The "blankness" of the picture in film and television works is mainly realized by using film and television languages such as lens, composition, light and shadow, and color.

The white space around the subject can make the main object of the picture stand out, produce a strong visual appeal, and make the composition more crisp and concise.

Just like in later generations, in Zhang Yimou's film "Hero", the "battle of ideas" between the remnant sword and the nameless on the surface of Jiuzhaigou Lake.

The director chose the calm lake surrounded by heavy mountains as the arena for the two of them, so that the background was purified as much as possible to achieve the purpose of "taking reality as fiction".

The scene of the broken sword and the nameless sword contest is like a smart landscape painting, and the blurred background further strengthens the sword contest between the two protagonists, and the quiet atmosphere contrasts with the intensity of this contest in mind.

In the monitor at this time, Tao Huimin sat down on the stone, Tang Qin also leaned down slightly, and in the monitor, the spring scenery around the two suddenly disappeared.

But it was only two seconds before the camera slowly retracted, and the two were clear in the monitor again.

Oh, such a picture transition immediately attracted Xie Tieli's attention, and he believed that if the audience walked into the theater, it would also attract the audience's attention.

The two read the West Chamber together, but the camera is so model, so what are you waiting for, the audience will interpret it by themselves in their hearts,......

Well, this period of shooting, the use of lenses, is more skilled than the director of ten years!

"Don Jr., have you ever done videography before?" Xie Tieli seems to be talking to himself, Tang Qin has gone all the way, from a stage installer of the Qindao Repertory Theatre, to an actor in the Journey to the West crew, and then to an actor in the Dream of Red Mansions crew, Director Xie knows very well.

If there is such a shot scheduling, not any director can do it, skillfully move the camera, compose the shots through the ground, and show the beautiful feelings of Bao Dai and the two when they fell in love for the first time in light and shadow.

Xie Tieli feels that it is better than this if he shoots it himself......

"Well, one night, how come it seems like a different person......" He looked at Zhao Yuan, and seemed to be talking to himself.

Director Zhao Yuan smiled, she slowly paced a few steps forward, Tao Huimin's performance seemed to be more mature, last year's performance was too devoted, and the ingredients of the performance were heavy, this scene seems to be handled lightly, but Lin Daiyu's taste came out.

This kind of feelings, the actor just wants to get into it, and he can't act out the feelings.

……

Filming continues.

Tang Qin stood up with a smile, "I'm just a sentimental and sick body, you are the one who has fallen into the city and the country." ”

Tao Huimin also stood up and returned the book to Tang Qin, so frightened that Tang Qin hurriedly begged for mercy.

Tao Huimin sneered, she rubbed her eyes and said with a smile: "Generally, I can bluff this tone, and I just talk nonsense." Bah! It turned out to be a seedling but not a show, and it was a silver-like pewter gun head. ”

In the monitor, the two are no longer performing, Tao Huimin has really entered Lin Daiyu's soul, she is very relaxed, and Tang Qin is even more relaxed......

After the two tested each other, their hearts belonged and were clear at a glance, so that both of them let go of the mustard in their hearts, and Director Xie behind the monitor felt that he was also relaxed......

Oh, he slowly sat up straight from his chair.

"Empty shot?"

In the monitor, there is no Tang Qin and Tao Huimin, only peach blossoms full of trees, the wind blows the flowers and falls, smiling at the spring breeze......

Peach Blossom ...... Empty Shot......

"Okay, the use of this empty lens is wonderful."

Stop!

Director Xie Tieli took the initiative to stop, well, with this empty shot, this scene, the feelings came out.

What is an empty shot?

The Dictionary of Cinematic Art gives the explanation: "Empty shots, also known as scenery shots, are shots in which there are no people in the picture."

It can be complementary to the lens with actors, but it cannot be replaced, and it is one of the important means for the director to clarify the ideological content, narrate the storyline, and express the emotional conception, and it also has a unique role in the transformation of screen time and space and the adjustment of the rhythm of the film.

As a window for emotional release in film and television works, empty shots are often placed at the beginning of the film or in the emotional release period after the climax, catering to the audience's psychology, so that the audience has a transitional stage of emotional release after high tension, so that the audience can understand the plot and ideological connotation at a deeper level in this "blank space".

"Director Xie......"

Director Zhao Yuan smiled subtly, just like this empty shot with oriental characteristics.

