When it comes to the post-editing of "The Life I yearn for", what impressed me most was the personification of lanterns, Laos and Tian Ling, all of which combined inner drama to make little H play the role of a writer, thinking about the life of a "dog" and turning the lively and lovely wood stove P into a lovable big chinchilla. In fact, this variety show has a large number of material pictures, and it is very labor-intensive to find interesting classic fragments from many material pictures for deep processing. Therefore, it is really necessary to add chicken legs in the late stage of Hunan. In addition to animation special effects, the creative copy of Life I yearn for is also full of flavor, ideas and positive social energy, and some creative copies can even make people cry.
There are some expressions in the visualization program of realistic content, which are simple according to words and photos. This kind of realistic description, "Life I yearn for" has a set of practical methods that I am familiar with.
In the program, He Laoshi said that a house became more and more like Wukong, and in the middle and late stage, it was immediately photographed as Wukong.
Be sure to watch the water! Even the reflection is animated! I have to admit, being an elite team is very careless!
And this image is used more than once. Then every time this small room happens, it will be a Wukong CG in the middle and late stage, and it will not be repeated.
Similarly, if the stove looks like a chinchilla, really give it to P chinchilla. He said he wanted to get a card for Xu zhēng's movie, so he put it on someone else's face.
Perfect development and design of game props in the natural environment. Dogs that will urinate and defecate everywhere will come to you after learning the lesson. In the middle and late period, a calligraphy word on the wall was made into CG, which read five rough characters: "Kill a dog with a stick". This is probably the most unexpected design of feature films.
While chatting with video rationally, several special guests "set a trap" for Xu zhēng's film in the program, which finally made him obediently accept He Laoshi's "shampoo challenge". In the story interpretation here, the ability of image work in the middle and late period is very strong.
In the middle and late period, the "comfortable" feeling of washing Xu zhēng's movie hair actually became the interface of everything's recovery. This painted face, with long flowing hair, made many viewers laugh it off.
Similarly, butterflies also occur when the teacher stretches. In the first season, Henry Lau's super-transformed cello madman is also an example of rational expression of images.
The anthropomorphic logical thinking reality shows are basically from the perspective of "people". The life I yearn for has a rare and valuable idea, that is, "anthropomorphic angle".
It often personifies natural environment objects such as small animals, green plants and game props according to "Hanako" and CG.
For example, after Pumbaa was stung by a bee, he immediately said to the bee, "Look at my strength." When the special guest couldn't help eating another bite of noodles, Hua added: "It was the hand that moved first."
As a loyal audience of The Life I yearn for, I think it is best to use the following sentence to describe its later editing. The plot is free and the staff cooperate properly. There are probably no strong jokes and fierce resistance in the program, but there are warm-hearted points everywhere, which shows that there is no urine point in the whole process. It can be said that the later editing of "The Life I yearn for" is too detailed, and it fails to grasp the key points, which makes people unconsciously engage in it.