The animated film directed by Cheng Teng and Li Wei in 2020
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Jiang Ziya is a fantasy animated film jointly produced by Horgos Color Stripe House Film Co., Ltd. and Beijing Light Film Co., Ltd. It is jointly directed by Cheng Teng and Li Wei, scripted by Xie Xiying, and dubbed by Zheng Xi, Yang Ning, Toot Harmon, Yan Momo, etc.The film will be released in mainland China on October 1, 2020.This film tells the story of the Kunlun disciple Jiang Ziya, who led the gods to conquer the Zhou Dynasty and won the victory of the war of sealing the gods, but because of his mistake, Kunlun was thrown into chaos, and was rejected by the world. Ten years later, in order to return to Kunlun, Jiang Ziya set out on a journey to find himself and found all the truth of the year.In 2020, this>>>
This film tells the story of the Kunlun disciple Jiang Ziya, who led the gods to conquer the Zhou Dynasty and won the victory of the war of sealing the gods, but because of his mistake, Kunlun was thrown to the Beihai and spurned by the world. Ten years later, in order to return to Kunlun, Jiang Ziya set out on a journey to find himself and discovered all the truth of the year[1]。
In 2020, the film won the 8th ELLEMEN Film Hero Ceremony · Annual Original Music Award[16]。In 2021, the film was shortlisted in the competition unit of "Animation Oscar" Oncey Animation Festival[43]And won the 18th China Animation Golden Dragon Award, "Best Animation Feature Award", "Best Animation Director Award" and "Best Animation Music Award"[46]。
Chinese name
Ginger Teeth
Foreign name
Legend of Deification
Type
Fantasy, animation, action, adventure
Production company
Horgos Color Stripe House Film Co., Ltd., Zhongchuan Hedao Cultural Development Co., Ltd
Kunlun Disciple Jiang Ziya（Zheng XiWith), led the gods to capture the nine fox "Sudaji"（Ji GuanlinWith), defeated the fox demon, overthrew the brutal Shang Dynasty, and won the victory of the god sealing war. Originally, he could soon be named the leader of the gods, so that he could rise to prominence.But at the peak moment, Jiang Ziya found that there was an innocent girl spirit in her body, so he softened his heart. He was demoted to the mortal world, lost his divine power, and was spurned by the world.Lord of Heaven and symbol of the creative power of the Dao（Jiang GuangtaoWith)It was said that Jiang Ziya was bewitched by the fox demon, so he sent Jiang Ziya down to Beihai to reflect and repent, and could not return to be an immortal until he realized the truth.Jiang Ziya has been fishing in Beihai for ten years. One day, he suddenly met the innocent girl Xiao Jiu who was caught by the fox demon（Yang NingWith)So the two did not fight or get to know each other. In order to find out the truth of everything, Jiang Ziya found himself again and followed Xiao Jiu to find Xiao Jiu's father. However, he dug out the long hidden secret, which involved Yuanshi Tianzun[3][22][71]。
When he was young, Jiang Ziya was determined to follow Kunlun and save people;In middle age, when faced with the destiny of "killing good or evil", he was puzzled and doubted of his firm belief;In the end, I realized myself and tried to "become a real god" in my own way.
Xiao Jiu was originally the daughter of a good family. When she was young, she was forced to marry King Zhou. Later, she was embedded into her body by the nine tailed fox demon. She became a fox demon. Unlike the enchanting and charming fox, she seemed brave and stubborn, but still longed for warmth.It became a sacrifice in the war of sealing the gods.On the one hand, she is strong and comfortable, but she never gives up to prove herself after suffering;On the other hand, he also has a warm heart under his stubborn appearance.
The brothers who taught each other with Jiang Ziya were all disciples of Yuanshi Tianzun.He is also a destiny partner who kills and loves Jiang Ziya along the way. He will always tolerate and help Jiang Ziya. He was once an admirer of Jiang Ziya.When Jiang Ziya was demoted to Beihai, Shen Gongbao secretly went down to the world to visit Jiang Ziya on the back of Tianzun. Whenever Jiang Ziya was in trouble, he was duty bound to rescue him.Of course, it will also be entangled by some contradictions.
