Use a mirror to spy on the 2020 comedy love movie " Bigfoot son-in-law "
News editor: Golden rabbit
Today we are going to step on the filming techniques chosen by the director of the 2020 comedy love "Bigfoot son-in-law", "One mirror to the end + montage" "The combination.
As a news editor, I also know a little about film and television shooting techniques, but I am still curious about playing "One Mirror to the End" film and television series. It is said that the shooting funding of "Bigfoot Son-in-law" is not very sufficient, but the director of this film chose a one-shot shooting method for special and exciting scenes, which is full of expectations. The director
Yang Zhibao said that in the end, a mirror has a strong reality in the language of the scene, and it can also strengthen the space and capture the audience's visual attention. "One Mirror to the End" will give people an immersive feeling, and it is easier to achieve the effect of making the audience "same happiness and sadness". As a rural theme, choosing the type of plot, the special scene of the film is explained by this lens is the way he most wants to express. It not only explains the time, environment, characters and events, but also fully renders the atmosphere, and with the editing of "montage", the story in the film is vividly displayed.
In the current film and television works, the "montage" technique of using camera stitching to guide the audience has been used very maturely. Montage has almost become synonymous with movies. In this case, is it necessary for a film expression like "one shot to the end"?
In fact, there are a lot of "one shot to the end" movies, but most of them don't have much reputation. If you add short films, it will be countless. The only real "one mirror to the end" film that can be named in film history is probably only one " Russian Ark ", but if the word "pseudo" is added, the film is shot with the "pseudo one mirror to the end" technique. Then add the great god Hitchcock 's "" and the best Oscar film "Birdman".
Director Yang Zhibao said that because of the tight production costs of the film "Bigfoot Son-in-Law", some scenes are not suitable for shooting with "one shot to the end". The first is the composition problem. Because of the continuity of the lens, it is difficult to make the photographer maintain the quality of the composition while switching between characters or scenes. For example, "1917" has done a very good job in this regard, but it is inevitable that some lens compositions cannot achieve the effect of sub-shots.
The second is the difficulty of shooting, because the lens has to move constantly when switching between shooting people and shooting scenes, which leads to many scheduling problems, such as the light cannot always follow the object being photographed, or because of the position problem. The problem of virtual focus shooting and so on. The director of "1917" considered this issue, so natural light was used except indoors. This led to all outdoor scenes to be filmed on cloudy days, and the whole crew could only rest on sunny days. The rest of the entire crew for a day is not only time, but also money. In case of unpredictable rain or continuous sunny days, this will be a great expense.
The comedy romance movie "Bigfoot Son-in-law" is a rural theme of the plot type, with depth of field, fixed, and long moving shots. The director chose the most difficult sports shots to complete part of the "one shot to the end". In short of funds and shortage of time The smooth completion of the film is inseparable from the director's years of skills and excellent teamwork. Regardless of the outcome, congratulations to the crew of "Bigfoot Son-in-law" and hope that the film will achieve excellent box office results. What I am looking forward to most is the "One Mirror to the End" in the film. It is said that many scenes that have been used in "popular and selling" theater movies have been used by the director in the film’s "One Mirror to the End". , Everyone will wait and see!
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