I Forged the Myth of the Ancient Overlords
Chapter 310 - 310 309. Translate for me_1

Chapter 310: 309. Translate for me_1 Chapter 310: 309. Translate for me_1 The forest seemed common, but the profound sensation instantly made it impossible for Lex to look away.

He was astonished to realize one thing, he couldn’t tell if it was special effects or actually filmed.

If it was actually shot, then the shapes of these trees were too bizarre, and the cost of making such realistic props for a forest this vast would be substantial.

If it was special effects, that was even more unlikely because, in Lex’s mind, no special effects studio could handle such a massive volume of special effect production, and may not even achieve the effect before his eyes.

Accompanied by the melodious sound of bagpipes, the camera moved through the forest, pausing on several patrolling individuals. They were wearing leather armors mixed with cloaks, equipped with crossbows and spears, short swords, and the like, hurrying along.

“These props and costumes are of high quality.”

Director Justin commented.

A film’s quality can often be glimpsed through its wardrobe and props.

Watching shows where ancient costumes are worn with straps tied incorrectly, or sneakers are worn instead of appropriate footwear, even the best of scripts can seem awkward.

But now, the clothes, make-up, and weapons on these people were almost as if they had just come down from the battlefield.

More importantly were the soldiers’ eyes.

That mix of fatigue and vigilance, combined with a numb and indifferent expression, couldn’t be performed without a decade or more of acting experience.

Moreover, these actors weren’t the familiar faces from the East, they looked more like extras.

Have extras reached such a high standard now?

Or did the Director actually recruit real veterans who had experienced war to play these extra roles?

Justin knew that some directors, in their pursuit of authenticity, liked to cast people with relevant experiences, such as expecting women to play pregnant characters, or people with disabilities to portray disabled characters, etc.

In Justin’s view, just the opening scenes alone made him feel that this movie was out of the ordinary.

On the screen, the troop continued forward, and suddenly, the roar of a monster came from a distance. The soldiers visibly tensed up, raising their crossbows in the direction of the sound.

Silence and a tense atmosphere, with the abrupt halt of the music, were pushed to a climax. Justin felt as though he was in that deep, dark forest himself, as one of those soldiers, facing the unknown monster with a bow trembling in his hand.

He couldn’t help but grasp the armrest of the sofa.

The camera explored the depths of the forest from a first-person perspective, with breathing slightly fluctuating, extremely realistic.

The forest scenes were dim, but every detail was crystal clear.

In the industry, many special effect shots take place at night, like monsters fighting and destroying cities, dazzling eyes with robots flying about, mostly at night.

This is mainly because it’s easier to do special effects at night. People can’t see clearly at night, and special effects don’t need to be detailed. A quick glance in a cinema and no one pauses the film, which can effectively reduce costs.

Special effects during broad daylight are troublesome, especially those that involve combining live-action footage, which is much more difficult than using pure green screens.

This leads to many movies having special effects scenes that are very dark; they are passable in a cinema with the bright projection and darkness all around, but at home, it all just looks like a dark blob, and you can’t make out who’s who.

However, the current scene, although dimly lit, reveals every blade of grass and twig in the forest with crystal clarity, just as if one were observing it with their own eyes, to use Justin’s words.

This brought about an ultimate sense of immersion.

Just as Justin tried to locate the source of the noise in the forest, the soldier at the front suddenly seemed to remember something and turned sideways, aiming his crossbow in a different direction.

The camera shifted, and there was a silver-grey wolf with six legs and four eyes, lunging in their direction.

Whoosh Whoosh Whoosh—

The other soldiers fired their crossbows immediately, hitting the wolf’s body, but it tore at the unfortunate soldier as if it felt no pain, blood and flesh flying everywhere. Half of the soldier’s body was flung away while the other half remained in the wolf’s jaws, struggling.

The battle was exceedingly brutal; Justin could clearly see the intestines and organs spilling out from the wolf’s bite, warm blood pouring onto the ground covered with rotting leaves, red and black, life and death, civilization and savagery, together painting a gruesome yet oddly beautiful scene.

This series of shots had no visible cuts, an impressive long take. The soldiers’ struggle, their coordination, and the ferocity of the wolf all became increasingly intense and realistic against the prolonged tension of the long take that left viewers breathless.

It was as this group of men finally defeated the wolf, all battered and exhausted, that more howling suddenly arose from all directions.

The camera zoomed in on the face of one surviving soldier, his face smeared with blood as he looked at his comrades, his eyes filled with utter despair.

As the camera pulled away to show the hasty preparation for resistance by the standing soldiers and the approaching wolves, the full view of the forest came into frame—a vast expanse without any visible end. The dark trees towered, blocking out the earth, swaying like waves with the wind, while soldiers’ screams and the wolf’s growls could be heard intermittently.

In the end, everything stopped abruptly, and the title “Magic Tide” appeared on the screen, signaling the end of the introduction and the official start of the movie.

After watching this segment, everyone in the room had forgotten they were holding beers in their hands.

“That was special effects, right?”

Professor Armitage asked uncertainly.

The combat scenes were extremely gory, with realistic depictions of limbs flying everywhere, delivering a profound shock to the audience. Some directors are adept at showcasing the aesthetics of violence, enjoying the display of brutal scenes in front of viewers, using extreme battles to make audiences feel exhilarated. Other directors excel in invoking instinctual fear in viewers with lifelike wounds and visceral impact that makes the experience very immersive.

The battle scenes in “Magic Tide” were brutally savage, yet they also conveyed a sense of tragic heroism and purpose, reminiscent of images of ancient human struggles against wild beasts, thrilling and breathtaking, making one hold their breath.

Lex released the hands he had been clenching and found his palms were full of sweat.

His initial perceptions of “Magic Tide,” in the few minutes before the film’s title appeared, were completely shattered.

Could such a movie, with such visuals and scenes, really not come from Hollywood but was achieved by another country on its own merits?

Whether it’s special effects, props, costumes, or the level of acting, they all reached the pinnacle of Hollywood standards. Even deep down, Lex was somewhat unwilling to admit that this might have surpassed the level they knew.

How on earth was this made?