Jiang Ziya's pet, from the need to sleep and eat the poor owner to the jealous demonstration, has a deep fetter with Jiang Ziya, voluntarily gives up his magic power, and is demoted to the world with Jiang Ziya, waiting for him for ten years.In times of crisis, the ancient mythical beast who incarnated in majesty protected Jiang Ziya.
Xiao Jiu became a fox girl who brought disaster to the country and the people because of the nine tailed fox demon embedded in her body.Jiuwei promised to help Tianzun launch a war to unify the three realms in order to make the fox tribe become a god, but he was killed afterwards and never allowed to live again.From pure and lovely to cold and charming, King Zhou became impetuous step by step under the charm of Su Daji, and finally became a tyrant, losing the world of big merchants.Whether Su Daji or Xiao Jiu, her fate has been forced to be involved with the fox demon.
He is the master of Jiang Ziya and the leader of "Fengshen".He is high above others, not angry and self threatening, and holds the supreme power.From the beginning to the end, he believed that all things in the world would do their duties in their own positions according to the established rules, so that the world would tend to a harmonious order, which is justice and order.
The film has been prepared for 4 years since 2015[48]。
Xiao Jiu's design modification iteration is 255 times, which is the role with the most number of modifications in the whole film.Finalize the short hair style[59]。
Zheng Xi, the voice actor of Jiang Ziya, will continue to change from youth to middle age to old age, and the age span will reach 80[56]。
"Youdu Mountain", as the place where Jiuwei is located, involves many performances and is difficult to produce. It took hundreds of test shots to finally take shape[57]。
The script of the film has been revised for more than 100 times, and the number of shots in the whole film has exceeded 1700. The director team has made lean and rigorous production almost in the unit of "frame"[58]。
In the film, the production team specially made a "cold breath" for Xiao Jiu in order to highlight the freezing weather in the bad environment when she entered the Beihai Tavern[63]。
There are more than 20 male voices and more than 10 female voices in the giant ghosts in the film, so as to make the high frequency and low frequency of the ghosts group appear more abundant[53]。
The film presents symmetrical aesthetics. The team uses many international cutting-edge animation industrial technologies, such as inverted pyramid and spiral iteration, to ensure the efficient realization of creativity with a systematic production process[18]。
Cheng Tenghe's team used 2D hand painting to draw Chinese animal hair, clothing, makeup and other materials, and then 3D modeling technology to produce[52]。
Each character belongs to a different camp and has different special effects according to the five elements of gold, wood, water, fire and earth.For example, Kunlun is golden with regular lines, while Xuanniao is water with flowing water texture[68]。
Sibuxiang had a sound sleep action in the film, which could not be completed due to the large requirements for the model. The production team spent three months adjusting this shot, which only had a few seconds, only to achieve the best effect of the performance[10]。
The film took 15 months to develop, and the average scene design iteration was 40+times. A total of 2317 scene concept maps were accumulated. The average iteration of a single scene was more than 70 times, unifying the color, material, light, etc. under the same visual style[17]。
The film focuses on the confusion and confusion of contemporary people, and helps the traditional culture out of the circle with the spirit of modern culture.It is reported that the production team often tries to polish the script for this reason, and even holds a script discussion meeting for more than 12 hours[20]。
The first shot of the 3D animation part of the film took 3 months to modify repeatedly.Not only was the snow on the giant axe made by hand painting, but also the patterns, weathering traces and ground snow on the giant axe were carefully designed.
