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The idea for the story arose from an unfinished sci-fi novel, says Chi. We had to overcome and make tough choices.” “We had equipment restrictions, as did the schedule and choice of industry technicians. “In the image there should always be red,” he says.įilming under COVID restrictions added further challenges, he adds, as production got underway in the director’s home town of Ningbo, China in April of last year. The look and feel of the world in which crusading journalists are taken down while the killers may be next, everyone seemingly under surveillance from all-seeing AI systems, was thought through in terms of tone, Yi adds. “And I was inspired by the elements that harmonized with our story and absorbed the essentials.” “We watched many cyborg films as references,” Yi says.
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The film makes nods to both “Blade Runner” and “Memento,” which the director credits as inspirations – though he confesses the “Annular Eclipse” budget restrained him from taking his vision still further. We did a lot of test shots and editing of the reference excerpts during the preparation phase.” “It was my first time shooting an action movie. Yi adds that “Annular Eclipse” took him into new territory, which required substantial research and ramping up. The fragments were shot with a shoulder-held camera to reinforce the POV of the characters.” “The visions were shot with Lensbaby lenses to have a dreamlike style. “The nightmares were shot on Steadicam to have more swaying,” he says. In visualizing the nightmares and flashes of suppressed memory of the lead assassin, a deeply troubled man determined to get to the truth, Yi says they wanted to bring audiences into the disturbing state of his mind. “He is a very visually imaginative director and I was responsible for putting his ideas into a high-quality presentation.” He shares a “strong mutual understanding” with the director, which is crucial in the process. “The main challenge,” Yi says, “was to find a subtle rhythm of movement and static in the moving images.”