同样纯粹的，还有莫那和四季工作室各位做涂装、特效化妆、各种概念设计的艺术家们。也许是我的好奇心很明显，刚到黄岛两三周的时候，Jeremy(当时的onset VFX sup) 就交给我一个任务，让我拿着理光的360拍摄相机去各个工作室（木工、铁工、大道具、小道具、服装等）去拍他们的工作状态，美其名曰，和我们后期做视效有关。现在想起来，25岁的我真是初生牛犊不怕虎，我真的去一个个地方拍照，说自己需要这些东西。我不知道我是怎么说服他们的，但一路二十多个workshop逛下来，我也了解到了，他们在慢工出细活。而我是个急躁的人，我当时时常抱怨他们的仔细、慢悠悠、耐心，现在看来，这是现代难能可贵的品德。

当时的制片主任想知道为什么我们部门非得买某昂贵的绿幕、而不是国产某绿幕，Jeremy让wendy在天台上支起实验，三种不同的绿幕、蓝幕，任它们经受风吹雨打，每隔几天每种蓝幕、绿幕各加一块，并且写上添加的日期。我想除了纯粹，还有较真。Jeremy很较真，我们组的每个人都很较真。

ChatGPT Translation:

Just as pure were Mona and the artists from Four Seasons Studio—those working on paint, special effects makeup, and all kinds of concept design.

Maybe it was because my curiosity was so obvious, but just two or three weeks after I arrived in Huangdao, Jeremy (our on-set VFX supervisor at the time) gave me a task: take the Ricoh 360 camera and visit all the workshops—woodwork, metalwork, large props, small props, costumes—and document their working process. Officially, it was for “reference for our VFX work in post.”

Looking back, 25-year-old me was really fearless—like a newborn calf unaware of tigers.

I actually went from one department to the next, taking pictures and telling them I needed them for work.

I don’t even remember how I convinced them, but after visiting over twenty different workshops, I came to understand how they truly practiced the art of slow, careful craftsmanship.

And I—impatient by nature—used to complain about how slowly and meticulously they worked.

Now I see: that level of patience is a rare and precious quality in today’s world.

At the time, the production manager wanted to know why our department insisted on buying some expensive imported green screen instead of using a local brand.

Jeremy had Wendy set up an experiment on the rooftop: three different green and blue screens, left to weather wind and rain. Every few days, we’d add a new piece of each material and mark the date on it.

More than just purity—there was also rigor.

Jeremy was meticulous. Everyone on our team was meticulous.