China production case study
The Great Wall
长城
Heritage-site filming and expert interviews for a Chinese–Austrian documentary.
Alchemist Films managed the visiting team’s China production, working with director Martin Betz and pre tv on location requests, interview arrangements and bilingual support.
- The programme
- 2018 · Two 52-minute episodes
- Directors
- Martin Betz / Liang Renhong
- Our work · 2017
- China production management, location coordination & bilingual support
01 / The assignment
The visiting team’s China shoot
The Great Wall draws on archaeology, expert interviews and historical re-enactments across two international episodes. Alchemist Films handled local production for the visiting crew’s October 2017 China shoot, part of the Chinese–Austrian production directed by Martin Betz and Liang Renhong.
Our producer was the visiting team’s production manager. We contacted locations, prepared applications and arranged interviews and schedules, providing bilingual support during preparation and the shoot.
02 / Research & locations
The Xi’an brief: weapons, archaeology and an expert’s explanation
At the Terracotta Army Museum in Xi’an, the director wanted to explore how bronze weapons were made and what their manufacture revealed about the organisation of the Qin state. The brief called for archaeological objects, research and an expert who could explain that connection on camera.
Public excavation areas, stored objects and scientific demonstrations involved different spaces and people. The director prepared a detailed content brief for translation into Chinese. We contacted the relevant people about the proposed dates and the separate interview, object and laboratory requests. Crossbow components were one way the director hoped to explain standardised manufacture, so access to particular finds and specialist expertise mattered.
Another research lead, in Youyu, called for a view of the wall and afforestation together. Our producer checked that requirement with the director before continuing the location search.
03 / Dunhuang & access
Applying to film at Dunhuang
The Dunhuang brief paired an expert interview with cave imagery to explore the Great Wall’s relationship with the Silk Road. We worked with the director and Dunhuang Academy on the filming application.
Exterior filming and cave interiors were separate requests. The options under discussion included a painting in Cave 323 and a full-size replica of Cave 285. We relayed the revised options and submitted an updated application at the end of September. The Academy also advised that cave condition, limited space and conservation work could affect the filming.
The crew subsequently filmed at the Academy’s grottoes. The application work had required us to identify the particular spaces and subjects, and establish which documents each request needed.
04 / People & the schedule
Expert availability and a changing travel plan
An expert’s availability changed during the Dunhuang preparation. The filmmakers considered another date, a meeting elsewhere and an alternative scholar. Whoever took part, the interview needed to address the Silk Road, the wall and the movement of ideas.
Travel plans around the October holiday were still changing. We revised the schedule with the director and continued the location enquiries that could proceed before the crew’s arrival details were settled.
Before one wall sequence, our producer confirmed that porters were arranged and that the professor would bring students. We coordinated interview appointments and addresses with the visiting team to fit the planned day.
05 / Language & continuity
Interpreting, edit requirements and the production close
We interpreted for the international crew and kept institutions and contributors informed as plans changed. Each needed to understand what the filmmakers wanted to record and when the crew hoped to visit.
During preparation, we also liaised with the Austrian team about picture and audio for the international edit. We discussed the difference between a finished viewing mix and the separate music, narration and sound tracks the editors needed. We communicated those requirements alongside the arrangements for new filming.
After the visiting crew left, we collected the local expense documentation and handed it over to the production office in Austria.
06 / The finished programme
The two-part international programme
The 2018 international programme follows two historical periods: Qin Shi Huang’s unification of China and the Yongle Emperor’s Ming-era projects. Expert interviews, archaeological material and re-enactments connect the landscapes with the people and decisions that shaped them.
The programme
The Eternal Wall / The Wall of Power
Directed by Martin Betz and Liang Renhong. The full Chinese–Austrian production and crew credits are available from pre tv.
More frames from the programme 17 images
Landscapes, interviews and historical re-enactments from the programme.
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