In the film, Teng She, who gathers dead bones and resentful souls, is re created from Teng She in The Classic of Mountains and Seas;In the scene, Sudaji is in the fresh red wine water, showing his extremely luxurious life, inspired by the "wine pool" in the allusion "wine pool and meat forest"[50]。
At the peak of the film rendering, 4000 computers were working at the same time, and a single shot crashed 1000+times at most, resulting in 12 computers being damaged and scrapped.The film has 1851 shots in total, each shot has been modified 20+times on average, and the number of polishing of key shots has increased to 40-50 times[62]。
The film is designed with 77 characters and 33 scenes.From the birth of the first core concept map to the completion of the 1134 concept map, the pre development time span is up to 15 months;In post production, the total number of shots in the whole film is 1851, and the number of special effect shots accounts for 1231, accounting for 66%. The single shot with the longest production time reaches 264 hours[64]。
2D stills
Behind the scenes production
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inspiration source
Jiang Ziya is a work polished by the animation production team for four years. In terms of details, in order to pursue the texture of the film picture and the coordination of the painting style, the production team spent a lot of money to hire professionals, and creatively painted all materials in the film by hand.Chinese elements are strictly studied in the film《The Canonization of the Gods》《shanhaiching》Design patterns and magic arts with reference to cultural relics unearthed in 3000, and try to present a real and credible world of deities[20][61]。
Production process
The modeling, separation and action design of the two-dimensional paragraphs in the film are extremely complex, and the workload is "unprecedented". The two-dimensional team completed the production in October.Zhang Chun even spent a month preparing atmosphere maps and color system maps for all scenes in 25 shots of two-dimensional clips, helping to present a world of war with dark beauty.First of all, great challenges and breakthroughs have been made in the details of the picture.General two-dimensional animation, details are still;However, in the two-dimensional picture of the film, places that are hard to notice are moving. Whether magnified three times or five times, people who explode rocks and are bewitched in the depth of the picture are clearly visible.In order to present these details more perfectly on the big screen, the production team abandoned the traditional canvas format and painted on a 70cm large canvas, which quadrupled the workload.
Secondly, in terms of artistic style, it adopts the Chinese style brushwork of the flowing clouds and flowing water style of Dunhuang murals.Different from the Japanese style strong sense of lines in painting, S-shaped streamline is used for modeling and action design to realize the mystery and femininity of characters such as "Yaohou Daji".On the one hand, in the design of characters and pictures, the film referred to a large number of film and television literature works, and made field visits to places such as "Jiang Taigong's Tomb", striving to restore the humanistic landscape of the time background.On the one hand, the two-dimensional paragraphs pay tribute to the early excellent works of Shanghai Fine Arts Film Studio. On the other hand, the film does not follow the old path 40 years ago. In order to present the content of textual research and careful design in a rich way, the film uses 3D technology and 2D style to present a three-dimensional world, with the intention of presenting the beauty of the national style[57][65]。
Art Design
In terms of artistic expression, the film adopts a unique combination of three-dimensional and two-dimensional forms.The production of two-dimensional paragraphs took 10 months, and the modeling, separation and action design were extremely complex. The PS file of a single screen could have more than 600 layers at most, and the workload was 4-8 times that of ordinary two-dimensional animation.In the scene design, the team has drawn more than 2300 concept maps, and the average number of iterations of each scene is up to 70, which makes the ultimate beauty of human miracles leap to the screen.In terms of character details, the animation model of each character in the film has been debugged under the three light sources of "indoor, outdoor and cloudy", so that the texture of the character's skin and the reflection in the pupil are clearly visible and very realistic[19]。In addition, director Cheng Teng carefully heard the error of the music one frame ahead of time (24 frames per second), and spent three days to adjust it. On the last day of production, co director Wang Xin still paid close attention to details, and corrected Jiang Ziya's eye, road color and other deviations one by one[58]。
