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At on 8th April, the 91st lecture activity was jointly held by Graduate School and Sound School in medium video hall of Beijing Film Academy. With an invitation of a famous effect designer from Hongkong, he gave a wonderful lecture with the theme of “preparation of earlier stage in film and soul of dynamic effect in film and television”.

Ching Siu-Lung was born of a aristocratic family of film. His father is a famous director named Cheng Gang and his brother is a notable director of martial art named Ching Xiaodong. His brother had a study of music in Shaw Movie City Hong Kong Limited at the age of 15 and he began to work independently at the age of 20. During 40 years, he has made thousands of films and has a long-term cooperation with the famous directors such as Li Han-hsiang, John Woo, Tsui Hark, Ching Siu Tung and Wong Kar-wai. The main works are as follows: "Ashes of Time", "A Better Tomorrow", "Fei-hung Wong Series" and "A Chinese Ghost Story Trilog". He is a film maker and has done a lot of work about film-making such as sound effect, visual effect and fireworks design. He once appeared in many TVB series. In 2000, Ching Siu-Lung worked in Mainland China.

In the first part of the lecture, Ching Siu-Lung shared his 47 years of working experience, and had a brief review of the development history of Hong Kong film. He mentioned the directors who had cooperated with him before and talked about the friendship and anecdotes between them. He also talked about his feelings and experiences since 2000 to enter into the mainland China. As the effect designer and producer in some films, he expressed his opinions and insights in the current situation for the mainland movies and TV series, focusing on the preparations in earlier stage.

In the second part, he focused on a live demonstration about movie and TV sound and dynamic efficiency. Cheng Xiaolong displayed the "magic" of dynamic effect by several movie clips.

First of all, as for the section of "A Better Tomorrow" by Chow Yun-Fat, a sound of "A Better Tomorrow" in his leg was simulated on the scene. He bought a master key. Can you guess how to do it? After listening to the simulation sound, students used applause to express their surprise towards the true-to life effect. However, the sound of broken bone was simulated by twisting Apium graveolens. The students gave a warm applause and exclamation. Likewise, in "Legend of the White Snake", the sound of flapping wings was simulated by opening and closing an umbrella, and the sound of magpie flapping wings was made by a simple newspaper, which has also led to the students’ applause and wonder.

He also invited students to make up the dynamic effect in fighting at the scene for “The Big Boss” by Bruce Lee, such as the sound of waving nun chucks and Chinese boxing crashing. Several students came to the stage and have simulation experience, which has been accepted and encouraged by Mr. Cheng and other teachers and students. Next, Ching Siu-Lung demonstrated walking on the snowfield and flame combustion and chasing of horse race of “Lady of the Dynasty”. Students were invited to have a experience on the stage, which has caused a positive response. They were eager to have a try, which has caused the warm atmosphere of the site.

Ching Siu-Lung highly recognized the performance of everyone. Finally, he concluded that though the dynamic effect seems very interesting, it is very hard in the true work. The most important thing for dynamic effect is that“brain working”is needed, giving full play to the imagination and creativity.

In addition, the work details on dynamic effect were reviewed in different directors and films by Ching Siu-Lung. He bluntly said that Karwai Wong has “a strict requirement” of sound. The sounds like putting a phone, placing a cup and footstep, must be restored to a filming spot. Tsui Hark has an extreme requirement of a sound like creating something out of nothing.

In the last questions and answers, the students had an interaction with Ching Siu-Lung on problems like the specialized problems of record, the technical questions of making a dynamic effect and the eastern aesthetics implied in sound.

Ching Siu-Lung said that, with the developed technology, there is the advanced machinery equipment and the huge material library of dynamic effect, he spoke bluntly that he does not like the sound of numerical code, but he still favors the

sound that is original, real and simulated. However, they are basically operated by

computer instead of manual work. The current film and television industry is a fast-food culture. In the 1980s and 1990s of the last century, a month was needed to make a movie sound. However, it can be finished in 2 days, and a film of big-budget production will be completed in more than ten days. The technique is too fast, which will provoke thinking .

In talking about “A Chinese Ghost Story”, he was won a prize of sound effect across the Asian-Pacific region by this film, which was inspired a lot. If the sound of“A Chinese Ghost Story” is remade by the current technology, there are many aspects can be done betterin addition to changing the original single track into a stereo. In talking about the sound difference between China and foreign countries, Ching Siu-Lung said that the things of Hollywood by foreigners are really easy to use and operate and are low in cost. Nevertheless, the authentic oriental prospect is made by hand and skill. We experience Ching Siu-Lung’s inheritance and resonance to the traditional skill and film aesthetics in the East again.

We haven’t given full expression to our one's views in a lecture for only more than two hours. The teachers and students gave a warm applause to the wonderful lecture by Ching Siu-Lung. A successful conclusion was made to the lecture.

Hu Qiang
Zhi Hongwei
Qian Jun
Professor Xie Fei, Department of Directing of our school, …