Huayu: That year, I withdrew from the Super Boy competition.

When we finished filming the fourth take...

Hu Ge was covered in dirt and grime from rolling around on the mat, with several sweat streaks on his face and a white patch rubbed off the shoulder of his costume.

During breaks, staff members came up to touch up makeup and adjust wire work.

Hu Ge leaned against a nearby pillar, rubbing his lower back, and looked up at Su Wei standing opposite him, jokingly saying:

"My Lord Demon Lord, please have mercy! If I fall any further, I might not be able to get up tomorrow."

Su Weiyi was stunned for a moment, then the tense look on her face relaxed:

"Director Liang said to go slower and be more steady. All I can do is try to minimize the number of falls you make."

"No, please don't do it."

Hu Ge waved his hands repeatedly, "It's necessary, I'm getting old, I can't take a fall."

After saying that, he added with a smile:

"But don't feel pressured. It's common for a scene to be filmed multiple times."

Also, things are going much smoother for you now; you've made great progress!

Su Wei simply smiled upon hearing this.

Before the break was over, he returned to his position and practiced the trajectory of his arm swings repeatedly in the air.

From the start to the stop, he silently kept the rhythm in his mind.

Once, twice, three times.

Adjust the angle of your wrists each time to control the force exerted by your shoulders.

The goal was to make the movement appear not as a person swinging in the air, but as if it were actually bringing out an unseen force.

This kind of repetitive practice may seem a bit clumsy to others.

But he knew he was a newcomer with no experience, and all he could do was practice more until the movements became second nature.

Martial arts instructor Lao Yuan stood by and watched for a while, then came over and corrected the angle of his elbow joint:

"You can't swing it like that. The Demon Lord isn't a martial artist; he doesn't use brute force when he attacks."

Old Yuan gave a demonstration: "Power comes from the shoulders, relaxation from the hands. You should imagine the energy is being thrown out naturally, without appearing too deliberate."

Su Wei followed his example several more times.

Five minutes later, Liang Shengquan sat back down in front of the monitor, and the script supervisor clapped his clapperboard.

"Scene 32 of 'Chinese Paladin 3,' shot 7, the fifth time—Action!"

…………

After the footage was filmed.

Liang Shengquan didn't give them much time to rest. He immediately had both groups of actors take their positions and continue filming the next close-quarters combat scene.

The design concept for this fight scene is very clear.

There are no dazzling magical clashes, nor any dazzling light effects that fill the screen.

The first encounter between Chonglou and Jingtian was essentially a test.

Chonglou was unsure whether the glib-tongued pawnshop clerk in front of him actually possessed Feipeng's strength.

So he didn't go all out, but just forced him to move one move at a time, watching his instinctive reactions;

Jing Tian was constantly on the defensive.

But occasionally, there will be moments when the body moves faster than the mind, and the body blocks an attack that is not something an ordinary person could do.

Martial arts instructor Lao Yuan designed this set of movements to be very restrained.

He assigned Hugo a lot of blocking and dodging moves.

He shielded his eyes with both hands, rolled to the side to dodge, and leaned back to narrowly avoid a sweeping blow.

Each one of them seemed to be struggling, their knees bending and straightening repeatedly, their steps retreating again and again.

But at the same time, he also planted two or three brilliant strokes of genius in the gaps between these passive attacks.

Hu Ge practiced this set of movements several times.

He wanted to portray a state where he himself didn't even know what he was doing.

His face had to show the panic of Jing Tian, ​​but his hand gestures occasionally revealed the shadow of another person.

This feeling is hard to grasp; if you try too hard, it will seem premeditated, and if you act too casually, you won't see that hidden instinct.

Su Wei's demands were exactly the opposite.

Old Yuan's core instruction to him was just four words: "Conserve your strength and strike hard."

Chonglou's moves appear to be wide and powerful, with each palm strike and each sweeping kick carrying a strong sense of pressure.

For example, Su Wei's fist had to stop two inches away from Hu Ge's body.

The leg should sweep across his costume, making it look fierce, but it shouldn't actually touch him.

Therefore, before each move, he first thought about withdrawing his strength.

After filming three or four takes, he gradually found a rhythm.

Well, the two of them were clearly fighting, but it couldn't be too obvious.

This is more like creating danger to force the other party to reveal a weakness.

The images on the monitor began to show signs of a chemical reaction.

Jing Tian went from constantly covering his head and dodging to being able to barely withstand two or three moves, and then, after dodging one of his attacks, he threw a punch in the backhand.

Meanwhile, on Su Wei's side, every pause and every tilt of Chonglou's head seemed to say:

That's interesting, but not enough.

Liang Shengquan watched the monitor without calling "cut," and only raised his hand after the entire designed fight sequence had been completed.

"Click. This one's passed."

There were some scattered noises in the tent, and the stagehands began to tidy up the mats and scattered props.

Hu Ge wiped the sweat from his forehead with a towel; his hair was completely soaked and stuck to his forehead.

Su Wei wasn't having an easy time either. The black armor looked imposing, but it was actually as stuffy as a steamer. The inner lining was soaked with sweat, and the collar was sticking to her neck.

The two groups had barely caught their breath when Liang Shengquan stood up and confirmed the next steps with the coordinator.

After finishing the dialogue and action scenes in the studio, we still have an outdoor shoot to rush to today.

This scene is an aerial chase between Chonglou and Jingtian, and it was filmed under the antique-style city gate in the southeast corner of the film studio.

The film crew began moving to another location.

The props team disassembled the equipment and loaded it onto the truck, the lighting team bundled up the cables, and the actors boarded the crew's minibuses.

The car drove for about twenty minutes before arriving at the filming location.

An ancient-style city gate stands under the sun, its gray brick walls tinged with a warm hue by the afterglow, and the eaves of the gate casting long shadows on the ground.

Hu Ge got out of the car, glanced up at the height of the city gate, and didn't react in any particular way. He walked directly to the martial arts director and began to demonstrate the angle of a mid-air turn.

For him, being suspended by wires was commonplace. During the filming of "Chinese Paladin 3," he was almost always suspended in the air. He already knew exactly how to generate force when turning around and how to dissipate force when landing.

Su Wei walked a little slower after getting off the car.

He walked to the foot of the city gate and looked up.

The rooftop is nearly ten meters above the ground, with two steel wires hanging down from the top, so thin that they are almost invisible in the setting sun.

When the wind blows, the steel wire sways slightly, making a very faint humming sound.

His Adam's apple bobbed involuntarily.

All his previous scenes were on the ground, and he was able to handle them by practicing and figuring things out.

But this was something he had never encountered before, in either his past or present life.

The experienced stunt coordinator was already waiting for him.

He brought over the harness, a set of heavy leather straps that was to be tied around his thighs, waist, and chest, before he would put on the black armor over it.

Master Chen had Su Wei stand up straight and fastened the straps one by one, pulling them tight.

The feeling of leather binding the chest and abdomen is very real.

When the chest expands, you can clearly feel the constriction, and even your breathing becomes shallow involuntarily.