Standing in the corner of the floor-to-ceiling window, Lance looked at the whole room, thinking of the composition of the "fruit hard candy" in his mind. Pen % fun % Pavilion www.biquge.info

In the previous life, David Slade's use of the camera was not subtle, but the effect was excellent, he used a lot of zoomed-in close-ups, and in many frames, the facial expressions of the two protagonists filled the whole picture, and less than a quarter of the space was reserved for the background picture, so David used the red wall to reinforce this feeling of emotional conflict.

The success of this approach lies in amplifying the actor's emotions to the extreme, and invisibly creating an indescribable sense of oppression, resulting in the entire viewing process being very depressing; However, the shortcomings are also very obvious, such as the lack of excavation of characters, the outline of character relationships, and the lack of use of space.

It can be said that David does not have a clear idea of the use of lenses, and sometimes some lenses are shot and feel good-looking, so he uses them directly, without special ideas, let alone elaborate design. The use of the composition of the shot, the trajectory and the switching angles, etc., to achieve the purpose of emotional guidance, story foreshadowing, psychological suggestion, etc., in this regard, the Mexican director Alejandro-Gonzalez-Inarritu is an outstanding representative, especially his masterpieces "Birdman" and "The Revenant".

Lance doesn't plan to give up the close-up shots in the original, but Lance hopes to make more use of medium shots and even panoramas to show the relationship between Hayley and Jeff in a more three-dimensional way. In particular, the transformation of the relationship between the hunter and the prey can be presented with a sense of space in a panoramic lens.

"Hayden, you know, when Hayley first arrived at Jeff's house, she was nervous, even nervous, but on the contrary, Jeff felt very comfortable, and this was his territory. I don't want to use too many trivial shots, but to show the relationship between two people. Ransto kept his chin down, kept coming up with a plan, then overturned it himself, and finally decided to exchange ideas with Hayden.

Hayden was used to this pattern, and he glanced at the audience, "How about using a long shot to show it?" Michael, Allen, can you demonstrate that? The two of you have just arrived at Michael's house, one is the host and the other is the guest. Hayden shouted, but Alan was still not used to it, and he was a little confused.

Lance chimed in, "Emma, you take the place of Alan, take a look. ”

Emma answered dryly, then trotted over to Michael, gave Alan a reassuring look, and then demonstrated to Michael. Emma had read the script of "Hard Candy" repeatedly, so she understood Lance's request at once, and explained it to Michael in a low voice as she toured the house.

Hayden ignored the conversation between Emma and Michael, but began to make a comparison, "We can go back and forth, from the time the two of them entered the house, follow all the way, and then follow Hayley's footsteps, visiting the whole room, behind Hayley, Jeff opened the refrigerator while talking and poured water for Hayley, using the uneasiness of Hayley's movements to contrast with the ease of Jeff's voice......"

At the beginning of the birth of the long lens, the biggest feature was to emphasize the real, and to present space, time and characters realistically, but with the development of film art, the long lens has given more meaning. Now the use of long shots is more to show a grand scene, the intricate relationship between the characters and the simultaneous ups and downs, such as the four-and-a-half-minute Dunkirk retreat in "Atonement", and the nearly ten-minute long shot in front of and behind the scenes on Broadway in "Birdman".

Lance shook his head and interrupted Hayden's words, "I'm thinking about using a long shot to cast the castrated part to contrast Jeff's emotional changes under the static with the dynamic of Hayley's busy going in and out, making full use of the whole sense of space to push that torture to the extreme." I'm not so sure, though. ”

The long lens is undoubtedly the simplest of all shooting techniques, only a camera, a tripod, and fixed can complete the static long shot; But at the same time, the long shot is also the most complex and difficult of all shooting techniques, because montage can be completely edited to complete the splicing of shots, but the moving long shot must take into account the changes in space and time. So, don't use long lenses lightly, and once you do, do your best.

"I mean, I wanted to highlight the confrontation in the whole space, where Jeff is the hunter and Hayley is the prey. At this point, the prey enters the trap, and the hunter triumphantly and easily paces around the trap, admiring the last struggle of the prey, and then begins to lure/lure the prey little by little, to relax his vigilance and take the initiative to dedicate himself. So, the sense of space is very important, but so is the mentality of the hunter and the prey. ”

Now Lance's understanding of cinema is closer, the lens is the director's eyes, and really good movies are actually carefully designed and thought about every shot, rather than saying "it looks good to shoot like this", so he shoots like this. Even if it is a commercial film, shoot from above, shoot from above, shoot from above, ......shoot from above, shoot from above, shoot from above, shoot Close-up, medium-range, long-range ...... Different shots produce different visual effects, for example, Michael Bay's self-satisfied "bomb perspective" in "Pearl Harbor" is very special, rarely using the perspective of a bomb dropped by an airplane as a perspective to shoot the panic of the crowd on the ground, and finally show the explosion.