visual effect
In the scene of Beihai Tavern in the film, dozens of people are crowded in a small space. The state of each character, the control of the plane position, and the time interaction all lead to a very complex scene.It is reported that this scene is the earliest creation of the film, but it is almost the latest end, making it very difficult.The output of the scene in the later stage directly led to the computer crash for 1000+times.At the end of the scene of Nine Tail Vengeance, the production of multiple characters is also difficult.Hundreds of ghosts are both individuals and groups, liquid and gas. In order to show the smooth movement between ghosts, on average, 20+versions of each lens are modified, which takes a whole nine months.The film production company upgraded the computer and other equipment again, which finally led to the high computing pressure brought by too many characters[67]。
The temperature of different scenes in the film is different, and the status of the characters changes accordingly.In the cold Beihai, Xiao Jiu will breathe white air, while in the hot Guixu, Xiao Jiu's skin surface has extremely fine sweat beads;In addition, even the small eyes of the characters can reflect what they see just like the real world.For example, when Jiang Ziya was demoted to Beihai, he saw the clear image of Tianzun in the pupil of Tianzun;It is worth mentioning that the film intentionally adds "wrinkles at the corners of the eyes" and "neck lines" that are not easy to notice to the protagonist Jiang Ziya to reflect the role's experience and vicissitudes of life[68]。
Character design
Jiang Ziya's hair is contrary to the traditional "delicate hair" and has made a "block" effect similar to the stop motion animation, which is consistent with the character's "indifferent" personality and the overall style of the film.In order to reflect the calm personality of the role, stable geometric elements such as "triangle" are added to the face shape, beard and overall body shape.In the film, Jiang Ziya's transformation scene when he cuts off the ladder. In order to make his hair rise smoothly and turn white, and achieve fine movement, each hair is controlled separately.In just a few minutes, it took up to 10 months from the design to the final screen effect.
The tail of Jiuwei has nine times the workload. The performance of each tail is designed separately, with both initiative and initiative. It needs both a seductive and soft state and a strong sense of attack to serve different storylines and lines.It is reported that the director interestingly named each tail during production, so as to quickly adjust the corresponding tail animation.In order to improve the tail movement, the tail of the full version has more than 32 million detail planes. Because of the huge amount of calculation, it is impossible to make animation. In addition, the face reduction code has been specially developed to run animation[62][67-68]。
In terms of the image design of the four disguises, it originated from the Ming Dynasty novel Fengshen Romance, and ultimately retained its classic image as Jiang Ziya's mount;It refers to dozens of animals such as cats, dogs, mice, sheep and rabbits in detail, and finally uses the hooves, teeth and other characteristics of herbivores;At the same time, the ferret is used as the template to create its unique and flexible sliding movement.The overall image was finally finalized after more than 80 revisions and iterations.In terms of production, the team innovatively adopts the combination of 3D and hand painting, which makes the characters very realistic while unifying with the overall and concise visual style of the film.In terms of details, the team gave up the fur system that can generate details automatically, and chose the way of hand painting to make the four different phases soft and lovely in different angles and light.In the film, mysterious birds, snakes and other mythical animals all have their origins and innovative designs, and even the "spirit god" that just flashed by has complete and detailed settings, which gives imagination to the ancient myths and shapes a unique mythical world.[10][60]。
Concept map of six dynamic scenes of Jiang Ziya
ladder on high buildings
the north sea
Youdu Mountain
Wartime ruins
Return to the market
Return to the market
Award record
Announce
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time
Award ceremony
prize
Winner
result
November 17, 2020
The 8th ELLEMEN Film Hero Ceremony
Original Music Award of the Year
Jiang Ziya
Award[16]
May 21, 2021
French Oncey International Animation Festival
Main competition unit of official feature film
Jiang Ziya
nomination[43]
June 25, 2021
The 30th Huading Award
Best Emerging Director of Chinese Film
Cheng Teng, Li Wei
carryname[44]
September 28, 2021
The 18th China Animation Golden Dragon Award
Gold Award for Best Animation Feature
