the audience N brushes. It is inseparable from the efforts of all the creators, and the exquisite settlement of visual effects. Li Yanqing, director of the visual effects of "Awakening", said that visual effect creation is a process of finding beauty -accurately grasping the beauty of history, carefully presenting the beauty of art, and carefully filled the beauty of details. This beauty is injected on the screen, and the audience also feels different beauty through their own understanding.

For more than a year, "Awakening" is still a repertoire of the majority of netizens who will choose N brush. On the one hand, due to its excellent story thickness, ideological intensity, and emotional concentration, on the other hand, the visual effect of the play is also talked about the audience.

Fine details, see the beauty of elegance. Since the broadcast of "Awakening", many netizens have repeatedly "touched" the metaphor of the lens, picture, color, and scenery in the play, like tasting aging and endless aftertaste.

How are those sophisticated classic scenes born? How to balance the truth and poetic expression of history? Recently, Li Yanqing, the director of "Awakening", resumed the scenes in the play in the interview to deconstruct the "visual effects" in the drama.

Visual Effect Director Li Yanqing

Reporter: How did you initially associate with "Awakening"?

Li Yanqing: I am able to associate with "Awakening". I want to thank my good friend director Vash. He introduced me and the chief producer Liu Guohua. It was only one week before shooting. Realizing that the situation was urgent, we didn't think too much. After rushing to Hengdian the next day, we determined the preliminary shooting plan. However, the estimated production volume is severely exceeded that the budget is beyond the budget, and repeated considerations have declined.

Chief producer Liu Guohua (left) Director Li Yanqing

But I still participated in the whole process. After the filming of the whole film, the chief producer Liu Guohua, director Zhang Yongxin and me discussed many ideas of the film from the perspective of technical and art. Director Zhang Yongxin's dedication to art, seeking beauty, and the height of aesthetic thoughts made me feel. Admire, the chief producer Liu Guohua's frankness and the rigorous weight of work also convinced me, and even more moved. In the end, we agreed in the "most man's way" that the project must be done well anyway. It was proven afterwards that it was a very correct decision.

Director of the Viewing Effect, Li Yanqing (left) Director Zhang Yongxin (right)

Reporter: How did you understand and operate the visual effect of "Awakening Age"?

Li Yanqing: Visual effects are the second creations of shooting screens. They need to communicate in depth with the director, photography, art, editing and other links. Starting from aesthetics, they continue to polish the effects of the later picture. Pay attention to the control time, complete the stage production as soon as possible, and leave full time for the director to feedback and re -creation.

Faced with a major revolutionary historical drama such as "Awakening Age", in order to accurately grasp the creative theme and the artistic expression of the director, we must first go deep into the script and grasp the details of the details for visual expression. Regarding the description of the environment and time, the psychological state of the actors, these details information helps visual effects. For example, the first episode and the second episode of Chen Duxiu returned to the scene by boat, and the script could interpret his ambition and ambition. Therefore, in terms of visual effects, choose to use the light and shadow to express the inner changes of the character. In the first half of the scene, when the characters were depressed, the sky was gloomy. In the second half of the scene, Chen Duxiu and Zou Yongcheng stopped Japanese crew members insulting Chinese students, and the environment was bright and warm.

The historical background of "Awakening Age" was established in the May 4th Movement to the Chinese Communist Party. We must fully respect history, feel it with our heart, and integrate ourselves into that passion. The special effect is to pack and beautify the filming screen, restore the original appearance of the background environment that cannot be shot, and set a key role in the special atmosphere. If you can't accurately grasp the aesthetics of that period of history, you cannot be keenly captured and depicting details. The special effects link "points" these key details one by one into the "line" of artistic beauty. Each department has formed a perfect "line". Under the leadership of the director and producer, weave these "lines" weaving Cheng Ji History, Literature, Music, Art, Architecture, and Special Effects that are equal to a three -dimensional aesthetic "audiovisual network" are finally presented to the audience.

Three -dimensional synthetic restoration Beijing City Wall

A powerful and stable core team, meticulous style of doing things, unswervingly keep the quality bottom line, and seeking breakthroughs and innovation in creative ideas and production methods is the key to success or failure.

Reporter: What are the highlights of the "Awakening Age"? Can you share the example?

Li Yanqing: The biggest highlight and difficulty of the visual effect of this film lies not in the "skills" of production, but to understand the "Tao" of aesthetics. The director uses many metaphorical methods in narrative. The visual effects must not only integrate into the picture without traces, but also fully meet the mood of the lens language in form. One of the responsibilities of the visual effects director is to fully understand the director's aesthetic thought. Only in this way can it be converted into the visual effect language accurately "translation" to the relevant creators who execute it to ensure the consistency and unity of the information.

For this reason, I am immersed in a lot of historical data and art references almost every day, and enjoy how to conceive the visual effects of each story, make model lenses of each scene, show the director a lot of different ideas and concepts, so that he can do the last last time decision.

Take a few typical cases in the play.

1. Chen Duxiu and Qian Xuantong and Liu Bannong Xueyou Tao Ranting

The show appeared in the second half of the episode 5, and its beautiful artistic conception brought a leisurely feeling to the audience. The beautiful objects from form to content are complete, natural, and blend with human mood. Alpine flowers, white snow in the spring, drinking confidant, Qin Se and Ming, interpreting the romantic feelings of the revolutionaries. With this "romance", we "snow" in the roof, branches, ground, stone pillars and other places to create a real environment. The most difficult to grasp is the floating snow. Its quality, density, speed, focus, and color must be matched with the authenticity of the lens, without traces, and naturally free.