So, the way Lance looks at the camera has also changed. If in the past, he only relied on experience and instinct to use the lens, now Lance knows exactly what he is doing and what he wants.

Hayden thought for a moment, "Panorama, then we'll use Panorama." Hayden walked briskly, looking around the room for the right angle, "Michael, Emma, stop, Emma, you stand in the kitchen, Michael...... You, you seem casual. You see, we put the whole space into the shot, standing in the corner of the wall, and then put Hayley at the far end, and Jeff at the near end, making full use of the space to create visual differences, and then using close-ups or close-ups to capture the details of the face and eyes, and using montage editing to integrate emotions into the whole space. ”

Someone once described montage as such, if you just see a person smiling, then everyone will have countless guesses; But if the picture of a smile is followed by the picture of a bouquet of flowers, then people will assume that this person likes flowers and smiles, and followed by a picture of a lover, then people will naturally assume that this person is immersed in love, and similarly, followed by a picture of a corpse or even an explosion, then people will think that this person is a terrorist or a psychopathic murderer.

This technique of using the lens to make associations and using editing to achieve the purpose of the narrative is montage.

Now, Hayden is using the technique of camera cue and montage to show the relationship between the prey and the hunter.

The corner where Hayden stands is diagonally diagonally from the door of the house, and when he looks at it, the whole room is an upright cuboid, which creates the illusion of a larger space. Then get Jeff closer to the camera, which will make Jeff look taller and his relaxed movements will be magnified; As for Hayley at the far end of the camera, she will look even smaller, and her weakness and tension will be further highlighted.

But the question is...... "Is there one camera from start to finish?" That's a full 120 to 150 seconds of footage. Lance frowned slightly, if the camera position does not change for a long time, this will give the audience an illusion of "I am a bystander", some movies need such a sense of isolation, but "Fruit Hard Candy" is not, Lance needs the audience to be substituted into the perspective of Hayley or Jeff, and truly become a member of the movie. That's why there were a lot of close-ups in the original film – the sense of immersion was obvious.

"Of course not." Hayden and Lance have worked together on four films, and they immediately understood what Lance meant, "I would slowly advance the camera, creating the illusion that the voyeuristic footsteps were getting closer and closer, and finally entering the house." Hayden walked to the center of the room, "I remember in the script, when Hayley was bartending in the kitchen, Jeff came to the room and played music, and we could rehearse a few times to make sure that the camera was moving slowly and that all the details were in view. Then when Hayley finishes bartending, the camera can focus on her and follow her into the room, turning it into a close-up or close-up ......"

Create the illusion that the audience empathizes with Hayley - to become the prey. Hayden fully understood what Lance meant, and the audience must be the prey in this paragraph, because this is a plot that accumulates the audience's hatred for Jeff, so the audience needs to deeply feel Hayley's uneasiness and anxiety.

Lance carefully recalled that in the original work, most of the shots were locked on Hayley, and Jeff was talking outside the camera as an outsider, which is why the audience never hated Jeff. But now according to this way of shooting, the audience can observe Jeff from Hayley's perspective - a calm and comfortable Jeff, Jeff is always seducing/seducing Hayley, from alcohol to music to photography, Jeff has been teasing/teasing Hayley as if he was nothing.

"You can shoot Hayley from the side, and then at the far end of the camera, Jeff occupies the main body of the frame, and finally the camera slowly zooms in to observe Jeff's demeanor from Hayley's point of view, but don't lose Hayley's performance in the lens." Lance followed quickly, and inspiration began to flow through.

"What do you mean?" Hayden was rounded in.

"I mean, in this section, the focus of the camera is on Hayley, and it should show Hayley's nervousness, even fear and disgust, in this way to convey the rejection of Jeff. But the protagonist of the picture should be Jeff, a quarter of Hayley, a quarter of the background space, but the remaining half is all Jeff, with Jeff's demeanor and posture to convey the condescending feeling of playing between applause. As soon as Lance explained this, Hayden immediately understood.

"But......" Hayden couldn't help but hesitate, "this is very demanding for the actor's performance." (To be continued.) )