IV. The Eternal Film Set: When Public Welfare Becomes the Creative Gene

At the Angkor Wat ruins in Cambodia, the team is filming their new charity project, "Stones Can Talk." The camera pans across stone statues covered in graffiti by tourists, then suddenly switches to ancient reliefs restored using modern 3D printing technology. A drone rises from the ruins, spelling out in the air the message, "The restoration of civilization requires everyone's pen." This is the seventh installment in their "Cultural Heritage Protection Project" and their 37th global charity collaboration.

On Su Yao's desk are gifts from all over the world: a camera sculpted from clay by African children, a lens cap woven by a Syrian girl, and a feather microphone donated by an Amazonian tribe. These warm objects constantly remind the team that when the camera is focused on suffering, it's not to exploit tears, but to ignite the spark of change. In their latest annual plan, they announced that 15% of their profits will be donated to the "Global Film and Television Charity Fund," and that they will open up their archive of footage from all charity projects, inviting creators worldwide to share unheard stories.

The screens in Times Square, New York, have changed their image again: children of different skin colors are doodling on the same canvas, their paints merging to form the outline of the Earth. Passersby are taking photos with their phones, scanning QR codes, and explaining the story to their children. The power of light and shadow is transcending the boundaries of the screen, taking root and flourishing in the real world. This is perhaps the story that Star Trails Pictures most wants to tell—not about box office and awards, but about how the camera can become a bridge, allowing every soul to see each other's stars.