When picking flowers, the Demon Seed seizes the opportunity to invade, burrowing into the male protagonist’s heart.
There’s no scene with the bees that Lawrence Winters previously used, but the plot flows more smoothly and has a more dramatic conflict effect.
Lawrence Winters has no objections to this.
She just doesn’t understand why this scene looks sowhat "like scratching an itch outside a boot," feeling as if sothing is missing.
It’s probably what Kenneth Osborne refers to as "Spirituality"...
She glanced lightly at Kenneth Osborne, thinking he disagreed with her previous talk about "Spirituality," didn’t he?
So why did he ntion it himself now?
This is truly a case of saying one thing and doing another...
Lawrence Winters slightly curved her lips but did not speak.
Kenneth Osborne asked Director Jiang to play the five-minute special effects short film that Lawrence made.
This one included a bee, but without the scene where the female lead asks the male lead to pick flowers.
However, visually, this segnt is far more impressive, not only beautiful but perfectly expressing the "immortal" aspect celebrated in fantasy works.
Then, Director Jiang continued operating, using split-screen technology to place both special effects short films side by side, both playing on the big screen.
Kenneth Osborne spoke up, "These two different effects, I hope they can achieve the effect like the five-minute bee short on the left, but both they and Director Cen said the one on the right is already the best possible effect and can’t match the left one."
Lawrence Winters thought for a mont, then said, "It’s aningless to just discuss verbally now. Why don’t I rework the short film on the right, and then everyone can see the effect?"
Spring Spencer was a bit surprised, "Now? But no one has much ti!"
Director Jiang was also sowhat amused, quickly saying, "Manager Winters, it took us nearly three hours to finalize this segnt, and you want to redo it now..."
They surely couldn’t wait for three hours.
"Uh..." Lawrence Winters looked at Kenneth Osborne and then at Director Jiang, "It won’t take three hours, just a few minutes to adjust the color tones."
"So simple?" Director Jiang questioned skeptically, "If it’s just adjusting color tones, we’ve already used the system’s optimization."
The implication being that even if Lawrence adjusted it again, it could only reach the current level.
Lawrence Winters didn’t respond but just looked at Kenneth Osborne.
Kenneth Osborne made a decision, "I’ll take you to the adjacent production room, shouldn’t take long."
Now that Kenneth Osborne had spoken, Director Jiang had no choice but to relent.
He looked to Spring Spencer for help.
In the end, Spring Spencer also said, "Let Manager Winters try, maybe it’ll turn out useful."
Lawrence Winters felt that Spring Spencer’s words carried a sting, but considering her grace amidst today’s events, she felt humbled.
So, she held her peace and went to the production room with Kenneth Osborne.
Kenneth Osborne opened the system software, imported that short film, and then gave the seat to Lawrence Winters, "This is Mike, you can engage in a human-machine dialogue like last ti to make modifications."
He sat at another computer, able to watch how the code changed with Lawrence’s instructions.
Lawrence Winters concentrated intently on the computer screen, starting to give spoken commands to the system to modify and adjust.
Ten minutes later, she finished modifying it, took off her headphones, and said to Kenneth Osborne, "Check how this effect turns out."
Kenneth Osborne leaned over from behind her, grasped the mouse, and clicked to replay.
This ti, after Lawrence’s adjustnts, the feeling was completely different from before.
The characters’ movents were exceptionally smooth, scenes transitioned seamlessly, and the saturation of colors and clarity of the images once again reached a peak.
Most importantly, the "Spirituality" Kenneth pursued finally appeared in this short film.
It’s as if everything inside it ca "alive."
Kenneth Osborne’s eyes lit up, he couldn’t help but applaud her, "Well done! This is the effect I wanted!"
The two brought the newly reworked short film by Lawrence Winters to the large conference room for Director Jiang to replay it.
This ti, even Director Jiang was stunned.
The special effects on the big screen, improved by Lawrence Winters, were indeed sowhat different.
If you had to say what’s different, he couldn’t articulate it, but it just looked better and drew more attention, making you unwilling to miss even a minute for fear of missing out on the brilliance of the scene.
He exclaid in surprise, "It really is different! Manager Winters, how did you do it?! Could you teach us?"
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