The only sun in Huayu

Chapter 31 Industrial Winning Theory
Shen Shandeng's creative ideas about martial arts and kung fu films gave Han Sanping a fresh perspective.

Compared to traditional martial arts films that rely on sound effects and editing to portray internal strength and showcase kung fu, Shen Shandeng's depiction is undoubtedly more breathtaking.

This may be the key to industrial upgrading, this may be the essence of industrialized cinema, this may be the true film industry.
Han Sanping thought to himself.

"Factory manager, this way. In order to realize the tangible, physiological-level 'internal energy, blood, and flesh,' we have set up a separate task force."

Shen Shandeng led Han Sanping to a specially cleared work area.

We need to make Han Sanping fully understand the difficult situation he is facing.

Domestically, the closer a department or industry is to the front lines and the market, the more aggressive it becomes, almost obsessively pursuing new technologies.

With the domestic film industry still facing a survival crisis, China Film Group is sparing no expense in investing in and upgrading its film equipment.

They keep a close eye on the most advanced technologies in Hollywood, especially the digital wave, for fear of falling behind.

Their actions in this regard are more risky than those of major Hollywood studios and related theater chains.

Therefore, China Film Group currently possesses the most advanced film production equipment in China, especially in the fields of film shooting, processing, and emerging digital post-production.

It can even be compared to major Hollywood studios.

However, there are still gaps in terms of scale, the sophistication of equipment, especially the application of technology, and its popularity.

But this can't be blamed on China Film Group; technology and equipment also require human intervention.

Nowadays, only directors of blockbuster films can use China Film Group's top-of-the-line equipment.

Shen Shandeng also wants to use it!

They also wanted Han Sanping to help coordinate, offering a friendly price and even freeing up some equipment for him.

Han Sanping wasn't stupid; he could tell from this posture.

But Shen Shandeng's strength lies in the fact that he couldn't refuse.

He was even more anxious than Shen Shandeng himself.

Han Sanping said directly, "If you have any difficulties, just let us know, and we'll work together to find a solution."

Shen Shandeng didn't know the meaning of politeness: "After the technical demonstration, we can definitely achieve the effect we want. The problem is that we are on a path that is no-man's land, and all the problems are brand new."

The presentation of internal energy, blood, and flesh is the biggest challenge and the biggest selling point of the "Du Gong" project.

"The Eunuch" had a production cost of just over ten million, which is considered a medium-sized production by today's standards.

But compared to period dramas that cost hundreds of millions or even millions, it's nothing.

They can't afford to hire Hong Kong and Taiwanese stars, and even mainland stars who have made a name for themselves in Hong Kong and Taiwan can't afford to hire them.

Wu Jing doesn't charge a high fee when filming in Hong Kong, but if he were to return to the mainland, his market price would be no lower than Chen Daoming's.

This is the current state of the industry.

Shen Shandeng certainly knew that mainland celebrities had influence, but it was useless!

If no one can prove it, then it's useless.

The new generation in mainland China, or more accurately, the new middle generation, includes Chen Kun and Huang Xiaoming, who are both thirty years old.

If these people can't get roles in big-budget commercial films, then they won't have any movie star status.

Status or influence is something that can be intangible, but it's also real.

First, regarding media coverage.

Those with high profiles will receive more screen time and bring their own traffic.

An entire industry chain has been formed.

With Hong Kong and Taiwanese celebrities commanding such high premiums, their companies naturally have the money to do marketing.

Mainland Chinese celebrities don't receive commensurate pay for their work, so they don't have extra money for marketing.

Secondly, for the audience, using Hong Kong and Taiwan stars is also a way of showing sincerity.

It may not be the right one, but it is expensive.

The audience can feel respected, at least on the surface.

It's not just on the surface.

Because the audience has never experienced genuine respect.

I've never experienced in a blockbuster film how good the performance of a local star is—with a natural accent, no need for lip-syncing, and acting skills that surpass those of Hong Kong and Taiwanese stars.

Without experiencing it firsthand, the audience cannot distinguish between genuine respect and feigned respect.

Without a successful precedent, it's impossible to create a marketing point.

As for the public opinion environment in 07, well, those who know, know.

Public opinion dictates that "The Eunuch" cannot use the weight of history, a sense of pride, or internal logic as selling points.

Once you start marketing, you'll be bombarded with ridicule, deconstruction, and criticism; in severe cases, you might not even be able to survive in the industry.

The audience will also be confused.

Like the actors, the audience has never experienced the thrill of a grand narrative.

They have been suppressed.

Audiences who have never experienced feeling rightfully proud of their own history in a movie theater don't know how exhilarating it is to win.

Grand narratives can only serve as an embellishment.

Or rather, to reach a certain upper limit, these elements are indispensable. However, to maintain a lower limit and survive, "The Eunuch" must provide the audience with something readily available and visible.

It can't provide a star-studded cast, nor can it provide a grand narrative.

All it can offer is a smooth and enjoyable storyline, exquisite and luxurious costumes and props, and breathtaking big-screen effects.

Of course, Shen Shandeng could also choose to give up.