Jiang Ziya
Award[45]
Best Animation Director Award
Jiang Ziya
Award
Best Animation Music Award
Jiang Ziya
Award[46]
November 24, 2022
The 18th China International Animation Festival "Golden Monkey Award"
On November 26, 2019, the film released the poster of "the strength of the gods", and Jiang Ziya and the four mythical beasts officially appeared for the first time[23]。On December 12, the first trailer of "the strength of gods" was released[24]。On December 26, the role posters of Jiang Ziya, Shen Gongbao, Su Daji, Tianzun, Xiao Jiu and Four Disguises were released[25]。On January 3, 2020, the film maker released the linkage poster[26]。On January 6, two posters of "Be Your Own God" were released, with the themes of "War is Coming" and "Lonely Look"[20]。On January 8, six Q version posters were released[27]。On January 13, a hand-painted poster was released, which catered to the atmosphere of family reunion in the traditional New Year holiday, with the slogan of "The way home is never too far away"[28]。On January 16, the ultimate poster of "War" was released[29]。On January 17, the poster of "Immortals Celebrate the New Year" was released[30]。On May 21, the film released a preview at the second Golden Crowd Film Youth Commendation Ceremony[31]。On August 16, the film official announced the finalization of the National Day on October 1. At the same time, he released a preview of the "Return of the Grand Duke" version, and Jiang Ziya's white hair was made public[2]。On August 27, the film released concept maps of six dynamic scenes[17]。On September 3, the film released a preview of the "Four Immortals of Ancient Animals"[10]。On September 16, the film released the trailer and poster of "Sudaji" version[21]。On September 21, the film released IMAX exclusive poster[19]。On September 27, the film released its final trailer[32]。On September 28, the poster of character relationship was released[33]。On November 20, the film maker issued a poster of "Thank You for Your Care"[34]。
Production company
Production company
1. Beijing Light Film Co., Ltd
2. Beijing Caitiaowu Technology Co., Ltd
3. Beijing Zhongchuan Hedao Cultural Development Co., Ltd
4. Chengdu Cocoa Bean Animation Film and Television Co., Ltd
Issuing company
1. Beijing Light Film Co., Ltd
2. Huaxia Film Distribution Co., Ltd
3. Beijing Guoying Zongheng Film Distribution Co., Ltd[70]
Release time
Country and region
Release date
China
October 1, 2020[2]
North America
October 1, 2020
Issuance mode
In order to crack down on the concealment of information in some cinemas and protect the normal order of the film market, the film announced in September 2020 that the first round of the key period will adopt the method of issuing keys in sections: the first stage will be from October 1 to 4, and the second stage will be from October 5 to 8.The key time of the third phase is from October 9 to November 1[35]。On October 23, the film announced that it would be extended to December 2[36]。
box office
date
Accumulated box office (RMB 100 million)
October 1, 2020
one point four five[37]
October 3, 2020
seven[38]
October 4, 2020
ten[39]
October 17, 2020
fifteen[40]
November 20, 2020
sixteen[34]
Film evaluation
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As a movie《Nezha's Devil Child Comes to Earth》The film Jiang Ziya boldly adapted the traditional myth and created the "flesh and blood" oriental hero with the breakthrough point of "sticking to oneself" to help Guoman's diversity and brilliance.The film subverts the classic and tells the story of Jiang Ziya, the "leader of the gods", who was demoted to the world for a moment and finally found himself in the choice between "destiny" and "original intention".In the setting of characters, Jiang Ziya has the dual nature of "God" and "Man". His character core combines the confusion and confusion of contemporary people, and has a strong resonance and sense of substitution, leading the audience to explore themselves together with the role.(Northeast Online Review)[49]
Different from the tradition, the film created a "different" leader of the gods, Jiang Ziya, who did something that most people could not do, or even couldn't believe: he could have been in a high position and respected by the world, but he spent more than ten years to find the truth in order to adhere to the inner trust of "saving the lives of the people, saving everyone in front of us".From sealing God, questioning God, to breaking God, middle-aged Jiang Ziya has more responsibilities and constraints, and every step is difficult and painful.The dilemma Jiang Ziya is facing seems to be a true portrayal of every young and middle-aged person who is carrying the pressure of life and work in society and trying to change the status quo.(1905 film online review)[66]