The "subtle" aesthetic in traditional Chinese culture determines that the "blankness" of the picture in some film and television works has an implicit ideographic function.

For example, in "Red Sorghum" directed by Zhang Yimou two years ago, the scene where "My Grandma" played by Gong Li and "My Grandpa" played by Jiang Wen met in the sorghum field used an empty shot of "sorghum swaying in the wind" to implicitly express this plot......

And this kind of "blank" treatment not only does not hinder the audience's understanding of the storyline, but also conforms to the "implicit" aesthetic concept of Oriental people.

"Lao Zhao, come on, play back."

Usually when filming, whether it is talking about dramas or reshooting, Director Xie is calm, but today he is not calm.

All smiles on his face!

He is a very prominent poetic style filmmaker in the third generation of directors, "Early Spring February" and "Haixia" in the early years, even if "Bosom Friend" and "River Flowing" in the 80s are stories that depict the background of the big era, but the picture style is still full of poetic artistic expression.

In terms of the growth process of new Chinese films, director Xie Tieli can be regarded as not only inheriting the fine tradition of old-school Chinese films before the founding of the People's Republic of China that focused on artistic conception, but also fully absorbing the advantages of Soviet films in terms of grand narrative, because he has also filmed scenes with war content such as "Outwitting Tiger Mountain" and "Red Women's Army".

In this scene, he even saw his own shadow.

"This scene is really classic, I didn't expect that Xiao Tang would shoot like this......" Director Zhao Yuan looked at the last empty shot, the use of this shot is simply amazing.

"Well, there is a master behind Xiao Tang...... director Xie Tieli said suddenly.

"Hey, don't look at me like that, I'm not ...... No, I didn't say anything to this kid......"

"He met an old lady...... "He Saifei finally appeared, as if there was some major inside information.

Xie Tieli just looked at Zhao Yuan, right, I said, it is impossible to progress like this in one night.

"The Point Guard Is Here"

Well, there are only a few female directors in Shanghai who are famous, Huang Shuqin? Xie Tieli thought of her immediately, but how did Tang Qin know her......

"Is it director Huang Shuqin?" Director Zhao Yuan also has this line of thought.

"Huang ......" The two of them asked, He Saifei was stunned, she didn't know who this person was, could it be that the old lady who sold gardenias yesterday, "Do you mean, the old lady on Zhapu Road?" ”

He Saifei opened his mouth quickly, and told Tang Tao and the others about buying gardenias clearly and clearly.

Oh, Xie Tieli breathed a sigh of relief, there was nothing to say.

This kid can progress like this overnight, and he wants to test him again, "Blank for actors, blank for shooting, what else can you think of......"

Music!

For example, in Wong Kar-wai's work "In the Mood for Love", the theme music "Yumeji's Theme" first appeared after Su Lizhen and Zhou Muyun began to realize that their partners were having an affair, and the deep timbre of the viola was rendered in the film along with the sorrow of the two.

Su Lizhen carried a thermos pot and wore a cheongsam, and walked elegantly through the narrow corridor towards Wanton Beach. And Zhou Muyun met Su Lizhen at the corner of the corridor, they had their own concerns, nodded to each other, and then turned to leave, and the music gradually slowed down with the intersection of the two to disappear.

The emotional bond between Zhou Muyun and Su Lizhen is maintained through the same melancholy and the same music.

This theme music appears repeatedly and appropriately in the film, combined with the director's deliberate slow-motion language, so that the audience is accustomed to watching the unfolding of normal narrative threads when this music is "missing", and as soon as the theme music sounds, it reflexively enters into the emotional and emotional narrative.

"The passage of the picture controlled by the 'blank' of the music often provides an aura in the rhythm, and this aura can better reflect the charm of the rhythm of the film, and can form a unique audio-visual effect and a unique style of the film.

Well, Director Xie Tieli didn't sit down, he looked at the young man like this, "Old Xie, you should give a word, okay or not, you say a word." ”

Director Zhao Yuan had already guessed the idea of this old partner, and she urged with a smile.

"Well, in the future, Xiao Tang will be my assistant, you can try to start as an executive director first," Xie Tieli seemed to be unsatisfied, how many years of filmmaking, and it was the first time to bring a newcomer in a crew, "Tomorrow, Xiao Tang will join me to participate in the International Film Festival held in Shanghai." ”