In this process of constant collision and integration, Ah Yu, Zhong Hua, and Su Yao are also constantly learning and absorbing new knowledge. Ah Yu originally knew very little about some niche art styles abroad. Through exchanges with art designers, he began to delve into the cultural connotations behind these styles and their unique role in film and television visual presentation. This gave him more diverse creative sources when conceiving advertising and marketing plans, and enabled him to better develop marketing strategies for audiences from different cultural backgrounds.
Zhong Hua previously focused more on traditional artistic creation, with relatively weak analysis of commercial investment and market audiences. However, through collaborations with business investors and A Yu, she gradually understood the guiding role of market demand in artistic creation. She learned to examine her artistic design ideas from a commercial feasibility perspective, enabling her creations to transcend mere expressions of personal artistic emotion and instead become closely integrated with the market, creating artworks with greater commercial value.
Although Su Yao has extensive experience in business investment, her professional knowledge in film and television art creation is still somewhat limited. Through interactions with her team members, she gained a deep understanding of all aspects of film and television production, from scriptwriting and shooting techniques to post-production. This allowed her to consider various factors more comprehensively and accurately when evaluating the commercial value of a project, and to formulate more reasonable investment strategies and marketing plans.
They all truly felt the boundless charm of cross-disciplinary collaboration. This fusion of different professional backgrounds and ways of thinking is like a wonderful chemical reaction, constantly giving rise to new possibilities and making the whole project full of vitality.
With the project framework becoming clearer, the next step was the filming phase. However, this phase also presented many challenging problems that they needed to solve.
The selection of filming locations was one such factor. Because this film involves elements from different countries, it required filming in multiple countries to showcase the authentic multiculturalism of the story. However, different countries had different regulations regarding location use, filming permit application processes, and local customs, all of which needed to be considered. When filming in an ancient castle in a European country, they needed to submit a detailed filming plan to the relevant authorities months in advance, explaining the specific content of the filming, the potential impact on the castle, etc., and strictly adhere to cultural relic protection regulations. During filming, they had to carefully arrange equipment and actor movements to avoid any damage to the castle's structure and interior decoration. When filming in some Asian folk villages, they had to fully respect the local villagers' lifestyles, coordinate filming times to avoid disrupting their daily lives, and communicate with local folk culture experts to ensure that the content would not misunderstand or distort local traditional culture.
Casting is also a complex challenge. Finding actors who can fit the image and personality of characters from different cultural backgrounds is no easy task. For some roles with distinct national characteristics, actors need to be selected from the corresponding countries or regions, which involves issues such as language communication and differences in performance styles. Some foreign actors, although highly skilled, may have difficulty understanding and expressing Chinese dialogue, requiring professional language teachers to provide guidance and help them accurately grasp the emotions of the characters and the nuances of the lines. Moreover, actors from different countries have different performance habits; some prefer a more restrained and subtle way of expression, while others are more extroverted and exaggerated. Achieving a harmonious and unified performance style among them in the same work, so that the audience does not feel any abruptness, requires the director to spend a great deal of time and energy guiding and refining their performance.
The allocation and transportation of filming equipment also posed significant headaches for the team. Filming locations in different countries had varying requirements for equipment; some needed to withstand frigid polar climates, while others required operation in hot and humid environments. Furthermore, international transportation of equipment involved complex customs procedures, and the safety of the equipment during transport had to be considered. Even minor mishaps could lead to equipment damage and disrupt filming schedules. The team had to assign dedicated personnel to manage equipment allocation and transportation, familiarizing themselves with the relevant regulations of each country in advance, selecting reliable transportation companies, and purchasing adequate insurance to ensure the equipment arrived at the filming location on time and in good condition.
Faced with these difficulties, Ah Yu, Zhong Hua, and Su Yao once again demonstrated their strong leadership and teamwork. Ah Yu actively communicated and coordinated with venue management departments in various countries and local film and television production companies, gradually resolving the issues related to filming locations by leveraging his excellent communication skills and rich industry experience. He also developed detailed guidelines for the use of filming locations, distributing them to every staff member to ensure everyone clearly understood the precautions for filming at different locations.
Zhong Hua was involved in the casting process. Leveraging her keen perception of artistic portrayals, she worked with the director to select the most suitable actors from a large pool of candidates. For actors who needed to adjust their acting styles, she organized performance exchange activities, allowing actors from different countries to learn from each other and draw inspiration from each other's techniques, thus promoting a fusion of acting styles. At the same time, she paid attention to the actors' psychological state during filming, providing timely encouragement and guidance to help them better interpret their roles.
Su Yao was responsible for the logistical support of the filming equipment. She collaborated with professional equipment suppliers to ensure that the equipment provided could meet the needs of various filming environments. During the equipment transportation process, she constantly monitored the progress and maintained close contact with customs brokers and transportation companies, coordinating and resolving any problems promptly. Furthermore, she reserved a certain amount of spare equipment to ensure that filming would not be interrupted in case of unforeseen circumstances such as equipment damage.
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