It can be said that the film Jiang Ziya is suitable for the whole family to watch on the first day of the New Year.For adults, the film has both great comfort and depth of connotation. The brand new Jiang Ziya goes from peak to trough, and finally "becomes a real god in his own way", which seems to be the epitome of many modern adults "looking for themselves", with a strong resonance;For the elderly audience, the story of Jiang Ziya has been interpreted many times, which is widely known and loved by the elderly audience. This subversive interpretation will bring new cognition and perception;For children, the film Jiang Ziya contains rich traditional culture. It is a national masterpiece with educational significance and suitable for learning Chinese traditional culture.(Light Film Review)[51]
The color composition of the whole film is mainly divided into red, white and blue.The contrast between red and blue is a common opposite attribute color relationship in film art, while white, as the full-color in the spectrum, means boundlessness and inclusiveness.Red represents fetters, fates and wars, emphasizing realism from the perspective of visual stimulation and "shape", while blue represents flight, relief and tranquility, which is more like "meaning" of emptiness.Red symbols, including two forms of fate lock, the main color of the roles of Jiuwei and Xiaojiu, and the color of the war between gods in the film title;Blue symbols, including the main colors of the characters before the black bird and Jiang Ziya realized the Tao, as well as the skill colors when various divine powers were released.The key to balance between red and blue is white, which is also a sign of the combination of reality and falsehood, the role of enlightenment and the theme of sublimation.For example, Jiang Ziya's practice in the north, Jiang Ziya's enlightenment and cutting the ladder, and the role of the master and the four evils are the main colors.(Guangming Online Review)[69]
Several important scenes in Jiang Ziya have been researched and carefully designed, and several important scenes have been researched by the team through books such as The Classic of Mountains and Seas. The axe in Beihai Town is 500 meters high, which forms a sharp contrast with relatively small residents and creates a magnificent sense of "creating miracles in the world";Guixu has different colors in different stages of story development, which fits the overall narrative of the film from the color aspect;The design of the sky ladder and the sky thunder is mainly based on straight lines and corners, which reflects the sense of order of the heaven in ancient Chinese myths.Several key story passages, where black birds cross the vast Milky Way, the annihilated Four Immortals vanish in the blooming black flowers, and Jiang Ziya and Xiao Jiu say goodbye in the vast reeds returning to the ruins, all reflect the concept and artistic conception of beauty in Chinese traditional culture.(commented by People's Daily)[54]
The film presents a different rebellious Jiang Ziya to the audience, which is quite sympathetic.It is easy to see from the released "Jiang Ziya's Quest for Heaven" that unlike the fearlessness of young people, Jiang Ziya, who occupies a high position and bears heavy responsibilities, has more constraints and difficulties: First, while Jiang Ziya painfully breaks the constraints and reshapes his belief, it also means that he needs to give up the high position of "the strength of all gods".From the peak of Kunlun Mountains to being banished to the desolate Beihai Sea for ten years, only to stick to the original intention and belief of "guarding the common people".Secondly, Jiang Ziya's resistance was not a choice of "one person or ordinary people", but an attempt to break the mechanism that caused this problem with his own force, behind which was the unshakable Tianting system.It can be said that Jiang Ziya did something that others dare not do or even do not believe.The film seems to want to convey a different spirit of resistance to the audience through the battle of "rebellion" against Jiang Ziya's belief. As the end of the film said, "I hope you have the courage to break through the reality after going through the world".(Jilin Online Review, China)[55]
The film is adapted from the classic fairy tale and boldly adapted.The complexity and richness of their roles, with their own stories behind them, are of great concern.Different from the superiority of the gods in the traditional myth, Jiang Ziya, who has both "human" and "god" in this film, faces numerous contradictions between himself and the outside world: at the beginning, he believes in God by "respecting teachers and morality";After meeting Sudaji, he was puzzled by the complicated truth and questioned his firm belief;Till the end, he reshaped his faith and became a real god in his own way.Let the audience see how Jiang Ziya, who will face choices and be timid like ordinary people, finally stepped over that step to become a hero, which has a real resonance[41]。(commented by Shanxi Evening News)
