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Tai O Town, Lantau Island.

On the slide rail, the big-breasted boy's ass is sitting on the small saddle of the full-size camera rail car, and the small seat is tightly covered by her flesh. She is wearing a coat, which can't hide the majesty of the double lights. It's really a horizontal view.

There is a peak on the side of the ridge, and two chandeliers are trembling.

My eyes were focused on the camera on the hydraulic platform, my hands slowly pushed and pulled to control the lens, and I rotated the body from time to time. There was also a focus master beside me, who needed to constantly follow and focus on the approaching subject.

Next to him, Ye Weixin led two workers, sweating profusely, to push the cart at a constant speed.

Pushing the slide rail is a very physically demanding job. Among the crew, the camera crew is most likely to be scolded because when pushing the rail, each cameraman has his own rhythm, and the push and pull lags are different.

This is why most film crews choose a camera director and the cameraman brings several assistants.

The bulkiness of the film camera destined the cameraman to be a very demanding technical job. Unlike in later generations, you can still shoot blockbuster movies by pressing a small slide rail under the camera.

The threshold for videographers is getting lower and lower. But good videographers are becoming rare. If a videographer is not creative, he is really no different from a salted fish!

In the 1980s, the Hong Kong film crew did not use many rails and cranes. When Uncle Long was filming on the "Police Story" crew, he even borrowed a crane platform for filming. Naturally, there were no electronically controlled rail cars or crane rail cars, only

Can rely on manpower.

The day movies became an industry was accompanied by the application of rail cars. Now in Hollywood, the technology of rail cars is quite mature. Through the skills of the photographers, high-quality images with a full sense of space can be captured.

During this period, "007", "Raiders of the Lost Ark" and "Die Hard" all used electronically controlled rail cars.

From here, we can see the industrial gap between Hong Kong films and Hollywood films. This cannot be smoothed out by the efforts of one person.

It’s not about hard work, it’s about national strength.

"Carmen" originally didn't have so many scenes that required rail cars. After all, Liu Weiyi and Ao Zhijun, two hand-operated masters in the industry, are here. But...who let Wu Xiaozu, the drama tycoon, be the producer and the leading actor?

"God of Gamblers I: War Now" involves a lot of commercial elements, and the hand-cranked camera is a joke for such a large-scale production.

Went to North America.

Even though he has not entered Hollywood, the professional shooting team hired still made Wu Xiaozu suddenly enlightened. In Wu Xiaozu's heart, this "God of Gamblers" will have the opportunity to become "Iron Man 1" of 1024 Locomotive Film Company. Although it is impossible to compete with Hollywood in terms of industrial special effects.

It's comparable, but action scenes are Hong Kong movies' strong point.

Handheld shooting is more suitable for the display of personal style, more flexible and unconstrained. For example, "The Birth of a Prefix" was rated as the ten greatest Chinese-language works of the 1980s by the latest issue of "Movie Biweekly", and in this era

"The Suspect", the pinnacle of blue and red tones, is all handheld.

But for a commercial masterpiece, the rocker slide car and the full-size camera slide are absolutely indispensable components. Wu Xiaozu also borrowed "Carmen in Mongkok" to do some experiments.

This is like Jiang Wen using "Looking for a Gun" to test his own ideas. That smile at the end was so special to Jiang Wen!

Wu Xiaozu is a businessman, but he is also a director.

In the previous generation, Spielberg was a director in front of the camera and a complete businessman behind the camera.

As a director, Spielberg filmed "Syndra's List", and for this, he had to compromise with Universal, and this is how he directed "Jurassic Park".

At the same time, he is also a pure businessman.

As a director, he saw many movies he wanted to shoot, just like Wu Xiaozu chose to shoot "Suspect" and "The Birth of a Prefix".

However, as a businessman, Wu Xiaozu must focus on making profits.

It is precisely because Wu Xiaozu knew that literary films are an indispensable part of Chinese-language films that Wu Xiaozu "spared no effort" to introduce Deng Guangrong to Hou Xiaolan so that he could film "Love in the Wind". However, as a businessman, you can't knowingly lose money.

, Wu Xiaozu is still jumping into the trap, right?

If Wu Xiaozu had this kind of gene, then he might as well have brought Wang Jiawei, Hou Xiaoran, Yang Deshang, and Xu Anhua under his banner! How utopian would that be?

In short, filmmakers are never pure!

Humans are not one-sided animals. Multi-facetedness prevents you from using a simple label to define a person.

The world is not black and white, nor is it all bright.

It’s not that Wu Xiaozu looked down on artistic films, nor did he look down on commercial films.

However, if you want to become bigger and stronger and have a long-term future, commercial films are undoubtedly more suitable! You can't say that Uncle Long's influence is smaller than that of Wang Jiawei? And... he is most annoyed by some people in the cloak of literature and art using their status in film history.

Come to cause trouble.

The local movie people you admire are really so artistic and self-centered, why do you really care about these things? I would like to ask, is this the same as the box office ranking?

on site.

Wang Jiawei folded his arms and looked at Wu Xiaozu with a constipated expression——

"In terms of color, this scene needs to be a bit warmer. Ah Zhen's vest is red and the male protagonist's shorts are changed to another color. The difference between cold and warm is clearer.

The style of the whole play is the colorful heartbeat. Blue and red originally symbolize the pure love between A Zhen and A Zu. But blue and red are not just blue and red, they must echo each other..."