2. Li Dazhao's excited speech "The victory of the people" in the Central Park

The 19th episode of the Central Park speech reflects the feelings and mission of the proletarian revolutionaries. Chen Duxiu, Cai Yuanpei, and Li Dazhao gave exciting speeches. At the point. In order to restore the historical appearance of the Central Park, we inspected the Zhongshan Park (formerly the former site of the Central Park) in Beijing. The appearance of 100 years ago was gone, but we still took a lot of reference to refer to the historical data. After repeated discussions and attempts with the director, in the end Determine the surrounding environment when the character speaks.

3. Mao Zedong overlooks the top of Pingxiang Mountain

This is a high spirit of the whole drama. Mao Zedong overlooks the vast land on the top of Pingxiang. At this moment, he thought about the direction and road of the Chinese revolution.

The actual shooting is in a mountain peak in Hengdian. The scene can only meet local shooting. The lens stand is very limited. Therefore, the environment of the sky, the rolling mountains, and the characteristics of different landforms need special effects to supplement the production. The effect must satisfy the lofty and magnificent emotional form, reflect the strong material and spiritual power, show the magnificent momentum, and shock the audience.

4. South Chen Beili, meet the party to build the party

This is the climax of the whole drama. In the category of aesthetics, I think this play is a combination of lofty beauty and tragedy beauty. This lofty form surpasses feelings and imagination, and we are shocked and shocked.

Seeing the tragedy of the refugees who displaced by the Haihe River, thinking of the political situation of the sores, and the Chinese nation who survived the autumn of survival. At this moment, Chen Duxiu and Li Dazhao decided not to let the Chinese people still be negatively in front of reality. They are revolutionary fighters who are highly objectized by the essential power and vowed to make the spiritual teachings and personality ideals accumulated by the entire Chinese culture. The power of cultural people fights with the "nature" power of the outside world. At the time of the chaos of the people's consciousness, the strongest roar was issued -the establishment of the Communist Party of China.

Chen Li used a carriage to Haihe to use a large number of "blank" techniques, and many picture sky occupies more than 80%. The sky will change with time and space, from the dense clouds to the black clouds, from the waves of clouds to the clouds to see the sun, the historical sky corresponds to the inside of the character's heart, metaphorically the dawn of the hope of the Chinese nation.

A dead tree, only upward branches, sharp and unyielding, a political party, only for the people's hearts, tough and not unplugging, it will pierce the sky and create great.

The whole scene is made of special effects. In order to create countless refugees on both sides of the Haihe River, we extended the river channels of the real shot. The shores were made of ice. The CG increased a lot of refugee tents. The vision increased the outline of Tianjin. The entire sky environment was replaced by CG. Using high -precision cracking technology is separated from the elemental material and re -synthesized with the new background.

Reporter: What do you think is the key to such a difficult task in the team?

Li Yanqing: The whole film "Awakening Age" has more than 600 minutes of special effects shots. After more than two years of shooting and post -production. In the process of work and cooperation, I think these four points are essential:

Excellent execution. This includes coordinated capabilities, production management capabilities, artistic aesthetics, technical capabilities, and ability to fight hard battles. Coordinating the organic cooperation of each module, production management can make the internal and external information and feedback communication smooth and unobstructed. Technical and artistic aesthetics are more like two concepts of aesthetics "technical" and "Tao". Output quality. The ability to fight hard battles is essential, and all kinds of adjustments must be quality and quantity.

Good team consciousness. For the entire crew, special effects are one of the links. We must have overall thinking, actively discover problems and communicate with the main creators of relevant departments, and maximize the problem to "stifle in the cradle".

Rich knowledge reserves. Although we are mainly responsible for the presentation of visual effects, we must understand different disciplines, and we must have a relatively complete knowledge system to facilitate the integration with script ideas and director concepts to interpret the aesthetic thoughts of the entire work. There is a show, and we even consulted whether the day in the lunar calendar was in the early days of the lunar calendar, the moon was full or the lunar month, and the upper month was still the moon. Even if the proportion of the moon in the picture is small, it must be grasped well.

Aesthetic cognition is the most important. It is necessary to have a considerable degree of aesthetic cognition and consciousness, to maximize the height of the director's aesthetic ideology, and to resonate in the creation.

Reporter: What kind of artistic exchanges and collisions did you do with the creators during the creative process?

Li Yanqing: There will be a lot of collisions and disputes in different working modules. Fortunately, we have reached a consensus in positive and professional communication. Frankly speaking, visual effects are controversial links. Many work with art, photography, editing, coloring and other links, it is inevitable that there will be some natural "contradictions". In the process, I really want to thank a lot of colleagues, and various departments have given us a lot of help, and I am very grateful to them. Reporter: What insights and gains bringing you to the creation of "Awakening Age"?

Li Yanqing: For me and my team, this is a good experience, and has improved in artistic cognition, ways of doing things. It is a lucky thing to put a lot of accumulated aesthetic theories in "Awakening". This is a thing I personally feel very happy. It is even more lucky to get a lot of all -time dialing and guidance in this process.

After the broadcast of "Awakening" was broadcast, the audience's recognition and industry praise made us very pleased. Before shooting, I believe all the staff brought a belief -to leave a classic work for the audience.

Take a group photo

"Beauty is the object of human essence." My understanding is that "objectization" is "transformation" to the object, and then expressed from the object to make the object become his own "work". Such a "work" has both the nature and characteristics of the object, and some of the nature and characteristics of themselves. The visual creation of "Awakening" is such a process of finding beauty. We injected this beauty on the screen, and the audience felt different beauty through our own understanding.

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