Chapter 180 Fame, convenience and correct route

Chapter 180 Fame, convenience and correct route

Chapter 180 Fame, convenience and correct route

CSR Sifang, full name is CSR Sifang Locomotive and Rolling Stock Co., Ltd.

This is a holding company of China Southern Locomotive and Rolling Stock Industry Group Corporation, and also the manufacturing, R&D and design base of China's high-speed trains.

When Wang Hao and his colleagues encountered problems in the model design of high-speed trains, the first thing they thought of was to consult relevant experts, so they naturally found CSR Sifang Company.

When an entertainment company like Galaxy Interactive Entertainment approached them, CRRC Sifang was extremely confused at first.

After all, they could never have imagined that a train builder in their family would have any connection with film making.

However, after Galaxy Interactive Entertainment communicated with them, roughly explained the situation, and sent them Wang Hao's hand-drawn drawings of the high-speed rail's exterior and interior decoration, they began to pay attention to their film project.

On the one hand, although Wang Hao's hand-drawn drawing was crude, it was based on the "Fuxing" train which was officially put into use 10 years later. Just from the appearance and some internal structures, some experts from CRRC Sifang were able to get some inspiration.

On the other hand, facing the cooperation request from Galaxy Interactive Entertainment, CSR Sifang is a key national unit after all. The company's leaders were undecided for a while and reported the matter to the higher authorities.

As a result, this matter attracted the attention of a senior leader in the higher-level railway department.

You should know that just this year, after discussions at a meeting, the Ministry of Railways has decided to implement the "Sixth Major Speed-up Plan for China Railways" starting from the second quarter of next year, allowing the main trunk lines to reach a high-speed operation state of "200 kilometers per hour", opening the "wind-chasing era" for China Railway.

This kind of thing is itself a major political achievement, and political achievements have to be publicized by someone, right?

Originally, the relevant departments were thinking of using traditional news media to publicize the matter. However, when the news of Galaxy Interactive Entertainment's new movie "Source Code" reached the department, the senior leaders who learned about this were delighted.

Although Wang Hao's reputation and fame as a director at this time could not be compared with that of senior predecessors like Zhang Guoshi, but with the expansion of overseas territory with the movie "Wushuang", he can already be regarded as an international director.

As mentioned before, the ability to sell movies abroad is, in the eyes of some people, an extremely scarce resource.

In particular, Wang Hao’s films are different from those of his older generation such as Zhang Guoshi. He does not shoot costume action blockbusters, but urban science fiction films!

what does this mean?
This means that Wang Hao's films can better reflect China's current customs and social outlook, which is unique among today's directors.

Perhaps there are other directors who are more famous than Wang Hao, but they are unable to make science fiction blockbusters that are recognized by audiences at home and abroad.

Perhaps there are directors in China who can make popular science fiction blockbusters, but they are definitely not as famous as Wang Hao is now.

So after learning that Wang Hao's new movie "Source Code" involved China's high-speed rail, the railway department simply held a small meeting and decided to strongly support the film, trying to use it to promote the achievements of China's high-speed rail to the world.

With the approval of the superiors, CRRC Sifang Company naturally gave strong support to Galaxy Interactive Entertainment. It not only agreed to arrange relevant technical personnel to participate in the film production, but also allowed the special effects team of Galaxy Interactive Entertainment to visit and learn at the company headquarters.

Zhang Yang had previously been in charge of contacting CSR Sifang Company, and both parties are now trying to replicate the high-speed rail model in the movie at a 1:1 scale.

Of course, to make a movie, you don’t need to copy an entire high-speed train. It will be enough to make three or four carriages for filming.

After listening to Zhang Yang's report, Wang Hao nodded with satisfaction.

At this moment, we can see the benefits of the heavy industry science fiction film route he took. In China, movies have never been just movies, they also have propaganda attributes.

As long as it involves publicity, it will inevitably gain the support and attention of national power, just like Huaying’s current "Tribute Trilogy" or the popular "The Wandering Earth" in the previous life.

At least as far as Wang Hao knows, after the success of the first part of "The Wandering Earth", the second part received free help from many government enterprises including Xuzhou Heavy Industry.

The achievements Wang Hao has made today are no less than those of Director Guo after the release of "The Wandering Earth" in his previous life, so it is natural that he can gain the attention and support of the Ministry of Railways.

After discussing the early special effects work of the film with Zhang Yang, Wang Hao looked at Li Kui again.

This good friend, who once lived in the same dormitory with Wang Hao, has maintained his calm and introverted qualities over the years.

When Wang Hao and Zhang Yang were communicating just now, he remained silent and listened carefully. Now seeing Wang Hao looking at him, he immediately reported the work situation that had already been organized.

“As for the new equipment, we have already purchased it and are getting started and familiar with it.

In addition, as for RED, we have already contacted them as you instructed, and placed orders for several of their 'Red One' digital cameras.

A few days ago, RED company sent me an email, asking us to arrange someone to try out the prototype next month and give some feedback.

I have already made arrangements. I will personally bring people over and talk to the other party. I hope to get the right to try out the new equipment after the new year, so that the new equipment can be used in the filming of Source Code. "

The RED company that Li Kui mentioned is an emerging digital camera manufacturer founded by Jim Jannard in 2005.

The company unveiled the design of its Red One digital camera at this year's NAB show.

Because there were only drawings at the time and only pre-orders were accepted, it attracted suspicious eyes from many manufacturers.

However, when Wang Hao went to North America for exchange and study and learned about this interesting story, he immediately arranged for someone to contact Red Company, and without hesitation placed an order in advance, reserving the company's latest equipment, the Red One digital camera.

After all, this is the famous "Red One", the best digital photography equipment currently available for commercial use.

Wang Hao even remembered that in his previous life, it was not until the NAB exhibition in 07 that Red Company released the first prototype of Red One.

Although one has to queue for 45 minutes to catch a glimpse of it, the Red One still attracted many people at the venue to watch it when it was first released.

The fact that it can emerge as a dark horse and gather such popularity at NAB, where industry giants gather, is enough to show how powerful this new red force is.

Many of its parameters are comparable to 35mm film. Not only does it have a 35mm photosensor, it is also equipped with an S35-frame MYSTERIUM sensor. It can record up to 2 frames in 120K and 4 frames in 30K. In today's era, these parameters are already amazing enough.

The key is that it is cheap enough. The price of the bare machine is only US$17900, which is only 1/7 of the mainstream machines on the market today. With various accessories, the price is only a few hundred thousand. Some studios can barely afford it. It can be said to be extremely cost-effective.

It is also because of this that when this red flag carrying the symbol of the digital age revolution was raised in Shanghai, in just 6 months, it expanded from the original 2 stations in the Film Research Institute to nearly 60 stations all over Shanghai.

(End of this chapter)