"I think it might be better if this scene is a little quieter." Wang Jiawei interjected.

"No! This scene could be more lively. In the whole scene, the relationship between the two of them is the most heartwarming.

This kind of warmth and liveliness can also highlight the tragedy and tragedy at the end of the plot!" Wu Xiaozu vetoed Wang Jiawei's opinion cleanly, leaving no trace of B-face.

In later generations, many people said that there were thousands of Zhang Yibai differences between Zhang Jiajia and Wang Jiawei. So now, there should be a lot of Liu Weihao differences between Wang Jiawei and Wu Xiaozu!

"so……"

Wang Jiawei spoke up, and before he could finish his words, Wu Xiaozu's hand holding a cigarette pointed at the lighting group not far away, "You must pay attention to the lighting. In this pseudo-natural light, you must pay attention to the color phase contrast, saturation contrast, and cold and warm contrast."

"..."

Wang Jiawei opened his mouth, not knowing what to say.

Do you think he is a dramatist? But he is really professional, his logic is clear, and he cannot even defend himself... And then you have to admit that his vision is really unique!

Shooting officially started.

Qiu Shuzhen is wearing a V-neck vest, a denim hip-hugging short skirt, bare two big white legs, and her hair is tied behind her back, she is pure and sexy.

Ah Zhen put her little hands behind her back and kicked her white calves forward. She lowered her head and smiled, her face flushed. Whenever she raised her head, her eyes looked lovingly at A Zu, who was wearing shorts and a vest and carrying a wooden box next to her.

In these scenes, both of them were shot out of season.

Last night, she was as happy as she was when she was 13 years old. Today, she was even more relaxed in her performance, and she just went into battle in a vacuum.

Compared with Manshen's figure-eight shape, Qiu Shuzhen's is undoubtedly straighter and rounder.

The little rabbit is white, and it’s white again. It’s jumping, jumping, and jumping. It’s so cute!

"What are you laughing at?"

Azu was holding a cigarette in his mouth and looking at the two wooden boxes of chicken wings with his shoulder, and he arched Azu with his shoulder.

"No." Ah Zhen pursed her lips and smiled, pushing her shoulders back.

Under the afterglow, the two people were laughing and playing with each other like children.

"It's so heavy, your boss asked you to carry it alone?"

"yes."

"Tell him, if he calls you like this again, I'll blow his head off! Give him a hammer with a chicken wing!" Azu carried the wooden box on one shoulder, hugged Ah Zhen with the other hand, and lowered his hand -

"Crazy line, ah..."

"Yeah? Are you calling me crazy?"

This section was shot purely in the background, with the two people using small interactive movements to enliven the entire scene.

Ah Zhen's playful back hook, A Zu's was very in line with his character. He freed up his other hand from his waist and went directly to the bottom of his short skirt, making Ah Zhen clenched his fist and hit him in angrily manner.

When young men and women are passionately in love, if the man is not merciful, then it really means...either the man is cheating on the wife, or the woman is cheating on the man. Otherwise, the two of them can't even be...friends, or even friends who take a bath together!

"It doesn't matter, I'm not going to do it anyway."

"Don't do it? Why?"

"I want to go to Kowloon to find a job."

Ah Zhen dodged with a smile, turned around playfully, and looked at Azu backwards with pure eyes.

"Okay, if it's convenient for me, move in with me." Azu said with a smile.

Ah Zhen turned around again, with bright eyes and a sincere smile, "Don't tell me a second time, I will really take it seriously next time!" He stopped, stared at A Zu quietly, his expression calmed down, and he said seriously: "I

I'm not kidding. I won't come back when I go out." As he said that, he gently brushed his hair and glanced at Azu with a smile -

When "Carmen in Mongkok" was being filmed, more than a dozen video studios across Hong Kong suddenly opened with ribbon-cuttings.

At the same time, "The Butcher on a Rainy Night", "The Birth of a Prefix" and the recently released "Dream Back to Tang Dynasty 1" all appeared in video rental stores.

Many white-collar workers after get off work discovered this situation when they stopped in record stores.

The most popular thing is the screening in these dozen video theaters.

Many students in school uniforms rushed to the video hall to buy tickets to watch. "Dream Back to the Tang Dynasty 1" is a restricted movie. People under 18 years old are prohibited from entering the theater to watch it, but the video hall does not prohibit it!

In the past, under the control of theater supervisors, it was difficult for minors to get away with it, but Cai Zhiming ignored these and directly violated the regulations!

Level 3 video tapes suddenly appeared on the market, which directly attracted the attention of many men.

Countless men tossed and turned in record stores and video halls, and before leaving, they would choose to review the history of the Tang Dynasty.

In just a few days, the video became popular all over Hong Kong Island, and many video tape owners urged Huanyu International to quickly distribute the goods.

The video tape was sold out for a while!

This is the first time this scene has appeared in a record store!

At the same time, the popularity of video halls has also allowed many societies to see opportunities. At this time, Hong Kong Island is not like the mainland, and there is not that much difference in theater ticket prices. Therefore, not many people are willing to choose video halls.

Therefore, video halls on Hong Kong Island are not as ubiquitous as in the mainland in later generations.

But the emergence of Category III movies suddenly broke this tranquility!
Chapter completed!