Entertainment: You're asked to make a graduation project, but you're asked to film Ultrama

Chapter 385 The man named Hiroshi Sakamoto!

Within the existing film and television industry system of Xia State, there has always been a fixed industrial process and underlying logic for the filming and operation of traditional action scenes.

Whether it's a martial arts drama featuring characters leaping across rooftops or a modern police action film.

Even in film and television works centered around special effects suits, the coordination between the design of martial arts choreography and camera work is crucial.

These two elements have always been the two core pillars supporting a visual feast.

In the traditional filming concept of the past few decades, the goal was to showcase the action routines carefully designed by the martial arts instructors to the audience to the greatest extent possible.

Directors and cinematographers often make extensive use of wide and medium shots. The camera is usually positioned at a relatively stationary, safe distance and angle, at eye level with the actors.

The advantage of this filming method is obvious: the audience can see and understand every starting gesture of the actors very clearly and at a glance.

You can clearly see the trajectory of punches and kicks, and even understand the minute details of each block and parry.

However, for works like TV series and movies that are driven by visual impact and emotional rendering, this shooting mode that overly pursues "action clarity" is problematic.

A flaw is often exposed without one realizing it.

This is especially evident in one-on-one fight scenes.

To ensure visual appeal and allow viewers to easily see the details of the "you punch me, I kick you" action, the pace of the attacks is deliberately and unnaturally slowed down.

A throws a punch, B blocks; B sweeps his leg, A dodges.

When this highly regular offensive and defensive transition is presented on screen, it gives the illusion that it is essentially a "turn-based" game.

You hit me, I take a step back;

I'll hit you again, and you'd better defend yourself.

Although the movements were exceptionally beautiful and the routines were fluid and graceful.

However, it is difficult to achieve the explosive power, speed, and adrenaline-pumping sense of real life-or-death combat.

Especially in the field of tokusatsu dramas, suit actors already wear heavy rubber suits that severely obstruct their vision, which greatly reduces their flexibility of movement and physical exertion.

If we were to use traditional static shots to capture the scene, the massive Ultraman and the monster would really look like two clumsy wrestlers slowly pushing and shoving each other.

Especially the Ultraman Cosmos TV series produced by Tsuburaya Productions in the original world.

Completely different from Cosmos's performance against Baltan in the movie, this character displays a multitude of bizarre "Tai Chi" moves and strange "massage" techniques, even getting pushed over by a monster while trying to strike a pose like a one-legged stance...

It's hard to imagine that the Ultraman Cosmos in the theatrical version and the TV series is the same person...

However, in this world, no audience member would think that way.

Take, for example, Lao Tang, who is preparing to update his materials for tomorrow.

In the middle of the night, he was still sitting at his computer desk, working on the script for this episode.

At the same time, I'm also watching Gauss Episode 10 repeatedly.

Steam rose from the coffee cup as Lao Tang stared intently at the screen, his brain racing.

The prequel has already been played out for most of the time.

Musashi stayed behind alone at the underground ruins to cover the retreat, while the elite youth team successfully rescued Mitsuya.

And the truth behind the subsequent possession of the guardian beast Parastan by the Chaos virus, which caused the orbital deviation of the millennium comet Juran, was all within Old Tang's expectations.

The plot is logically sound, and the themes of saving the monster and saving the Earth are tightly intertwined.

As he watched, Old Tang silently commented in his mind.

From a purely cinematic appreciation perspective, the dialogue scenes in this episode are only mediocre at best.

The emotional build-up, the dialogue exchanges, and the characters' choices when faced with desperate situations all reached the consistently excellent standard set by Light Chaser Animation.

But if we're talking about truly amazing moments that are worth bragging about in videos, Lao Tang doesn't think there are any.

At least not in this episode.

Perhaps this planet called "Juran" will have a second chance to appear in the future... Old Tang guesses.

"As a transitional episode, there's really nothing to brag about in terms of dialogue scenes."

"Director Gu has very high standards, so even the average level looks comfortable, but it does lack a bit of a chilling, explosive moment."

Old Tang watched the ending of this episode with a relatively calm attitude.

On the screen, the plot progressed to the point where Gauss used the purification beam in his Luna form to successfully remove the Chaos virus from the guardian beast.

But those viruses violently converged in mid-air, materializing into an even more terrifying demon god—Chaosparastan S.

Immediately afterwards, Gauss crossed his arms, the light shifted, and the Corona Mode, representing berserk power, made a thunderous appearance.

In the past, Old Tang would have habitually prepared to appreciate the conventional military suppression under Gauss's corona form.

But this time it's different.

Just as Gauss finished transforming and charged toward the monster.

Old Tang, who had been lounging back in his chair, also sat up.

Moreover, at this moment, the barrage comments above the video, which had previously been sparse after being filtered to only contain the essential elements, suddenly surged in large numbers.

[Kids, why has the art style of this battle suddenly changed?]

[The camera suddenly became more active, moving around a lot?]

Wow, did they hire a sports student as their cameraman?

The impact of this perspective is terrifying!

I feel like the monster's dirt is about to hit my face!

Old Tang stopped paying attention to what was being posted in the comments; his entire focus was now on the groundbreaking fight scene on the screen.

It's truly eye-catching!

Old Tang's pupils contracted slightly. Relying on his professional skills accumulated over many years of watching films, he began to frantically dissect the action scene of Gauss Corona versus Chaos Parastan S in his mind.

The first dramatic change was in the camera position.

In previous action scenes, the camera was usually kept at a medium to long distance, which could capture the full bodies of Ultraman and the monster.

But now, when Cosmos Corona Mode rushes toward the monster, the camera does not remain at the normal height.

Numerous, extremely low-angle shots were generously included in the frame!

