The spatial perspective relationship is what the spatial composition looks like in front of the camera. Today's 3D movies are more attractive by simulating the images seen by the actual human eye, but most movies are still 2D, so you need a director Grasp this space layout relationship by yourself.
Director Wu Yusen himself said: I am accustomed to using only two lens composition: a very wide wide-angle and extremely long telephoto lens. When I want to see the details of something as completely as possible, I use the wide angle; the telephoto lens is used for close-ups, because it can create an encounter with the actor. If you use a 200mm lens to shoot a person's face, the audience will feel that the actor is standing in front of them, which gives the lens a sense of surprise. So, I like extremes, and I am not interested in anything between extremes.
Wong Kar-wai has one of the most used viewing angles in "2046", that is, the concealed viewfinder method, the foreground is basically blocked by an object, and the protagonists are behind the object, giving people the feeling that we are not the perspective of God , But as a bystander secretly watching what they do. Viewing methods such as
can give people an illusion, which is different from the completely face-to-face scene, which is directly viewed by all audiences and has a certain sense of substitution. This method of viewing is like a layer of windows. It looks very close but very far away.
is just like a poem saying: The farthest distance in the world is not the distance between life and death, but I stand in front of you, you don’t know that I love you.
When Zhou Muyun and Bai Ling said goodbye for the last time, they were also presented in this way. They wanted to get closer but found that there was a board or a door in the middle. There was always a kind of barrier in it, which also symbolized for other women. Said that Zhou Muyun completely pushed them away. Friends with wine and meat can do it even if they go to bed, but they won't give their hearts out.
Wang Jiawei uses this isolated lens language to prevent the audience from directly substituting into it. No one can become Zhou Muyun or Bai Ling. Everyone can only watch these love tragedies and comedies happen, but can't do anything, because love is sometimes like this. Beware that after death, all efforts become futile.
lens time, long and short lens
lens time is the length of shooting time, here refers to the time when a shot is taken, and various movements can be made continuously in the middle, such as panning, up and down, turning, etc., but will not switch This length. Early films of
tended to use long lenses due to imperfect camera skills and editing. Nowadays, you can hardly see very long lenses. According to research, the average lens time is about 10 seconds.
Relatively speaking, feature films prefer long shots, but for action movies, short shots and editing effects can be used to show the fascination.Human action special effects, such as the battle between Byrne and another killer in the toilet in "The Bournemouth 3", the hand-cranked shooting effect and the short-shot editing, let the audience see the blood divergence, very enjoyable, reflecting Bo En fighting level and tough.
But some directors always want to pursue the ultimate. Hitchcock’s "Rope" has only 11 shots, which amazes many people, but this is not the end. The longest shot in movie history is the Russian director Ya Alexander "Genesis" filmed by Sokolov, the film is 90 minutes to the end. This is a kind of experiment. It was rehearsed for several months for the filming of this film, and it was finally completed at one time in the fourth rehearsal. Nowadays, no one will do this kind of pioneering experiment, after all, no matter what the movie is, the cost is always considered.
Wong Kar-wai used more long shots in this movie, which represents the slow passage of time. In this slow process, Zhou Muyun’s love is already a tragedy, because his love stays in the past, in the memories of the past. In the 2046 room.
is like his monologue in a long shot: in fact, love is time-sensitive. I know it too early or too late, but the result will not work. If I meet her at another time or place, the ending may be different.
Under this lens, Tony Leung is almost like a sculpture, only his inner monologue and lament are left. What he loves has become a heavy memory of the past. Those who can get love, but let go easily, one is too early , One is too late to be fulfilled.
"2046" is the sequel to his last "In the Mood for Love". It also captures the taste of love, but here is no longer an ambiguity, but a love tragedy presented under the language of the lens. Through one of the elements: the lens language of the camera presents a personalized style image.
director Judy Foster once said: I learned that to appreciate a good script, it can be like an appreciation of literary works-this is the motivation of the camera movement, so the camera movement becomes quite fascinating.
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