Chapter 250: Crazy Cool Flashy Awesome

August in Shanghai was still extremely hot, so hot it could be described as blazing hot.

At the Now You See Me set, everyone was bustling nonstop; most of the six or seven hundred people wore short sleeves or tank tops.

Department heads, Han Jianü moved around coordinating everywhere, Lu Dabo oversaw the most personnel and was checking names off a list.

This crew was unlike traditional ones: besides the conventional production, director, camera, lighting, costume, makeup, prop, and sound departments.

Each department ranged from twenty to fifty people.

There were also visual effects, best special effects, stunts, transportation, prop and set crew departments.

The largest was transportation with 129 people, and prop and set crew with 334 people—these two departments alone accounted for nearly five hundred people.

The main reason was that filming required frequent location changes, so transportation had to coordinate site closures, while the dirty, exhausting work fell to the set crew, who could also serve as extras.

This film already had many extras; the magic scenes were stage-like and needed atmosphere, but all were temporary.

Lu Dabo managed several hundred set crew, drivers, and other logistics personnel.

The set's best special effects were physical, mechanical, and in-camera effects—not digital effects, and not the same as visual effects.

The on-set crew totaled six or seven hundred; behind them, screenwriters, visual teams, and many others did not stay on set, while many others worked externally preparing for the next scene's coordination.

In short, the entire crew approached a thousand people!

This was the accumulated result of years of young talent from not just Beijing Film Academy, but also major universities converging on Yutu.

Nothing else—Yutu, as a rising force, offered young people more opportunities, was open and inclusive, had little sectarian bias, and required no age or experience barriers.

The Principal always judged only by ability, never by background.

Of course, Beijing Film Academy still had the greatest influence; as production volume expanded, it essentially absorbed all the young talent from Beijing Film Academy.

Those who had failed elsewhere came to Yutu to try their luck!

The morning had only a simple launch ceremony—just everyone taking a group photo for keepsakes, of course, mainly key personnel and actors.

Fang Hong's crew usually had no flashy ceremonies; everything was simple.

The first morning was for setup and adjustment; filming began in the afternoon, with the crew moving to a large penthouse.

The set was arranged as a luxurious European-style mansion, equipment already installed, filming the scene where the male lead, Duan Yihong, makes his entrance.

He portrayed a lover; he stood before a wide full-length mirror, playing cards with uncanny skill.

Duan Yihong was made up; his brown Skin had been finely treated, paired with a casually thrown-on suit jacket and messy hair, radiating male charisma.

Of course, that's him in the movie; the real him is another matter! This scene was halted halfway through filming, and several assistant directors, along with the cinematographer and art director, sat together to discuss it.

Of course, this was his on-screen persona—his real self was another matter!

The crew paused filming halfway through this entrance scene; several assistant directors, the cinematographer, and the art director gathered to discuss.

As they discussed, crew members saw the Principal being pinched by the neck from behind by Liu Tianxian, one arm locked backward like a prisoner being subdued.

Only Liu Tianxian would dare do this; no one else would dare treat the Principal this way—they all saw him as dignified.

Aside from key personnel, others on set had no contact with lead actors or stars, maintaining distance.

One reason was safety; the other was to prevent these people from seeing gossip.

"Still dare to blabber nonsense to me?" Liu Tianxian's tone was stern.

On the way here, you actually said my hair was long and my knowledge short!

"You two finally arrived." Han Jianü stepped forward to greet Fang Hong, Chen Sicheng, Lu Yang, cinematographer Liu Yin, and several other crew leaders.

Liu Tianxian released him; in front of so many crew members, she still gave him some face.

Chen Sicheng handed Fang Hong a tablet computer displaying the footage they had just shot.

"You two finally arrived," Han Jianü, Chen Sicheng, Lu Yang, cinematographer Liu Yin, and several other crew leaders stepped forward to greet them.

"Is there a problem?" Fang Hong said. "Look at the footage we just shot—it never feels right, awkward with the character, awkward with the effects."

Chen Sicheng handed Fang Hong a tablet computer displaying the footage they had just shot.

Fang Hong took it and looked, while Liu Tianxian leaned over behind him, peering at the screen, her breath faintly brushing his skin.

The screen showed Duan Yihong playing cards before the full-length mirror, his technique dazzlingly intricate, yet the shot itself was ordinary, switching only between wide and close-ups.

Fang Hong thought about what the original film's shots were like.

The original film's shots were dazzling, yet always delivered a visual impact.

Colorful stages, hypnotic lighting, fluttering ribbons, dazzling 360-degree rotating shots—audiences felt truly seated at a famous magician's exclusive performance.

The use of light and shadow created an elusive, unpredictable atmosphere; the grandeur and unique ambiance of the city painted a richly colorful urban landscape.

Cosmic wonders beyond reality—everything from heaven to earth, all present! "This."

This was something Chinese cinematographers and directors at this stage couldn't achieve; Chinese filmmaking still favored realism, lacking such flashy techniques.

Now, with the digital technology revolution and post-production effects, we should create countless visuals that are unimaginable yet achievable.

A cinematic spectacle surpassing reality—flying to heaven, diving to earth, everything possible!

These words made those gathered ponder; then they exchanged glances—some understood, others did not quite grasp it.

Fang Hong had just grasped the point and was about to speak when he felt Liu Tianxian's small head stretching beside his shoulder, her breath lightly touching his Skin.