The camera is almost flush with the dirt ground of the set, shooting the collision between Gauss and the monster from a bottom-up perspective, similar to a human looking up at a giant god.

This change in perspective instantly amplified the "giant" feel of the 68-meter-tall demon god and giant of light countless times.

They are no longer stunt performers in suits, but two majestic mountains colliding fiercely!

Then came the rhythm of battle.

"Bang! Bang! Bang!"

On the screen, Gauss did not adopt any graceful starting stance, nor did he wait for any turn.

He closed in directly, raining down straight punches and hooks on Chaos Parastan S.

The camera was not fixed; instead, it employed extremely violent handheld camera shake.

Every time a fist makes contact with the monster's armor, the camera shakes violently.

Moreover, a large amount of mud and sand will also splash around the perimeter of the lens!

This immersive tremor completely shattered the theatrical rigidity, transmitting the kinetic energy of each impact directly to Old Tang's cerebral cortex through visual means.

Gauss was frantically suppressing the monster, while the monster was desperately resisting. Their actions were intertwined, giving the audience no chance to breathe.

Then came that breathtaking "great spin".

Gauss reached out and grabbed the monster's tail tightly, then with a sudden burst of strength, he swung the 78,000-ton behemoth up.

Old Tang couldn't help but press the pause button.

He stared intently at the frozen image, his breathing becoming rapid.

The camera work in this shot is absolutely brilliant!

Instead of zooming out to capture a panoramic view, the camera was boldly placed at the edge of the monster's dragging feet.

As Gauss exerts his force and rotates, the powerful centrifugal force is completely visualized.

At the edge of the shot, large amounts of soil, sand, and even small pebbles, accompanied by the intense friction of the monster's paws against the ground, burst out directly from the blind spot of the frame!

Some of the splattered dirt even completely obscured half of the shot, creating an extremely rough and realistic sense of battlefield devastation.

Old Tang pressed play, and the camera followed the spinning monster, panning wildly.

What's even more remarkable is that Old Tang keenly noticed that at the very moment the monster was swung to its highest point and was about to be thrown out, the rhythm of the scene underwent an extremely subtle change.

Slowed down!

In just a fraction of a second of slightly slower camera movement, the sheer weight of the monster—78,000 tons—was perfectly conveyed.

Then, the camera's rhythm instantly returned to normal, and the monster flew straight for nearly a thousand meters like a bomb, crashing heavily onto the distant mountain rocks.

"Boom!"

Accompanied by a violent explosion effect, the camera shook wildly again, and the dust effect almost overflowed the screen, assaulting the visual nerves of every viewer.

Next, the monster attempted to retaliate, unleashing a burst of violent golden lightning from its pointed horn.

Gauss raised the reflective barrier to block the current, then used his legs to propel himself up to a height of 1,200 meters.

Throughout the entire jump, the camera kept a close eye on Gauss's back, rapidly zooming out to give the audience a feeling of extreme weightlessness and ascent.

Immediately afterwards, Gauss, at a terrifying speed of Mach 9, plummeted down like a falling meteorite—the Corona Kick!

First, there was the collision between Gauss's kick and Chaos Parastan's S-force electric shock.

The video clearly shows Gauss's flying kick as a sharp spike, piercing through the golden current and striking straight at the heart of the enemy!

The camera instantly cuts back to the ground, its upward angle locking onto Gauss's falling trajectory.

The visual impact reached its peak the instant the flying kick struck the monster's pointed horn. With a crisp cracking sound, the horn shattered.

The spark effect isn't just a simple explosion on the monster's head; it's presented in a radial pattern.

It lunges directly towards the camera, and with the composition that has a great sense of depth, it gives people the illusion that the fragments are about to pierce their eyes.

Finally, in a very close-up, tilted shot, combined with the signature high-budget special effects that always make people exclaim that the budget was too good, Gauss unleashed the Nebuster Ray, blasting the monster into complete smithereens.

After the video finished playing, Lao Tang fell into deep thought.

As a professional commentator who has watched countless tokusatsu dramas and done countless action scene analysis sessions.

Old Tang mentally re-analyzed and filtered through the action scene he had just witnessed.

An unbelievable conclusion came to his mind.

The martial arts moves... haven't actually changed much.

That's right. If you put aside the dazzling shots and special effects and just look at the movements of the suit actors themselves, they are actually just the same basic routines.

In Corona Mode, it incorporates the fighting style of Hung Kuen, including straight punches, hooks, shoulder throws, and tail-grabbing spins, all of which have appeared in previous episodes.

This indicates that the production team did not change any martial arts instructors, or rather, the existing martial arts instructors are still using the same system of action routines for choreography. In short, the actors' range of motion and techniques did not change much.

but!

The film features a brand-new shooting mode, extremely exaggerated low-angle shots, visual tension from the exploding edges of the ground, and skillful editing.

But this caused a dramatic chemical reaction in what was originally an ordinary battle, making it more shocking than ever before!

It was just a change in shooting style, just a dimensional upgrade in camera language, but it elevated the overall quality of the action scenes to a whole new level, even directly reaching the level of a blockbuster movie.

What kind of divine intervention is this?

Old Tang's curiosity grew wildly like weeds.

He knew all too well that this action shooting style, which was highly personal and emphasized visual impact, was quite different from Gu Nan's previous steady and divine style.

This is a completely new and highly aggressive concept in action direction!

Who on earth is this person?!

Unable to contain his thirst for knowledge, Lao Tang scrolled to the end of the episode and started reading the credits.

They ignored lighting, art direction, and music, and jumped straight to the sequence of action director and assistant director.

My eyes quickly scanned the lines of names.

Suddenly, in the action choreography section, Lao Tang found a new name that had never appeared in any of his previous works.

Or it could serve as a special designation for foreign nationals to make the name more prominent:

Koichi Sakamoto (Neon).