He targeted the release of "Paperclip" to generate buzz, so he didn't need China Film Group to resort to underhanded tactics, and the film wouldn't lose money.

But Shen Shandeng believes that to earn money from the audience, one must still provide them with certain services.

After all, nobody's money comes from thin air.

"Our team has already contacted outstanding modelers and prop masters in China. Hengdian and other film and television bases have some very talented technical personnel."

Shen Shandeng explained the specific progress: "We're not considering green screens. There aren't many green screen studios in China, and the production costs abroad aren't high enough. Digital biotechnology is also out of reach."

"So we're still studying Terminator, learning from Hollywood's experience and Cameron's."

Han Sanping agreed: "We should boldly learn from successful experiences."

Take a turn.

Not wanting to disrupt the crew's work, Shen Shandeng brought Han Sanping into his office area for a detailed explanation.

"We initially decided to use a detachable resin model to shoot frame by frame, and then use stop-motion animation, miniature models, and optical compositing to create the effect we want."

"With the participation of medical consultants, we create anatomical models of human flesh and blood to make them as realistic as possible."

"The movie's pinnacle battle is about investigating a major case in Jiangnan. The main characters face off against the 150-year-old martial arts master, Kumu Sou, hired by the powerful Sun family in Suzhou. We invited Mr. Ji Chunhua to play the role, and we had to make a full-body model of him as much as possible."

"Due to budget constraints, only partial models of other characters can be made."

"Furthermore, we will add the circulation channels of 'qi' to the human anatomy model. Currently, we plan to use LED light strips to simulate the light emanating from the meridians and use mechanical transmission devices to represent the flow of qi."

"This part requires finding a precision model maker, and there's also the issue of motor precision. We're also communicating with motor manufacturers to see if they're interested in collaborating to make motors with sufficient precision for us."

"In terms of cost, we still use the 'physical model as the main component + digital enhancement' approach. We use real models to shoot basic lighting and shadows, and then use CG to add airflow effects in post-production. This is cheaper than pure CG and more controllable than pure physical modeling."

"The challenge lies in how to realistically present the luminous energy and real flesh and blood, especially in action scenes, how to achieve precise synchronization between the flesh and blood model, the internal energy circulation, and the actor's movements."

"We will first develop a simple robotic arm to drive the movement of the light spot."

"In terms of cost estimation, the flesh and blood dissection model plus the qi and blood vessels would cost us four or five hundred thousand yuan if we didn't receive help from the hospital."

"The custom-designed lighting device, mechanical transmission system, and motor would probably cost millions without funding."

"We also need motion capture suits, and the basic special effects shots cost 2 per second. With a budget of four million, we can only afford two minutes."

"If China Film Group can help us with the equipment, save on post-production costs, and reduce the cost of producing special effects shots to 1 yuan per second, we can produce four minutes of special effects."

Shen Shandeng concluded: "Only authenticity has power, and only power can generate real appeal."

"Science fiction films are also a kind of fantasy of technology and the future in the West. They are based on their technological leadership and deepen this impression through cultural products. From cultural products to commercial products, a positive cycle is formed, which is always successful."

"It has even created a stereotype that only Hollywood can envision the future, and only Hollywood can play high-tech games, even if their ideas are clichéd and their technology is only at the level of PowerPoint presentations."

"But we haven't played it, so the interpretation is in their hands."

"I think that martial arts films based on real history can also become a kind of romantic fantasy of Chinese culture. We have both a real historical basis and a foundation of kung fu films. As long as we achieve cultural upgrading, we can also deepen the impression of our ancient country through cultural products."

"We could even create a situation unique to us, since they have no verifiable history. Perhaps in the future, they will learn about their past through our films. The right to interpret who their ancestors were and the source of their legitimacy is in our hands."

"If this path is successfully developed, and combined with the refinement and standardization of kung fu, it can pave a new path on the big screen, creating a genre unique to Chinese cinema."

Shen Shandeng spoke fluently and at length, as if recounting a familiar story.

He became more and more excited as he talked, his mind opened up, and he habitually painted a bright future.

Even if it only achieves a part of it, it can be just like "The Wandering Earth" pioneered China's heavy industry in science fiction, directly crushing Hollywood's space opera.

It is an achievement that can be etched in film history.

"Xiao Liao, make a note of this: China Film Group will fully support the 'The Eunuch' project."

Han Sanping readily gave his promise.

He was moved!

Han Sanping's previous work can only be described as "filling a gap in Chinese cinema," allowing the film industry to catch up with Hollywood's development level as much as possible without being overwhelmed by Hollywood.

If things can be done as Shen Shandeng said, that would be groundbreaking.

As for gaining the right to interpret foreign history, Han Sanping dared not even think about it for the time being.

The win was too big.

The older comrades, who were afraid of losing, had never tasted the flavor of winning in industry.

Liao Yun nodded emphatically, already used to it.

The old man was completely under his control.

Zhang Nengshou, the production manager who accompanied them, couldn't stand the provocation of seeing how easy-going Han Sanping was.

I was utterly horrified.

I am also extremely fortunate.

I found my place as soon as I joined the group, otherwise the consequences would have been unimaginable.

(End of this chapter)