A deity uses mystical seven-coloured lotus to reconstruct the bodies of Nezha and Aobing after their souls survive disaster.
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Short filmTranscript
00:00When I got the script for the first time, I thought I could finish the film.
00:07At that time, Nezha 1 was in the state of Nezha 2.
00:09I thought the project was going to fail.
00:12At that time, the quality and quantity of Nezha 2 could not be made.
00:20There were 34 scenes in the whole movie, and a climax appeared in the seventh scene.
00:25This scene is a step closer to Nezha 1.
00:28I'm going to make Chen Tengguan pay for it.
00:32The dragon tribe led the sea monsters to pass through the Void Ravine.
00:34They went through the Void Ravine and brought about a disastrous consequence.
00:39After the Void Ravine,
00:40it was only in the animation that such an imaginative concept was presented.
00:46In this way, the audience can feel the tension between the two armies in a second.
00:51And the oppression of the sea monsters.
00:53The more the number of actors, the more the number of scenes.
00:57It's too obvious.
00:59Each waist design needs to have its own characteristics.
01:02A feeling of abundance.
01:03There's a crab hammer.
01:05He hit a iron hammer.
01:07One day, the director said,
01:10my hammer is made of crabs.
01:14He needs to hammer it to the bottom of the pit.
01:16Then he becomes a crab.
01:21The weapons of the beast combine some of their own attributes.
01:24For example, the sword of General Zhang Yu is soft.
01:27This sword is curved.
01:29They are generals.
01:29But they have been locked in the sea for thousands of years.
01:32The magnificent armor is already in disarray.
01:34Many of the traditional Chinese weapons are curved.
01:36So I put a lot of curves on his clothes and armor.
01:39Including the teeth.
01:40It's not as sharp and straight as the West.
01:43It's curved.
01:43This is the unique way of expression of the East.
01:46These are actually some of the creative components that we value very much.
01:52Has the dragon tribe let them go?
01:54The sea demon tribe is limited to a very small survival space in the dragon palace.
01:59The design of the dragon palace is divided into three layers.
02:02The first layer is the remains of the dragon palace.
02:03The middle layer is where the dragon tribe lives.
02:06The last layer is the sea hell.
02:08The sea demon tribe are all imprisoned in the hell.
02:11Every sea demon is chained by chains.
02:16The shackles of these sea demons are related to our theme of rest.
02:20The earliest thing was the iron chain.
02:23The iron chain will pass through the middle of the character.
02:25It will affect their performance.
02:26It's a problem like this.
02:28How to deal with the sea demon?
02:30It's a process.
02:32Hello, where are you?
02:33We've been talking about the iron chain.
02:35This iron chain can't be kept for a week.
02:37I want to fight with the director.
02:40Can you adjust the plan?
02:42It's too difficult now.
02:43Is the iron chain real?
02:45If you need it, you can see it.
02:46If you don't need it, you can't see it.
02:47All these plans have been passed.
02:49The iron chain in the whole scene.
02:51It's a heavy show.
02:53Without these things.
02:54The feeling of the army's suppression is weak.
02:57There are several different ways to do it.
02:59One is a group of people flying in the air.
03:03The other is in the original scene.
03:04It's hanging on the city wall.
03:06There's also a close-up.
03:07He's going to fight with Chen Tangguang.
03:09After jumping up, the iron chain is thrown at him.
03:11This iron chain.
03:12In the beginning, it was done manually.
03:14One by one.
03:15But it's a little unnatural.
03:16So at that time, we were the first.
03:18You can use your starting point and ending point.
03:20A tool that is generated.
03:21Connect your curve randomly.
03:25This is not a rough gesture.
03:27Solve the problem of interweaving.
03:29The director wants it to be messy.
03:30And there's blood.
03:31It has to look good.
03:33Don't be like a hair.
03:34In the air, with the wind.
03:36A little weak swaying.
03:40From the audience's point of view.
03:41My physical choice.
03:41Because I can feel that.
03:43Pressure.
03:43Thousands of miles of white iron chains.
03:45Flying in the air.
03:46I haven't seen this new way.
03:48Actually, you can't make a step back on this.
03:50Make this rule a reality.
03:52You can see it all in one picture.
03:54When you didn't do it, you didn't have it in your heart.
03:55So many chains.
03:57What kind of scene will it be?
03:58So first the equipment.
03:59Everyone experiences it first.
04:00Do the best.
04:01In the seventh scene, there was a climax.
04:03We have to be more wonderful.
04:05One step at a time.
04:07Every scene.
04:08There are some relatively complicated things.
04:12The iron chain is always through the whole film.
04:14The whole special effect of Nezha 2.
04:16It's already more than the whole film of Nezha 1.
04:19Five years.
04:20In fact, we have done our best.
04:23Nezha 2.
04:24Most of them are.
04:25So far.
04:26The biggest challenge in the project.
04:28In our creative process.
04:29Keep jumping out.
04:31From the point of view of an audience.
04:32Look at what you're doing now.
04:34Of course, step by step.
04:35To touch the ceiling.
04:37The standard is getting higher and higher.
04:38The original place that can't reach.
04:39It's all about sticking your toes in.
04:47Nezha 2.
04:49Nezha.
04:50Nezha 2.
04:51Long time no see.
04:52Nezha 2.
04:54Nezha 2.
04:56Nezha 2.