Chapter 23 Division of Labor and Foundation
Chapter 23 Division of Labor and Foundation
Compared to simple scenes, big projects require more consideration when breaking down the script.
Time, place, people, stunts, special effects, props, vehicles, animals, sound effects, costumes, and even weather.
All this information must be recorded on scene cards and labeled with numbers according to categories.
Only after breaking down all the scenes can the production team integrate all the variables together, develop a suitable master production schedule, and arrange the shooting plan.
Otherwise, without a master production schedule and a detailed plan, how can the producer make a detailed budget plan?
Which props should be purchased? How many should be purchased?
What are the backlot locations? How many days do you need to rent them?
How many extras are needed? How many main actors are there? What are the requirements?
How many pieces of equipment do I need to borrow for filming? And for how long?
The answers to all these questions can be found in the general production list and production plan.
After understanding all this and making a good project budget, Wang Hao and Zhang Yang were able to split up and take action. Some made props, some set the scenery, and some borrowed machines.
As for drawing the storyboard script, that can only be done after the location scouting.
To be honest, if the project was carried out according to the normal production process, Wang Hao and his team's behavior of drawing the storyboard script first was actually wrong and unprofessional.
Because before drawing the storyboard, in addition to breaking down the script, there is another extremely important task, which is location scouting.
The reason why Wang Hao and others were wrong is that if they did not do this step and wrote the storyboard script first, the director would find out when he arrived at the scene.
Some of the camera positions given in the storyboard were simply not available because they were outside the cliff.
Those scenes that were imagined to be perfect are actually not that amazing because the season has not arrived.
Those angles you designed, the actors are standing there, but there is no light...
In the end, no matter how well-drawn the storyboard is, it may become a pile of garbage, and all the work will have to start all over again.
This shows how important the location scouting process is. Only after the location scouting is completed can the director begin writing the storyboard and drawing the storyboard.
Of course, Wang Hao and his team’s film “Buried Alive” is a special case.
On the one hand, it is because their movie scenes are very simple, simple to the extreme. There is only a coffin, which is an indoor scene. The camera angle can be chosen at will and will not be affected in any way. The importance of location scouting can be said to be greatly reduced.
On the other hand, it was because of Wang Hao’s abnormal memory recall ability.
It is precisely because of this golden finger that he can play the original film "Buried" frame by frame repeatedly in his mind and use it as a reference to make his own storyboard script.
This alone saved them a lot of time.
Now their storyboard script has basically been completed. After Wang Hao checked it and found no major problems, he immediately started to work backwards to produce the general production schedule and production plan, and also worked out the project budget.
Originally, this work should have been done by the producer who was in charge of the purse strings, but the producer of "Buried Alive" was Lu Guotao.
Wang Hao just thought about it and guessed that even if this work was handed over, it would eventually fall on him. Instead of that, it would be better to complete it together.
Of course, he was busy, and his other two roommates were also busy.
"Hey, Ah Le, what are you doing? I need to ask you something. Do you have any work recently? Nothing much, I just have a project here...
Are you busy?
Are there any lighting technicians with better skills among your classmates? They must be obedient and can work for a long time. I have a brother who wants to do something big, at least three projects...
Oh, don't worry, I will definitely think of you when the time comes.
OK, OK, I'll make a note of it and contact him when the time comes."
"Hello, Brother Niu, it's me, Kuizi. I have something to trouble you..."
"Hello, this is Feng Xiaoxiao, right? Teacher Ma introduced me..."
Li Kui received a continuous stream of calls, and on the other end of the line were people in his network who might be able to join the crew of "Buried Alive".
In this regard, although Qingying Studio has a complete range of categories, whether it is lighting or photography, and has ready-made and very experienced people, Wang Hao still wants to take this opportunity to form a production team of his own.
After all, "A journey of a thousand miles begins with a single step; a nine-story tower begins with a pile of earth."
The plan for the "Science Fiction Movie Universe" is so grand that it involves every aspect of the film industry system. It is not something that can be solved by one person or a little money.
Nowadays, and even for a long time to come, talent in science fiction films will still be extremely scarce in the Chinese film industry.
Wang Hao even remembered that when Director Guo was filming "The Wandering Earth 1" in his previous life, it was already 2017, but he still had to start from scratch to build a team bit by bit and learn and improve during the filming. There was no mature experience or projects to refer to or learn from.
From this, we can imagine that if the "science fiction movie universe" develops to the blockbuster stage in the future, it will be very difficult to switch from low-cost soft science fiction to high-cost hard science fiction.
So instead of worrying about it later, it is better to start preparing now, cultivate talents early, and accumulate experience through soft science fiction films and light science fiction films, so that there will be more like-minded filmmakers in the future.
As for whether this matter could succeed, Wang Hao was actually not very clear.
But at present, there is still some effect. At least he has gained a talent that is beneficial to science fiction movies.
"Boss, this is the 'future' phone I designed based on your description. Can you take a look at it?"
Zhang Yang handed the drawing book in his hand to Wang Hao. Wang Hao was not angry even though his train of thought was interrupted. Instead, he took the book and read it carefully.
On the drawing book was a strange mobile phone that was slightly larger than the palm of your hand. It had views from all angles and looked a bit like a large MP4, with a square appearance and rounded corners.
On the front of the phone is a 5.8-inch LCD screen that takes up almost all the space except for a small "bangs" on top.
And below the screen, the small oval buttons look particularly delicate.
Of course, just as delicate as the buttons are the two oval-shaped cameras located in the upper left corner of the back.
All of these combined together create a unique beauty that is simple yet has a hint of science fiction.
Yes, that’s right, it’s the “science fiction atmosphere” that is extremely lacking in Chinese films today!
(End of this chapter)