He handed the tablet to Liu Tianxian, then said to the others: "Let me make this clear—this is a purely commercial film. You may have studied 'The Prestige' privately and thought we should shoot in that direction—that's completely wrong. Although both films are about magic, they are entirely different genres.

'Now You See Me' must have lavish scenes and dazzling shots; we're filming a visual magic show, not actually filming magic—magic is just the selling point. Do you understand what I mean?"

The people gathered fell silent, then exchanged glances—some understood, others were still unclear.

"What you're describing feels like a one-night stand—thrilling, exhilarating, but forgotten afterward," Chen Sicheng seized the point.

No one called his metaphor vulgar; they were all adults, just discussing cinematic sensation.

"That's accurate," Fang Hong nodded.

'Now You See Me' has that 'crazy cool flashy awesome' feeling—while watching, you think 'Holy shit holy shit!'

After watching, it feels just so-so.

And it has many plot holes; the story doesn't hold up to scrutiny.

【61】 None of that matters—any film that earns high global box office does this: thrilling while watching, forgettable afterward.

【62】 A classic example: Marvel films!

【63】 "Cinema itself is a visual magic trick. When a magic trick is used to create real magic, it can no longer be called magic—it becomes a visual feast with exponentially heightened sensory impact," Lu Yang also grasped the key point.

【64】 "Exactly."

【65】 Fang Hong didn't fully understand, but was deeply inspired.

Liu Tianxian didn't fully understand either, but was greatly inspired, feeling as if they were discussing film art.

And she was right next to "art"! After collective discussion, everyone present roughly grasped what Fang Hong wanted to express—this way of shooting was unlike any other film.

Other films emphasize characters, using them to build atmosphere; this film uses visuals entirely to frame the characters and evoke atmosphere.

"The shots must convey striking, vivid imagery through speed variations and special lenses," said cinematographer Liu Yin.

"We still need delicate close-ups to express the characters' inner worlds."

Fang Hong said something, then added: "Let's shoot one scene first and see the effect!"

Now that the theory was clear, they'd see it in practice—they'd know how to shoot those mind-blowing visuals.

The group walked toward the shooting area; Liu Tianxian returned the tablet to Chen Sicheng, as she'd only been looking out of curiosity.

The set had been arranged, but the footage hadn't met the required standard.

"Remove that mechanical arm above. Have the crew lay a circular track around the actor—360-degree rotation, with the camera at the same height as the actor. Also, prepare two additional camera setups to capture the actor's detailed movements," Fang Hong told Liu Yin.

"Got it!" Liu Yin understood what he meant.

Fang Hong turned to art director Li Anran: "The lighting changes must create a projection effect—not too bright, but faint. That way, the visuals grow deeper, evoking The Incredible, a mysterious allure."

"Understood!" Li Anran went to re-coordinate with the lighting crew on the desired visual effect.

This was the film tone—art direction set the style, and lighting, costumes, and props were arranged to match the art direction's vision.

Props and costumes didn't need adjustment; they'd already been designed and approved. Lighting required on-site fine-tuning and couldn't be confirmed in advance.

Cinematography too—everything was adjusted on-site according to requirements.

These were all elite professionals; Fang Hong only needed to hint, and they knew exactly what to do.

The set and shooting style were reconfigured; Chen Sicheng and Lu Yang grasped the effect he wanted and hurried off to coordinate accordingly.

Duan Yihong, Liu Tianxian, Xie Miao, and several other actors stood aside, waiting for crew to finish before resuming filming.

"Yihong, your movements must convey coolness—not forced, but natural," Fang Hong took the opportunity to coach the actor.

"Is there anything specific to pay attention to in the performance?" Duan Yihong asked.

"Just be subtle," Fang Hong said.

Actually, this film gave actors little room to improvise—the cuts came too fast, too fleeting; viewers saw only visuals.

Still, the actors had to perform well.

"Xie Miao, yours is to dazzle!" Fang Hong said.

"Understood!"

Xie Miao nodded; dazzling movements came easily to him.

He portrayed the Hermit, skilled in Hypnosis and Mind Reading, so his gestures had to be flamboyant and dazzling.

Liu Tianxian watched and listened as Fang Hong articulated what the film sought to express and the actors' movement traits; she thought he was truly talented.

Why had she ever believed he couldn't direct films? He was clearly doing it well.

He knew exactly what style he wanted—clear as day. If he truly couldn't direct, he'd be lost, unsure of what he wanted.

Other directors were like that—they shot films without knowing what they wanted, throwing out random ideas, shifting styles chaotically.

But Fang Hong always knew precisely what he wanted when directing films.

Previously, Fang Hong kept saying he couldn't direct films, that his skills were poor; she'd unconsciously believed him.

Then how were all his films such massive hits? Could it really be luck or instinct? She didn't believe that—there had to be real ability.

No one ever thought Fang Hong couldn't direct films; anyone who'd worked with him never said he couldn't.

Even newspapers and media never said so.

If he truly couldn't direct, Chen Sicheng, Lu Yang, Wen Muye, Guo Fan, Wang Ran, Yu Xian—all of them wouldn't be working under him.

A director's job is to define style, define the intended concept, define what to express. As long as Fang Hong can express it, he's a good director.

What he expresses doesn't matter—whether it's "thrilling" or "not thrilling," it's irrelevant.

What matters is clear, unambiguous expression—"thrilling" is also an expression.

Only becoming a master would be difficult! (End of chapter)