The entertainment empire began with Liu Yifei's premarital pregnancy.

The director bears more than 80% of the responsibility for whether a film is good or bad.

To put it bluntly, the actors bear at most about 20% of the responsibility.

Especially in the realm of commercial films with special effects.

Taking Pacific Rim, released 13 years later, as an example, the first Rim movie was very exciting, especially the feeling of the giant mechs.

The success of this film is entirely due to the director's cinematic language.

In contrast, Pacific Rim 2, having learned from the first film, ended up with scenes that looked like "giant toys," mainly because it lost that sense of sheer size.

In Ring 1, the director used three dimensions—camera language, motion physics, and environmental feedback—to showcase the mecha.

In terms of cinematic language, Ring 1 almost never uses flat lighting. Low-angle shots create a sense of imposing grandeur in the mechs, while telephoto compression allows distant mechs and nearby buildings to appear on screen together.

When viewers see it, their brains automatically calculate that this mecha is taller and bigger than a building.

In Ocean 2, the director used a lot of daytime scenes and wide-angle eye-level shots, with the mechs fighting in a large open space.

At first glance, the audience felt that they were just passersby wearing costumes.

Moreover, in order to show the audience the complete mecha, the director used more long shots, which made the mecha look cheap, like a plastic toy.

In terms of motion physics, Ring 1 set ironclad rules for mechs: every punch must have a reaction force, walking must have inertia, turning must have a delay, and punches must be prepared.

Even with every step it takes in the sea, it creates waves, using the resistance of the water to tell the audience that the mecha's displacement far exceeds that of a ship.

This is evident in Ocean 2, where the director filmed the mechs as agile and nimble, jumping with complete weightlessness. Mechs weighing tens or even hundreds of thousands of tons jumped with remarkable ease.

In particular, one scene, featuring the mecha saber Athena's roundhouse kick, looked like something out of an animated film; the director thought it was cool to film it that way.

But in reality, it feels very fake to actually do it.

The streamlined design, flashy colors, and light, floating movements completely disregard the laws of physics, thus failing to showcase mechanical aesthetics.

Finally, there is feedback regarding the environment, which has almost completely disappeared.

In Ring 1, every step the mech takes causes the ground to shatter, the seawater to explode, and buildings to collapse; every shot conveys the power of the mech.

In Ring 2, the mechs fight every day in a "perfect" city. The floors don't crack, the windows don't break, and even when buildings are hit, they don't budge.

As for other issues, there are many more.

These problems actually represent issues with the director's ability.

Mecha also exist in the movie "Guixu: The Spirit Realm of Mountains and Seas".

If you want the mecha to look good, you have to use a low-angle shot; otherwise, it will look like a giant toy.

Lin Bufan could even imagine it.

When the movie is released, the audience sits in their seats and watches the giant mechs battle against the giant monsters. Coupled with the immersive effect, the sensory experience is completely different.

On the camera side, Lin Bufan repeatedly gave instructions on the filming method to be used.

……

Half an hour later, filming began.

"Atcion!"

During on-site filming, green screen and motion capture simulation were used for shooting.

To the uninformed, the trio of Emblem, Chris Hemsworth, and Fan Shaohuang seemed like idiots, constantly punching thin air.

Moreover, the punching motion was very strenuous, as if there was a great resistance in front of him.

However, in Lin Bufan's lens, because it uses technology from later times, some of the effects that have already been generated can be seen directly on the monitor.

The scene is set on Mars, where three people in mechs fight against Martian monsters.

It's impossible in reality, but with special effects, Lin Bufan can see it through a monitor.

In the film, the background is that humanity's resources are facing depletion, so a global united government is formed to jointly develop and prepare for the exploration of space.

After more than a century of research and development, humans can now use mechs to exploit resources on several planets in the solar system.

However, these resources are too difficult to collect, especially in terms of transportation.

Although mechs can travel in space, it takes too long.

The coalition government decided to look inward, specifically to explore the ocean, since humankind has done far too little to develop and explore it.

It was precisely because of this that they stumbled upon the discovery that they could travel from the Ruins of Return to the otherworldly realm of Mountains and Seas.

"Click!"

As they were filming, Lin Bufan suddenly frowned: "Emblem, you need to pay attention to your movements. Slowly retract your weapon and then strike out quickly, with a pause in between."

"You are piloting a mech right now. Every movement of the mech requires charging and power, do you understand?"

"Sorry, director, I understand!"

Herald took a deep breath and answered with a serious expression.

Since there was no "Global Times 1", people were basically unaware of this concept, so during filming, they would inevitably unconsciously move quickly at times.

"Director Hong, go and correct the movements of a few people. I need the movements..." Lin Bufan called Hong Jinbao over and instructed him on the movements he needed.

"clear!"

After understanding, Hong Jinbao went over and spoke to the three of them.

"Action!"

Lin Bufan held a walkie-talkie.

This time, the filming went much better than before.

"Click!"

"Great results, let's get another one!"

Although a movie may only last for a few tens of minutes during its theatrical run, during the filming process, even a shot that lasts only a few seconds requires repeated polishing before it can be filmed.

Unless you're shooting a 'toilet humor' movie, where you don't care about cinematic shots or being perfect, it's impossible to achieve the efficiency of shooting a movie in a month or even half a month.

However, movies filmed in this way are bound to contain various unreasonable or flawed scenes.

"Boss, Miss Chen Zihan is here!"

In the afternoon, Lin Bufan had just finished filming a scene when Zhang Tianai came over.

Lin Bufan looked up and saw Chen Zihan standing to the side. A smile instantly appeared on his face: "When did you arrive? Why didn't you tell me?"

"I just arrived too!"

"I know you're busy, so I didn't want to bother you. I'll have Tian'ai send someone to pick me up." Chen Zihan stepped forward and gently hugged Lin Bufan, her voice soft and weak.

To outsiders, Chen Zihan, as a producer, is quite assertive.

Since retiring from acting to become a producer, she has become increasingly adept at producing, thanks to the platform provided by Kyoto Animation.

Now, everyone in the industry knows that Kyoto Entertainment has an iron lady producer, Chen Zihan.