My Hong Kong Island Filmmaker

Chapter 739 A scene of shocking talents, which has been famous in movie history ever since

PS: Ask for a recommendation ticket, ask for a monthly ticket.

A simple set of cutscenes, the rhythm has been kept tight.

The main reason is that this movie does not have so much money to waste film, it is not as embarrassing as "Days of Being Wild".Use such cutscenes to show each person's character and ability.

Especially A Yao, played by Su Liyao, said "add two pounds to the spring", which instantly showed his professionalism.

It's really cool when five guys walk out of the house in lapel collar shirts and suits and escort the eldest.

When filming this scene, Wu Xiaozu did borrow a lot of staging methods, capturing the camera statically and controlling the movement with 'static', including action scenes, which don't need too many movements, just use the camera position to react, so Paired with the way of staging, it just has a strong sense of film, which distinguishes him from the so-called down-to-earth low-cost production.

The low mirror is the picture.

Four pairs of black leather shoes, a pile of peanut shells, with Gu Zai's nagging lines inserted.

Fixed-camera medium shot head-up.

In the alley, there are two ordinary Masters, one black and one silver, and the street lights are very bright.

Ah Fei kept peeling the peanuts in his hands, and a piece of peanut shells fell on the ground.He has been stuffed with peanuts since the opening of the film, and many movie fans who watched it couldn't help but take out popcorn to eat.

Do you think this small design is just to enrich the characters and create characters?Please, do you have the money to take it~
The saltwater peanut brand that the camera scanned gave a sponsorship fee.

For a fashion drama, the most indispensable thing is advertising sponsorship, especially Wu Xiaozu's movies.

Gu Zai walked back and forth, talking non-stop, but the other party always ignored him.Then I saw the other three people coming out protecting the boss, a close-up shot of the boss.

boom!
Looking down at the camera, an unprepared bullet shot out,

It hit the chest of Brother Wen played by Kaohsiung, who was staggered by the strong impact of the bullet, and was instantly supported by the ghost played by Wu Xiaozu, and then quickly lowered the opponent's body and hid nearby.

Everyone pulled out their guns to cover in an instant, and the choice of camera position here is very good!The semi-suspended camera stares closely, and the movements of several people are taken care of in the whole camera.

At the same time it doesn't look confusing.

The sharpness of this composition is related to the camera position setting. The spatial positions of several people seem to be watching another "emergency response" test. The slow rhythm of peanut shells just now suddenly brought up the whole rhythm.

This immediately broke the soothing feeling caused by the transition shot just now, and the audience's minds also "dodged" accordingly.

This feels like when you are playing CS and sniping, your body is shaking for a reason.

Boom!

boom!
The bullets hit the ground, splashing dust, and the peanut shells were blown away by piupiu. Here, only a few people dodge the parts, but the atmosphere is heated up through side descriptions.

The choice of camera position and lens is very clever.

Several protagonists constantly change positions.

Here, a large number of vertical oblique vertical lines and vertical oblique horizontal lines are used in the composition, which gives the audience a visual sense of turmoil, imbalance, tension, and danger.

This is very critical for the choice of camera position. At the same time, here, Wu Xiaozu used backlight and sidelight many times to render the tense and dangerous atmosphere in the picture.

In the narrow alley, the street lamps reflected the panicked figures of several people. Under the long lens, there was no one in the silence. With the tense music, it instantly lifted the minds of movie fans.

Interspersed with the shot of the killer looking down and Ayao's snakeskin walking below, the looking down shot here actually has a setting that underestimates the perspective.

In later generations, this classic lens was used in "Kill Bill".

When shooting this shot, in order to set up the camera position, it was shot in the air.This increases the vertical angle, which increases the angle, on the one hand, allows the killer to achieve a state of omniscience, and on the other hand, actually limits the audience's perception area, which is conducive to creating a tense atmosphere.

At the same time, the depth of field design is used in the movie to guide the focus of the audience at the movie scene, allowing the audience to concentrate on the key areas of the screen, thereby creating a sense of substitution.

Bang~ Dang Dang!

The bullet hit the car, sparks flew everywhere, and the marks on the door were very obvious, making the audience speechless.

It was the first time for several people to cooperate, and the cooperation seemed a little rusty.However, through the continuous changes of the camera positions, the audience still feels the state of high alert, and the tension is revealed from the screen to every audience who watches the movie seriously. This kind of feeling is also the consistent style of this movie.

Although this group of shots is not so noisy, the audience enjoyed watching it very much.But laymen watch the excitement, and experts watch the way.

In this scene, the shots did not intersect quickly, nor did they use the fragmented editing that Wu Xiaozu made good use of in "God of Gamblers".

There are even few bells and whistles on the lens.

The most amazing thing is the continuous selection of seats!

Wu Yusen, Tsui Hark, and Wang Jing, the three first-line directors in the circle, were fascinated by it.

Scalp tingling.

In terms of lens design, Wu Xiaozu chose the most conventional option, but the camera position outlines a dangerous "battlefield" in the alley.

The constant change of camera position makes the whole scene full of suspense.

"This guy is teaching all the directors a vivid teaching class on camera position selection and screen composition analysis. In the future, some directors will not bury the camera position, so let's watch this set of scenes - no wonder the Academy of Performing Arts invited him to be a guest professor..." 'Wu Blow' Tsui Hark excitedly patted Shi Nansheng's thigh next to him, eloquent and popular poses.

As we all know, the three representatives of Hong Kong Island film critics - Chen Borong, editor-in-chief of "Film Biweekly", Lu Yanhua, the film critic column of "Ming Pao", and the last one is director Xu Da.

"To shut up."

Shi Nansheng stared closely at the people in suits on the screen. He had to say that Wu Xiaozu, Luo Dong, Gu Zai and Su Liyao looked really cool in suits.

Especially Director Wu, this kind of unscrupulous shirt with a lapel collar and a suit looks amazing!It is worthy of the bandit number of "Beautiful Zu" in Causeway Bay. Before that, many girls said in the tabloids that they had a love history with "Beautiful Zu"~
In front of the screen, many filmmakers in the teacher's wife circle couldn't help sighing, they are too greedy for such a strong body, and thanks to the fact that Director Wu's status is too high, if they are small fresh meat, they really... Let Director Wu Understand what is meant by the allusion that when an eel is hungry, there will always be an abalone. The entertainment industry is a place of right and wrong, and no one can be alone.

Tsui Hark hastily shut up, he actually hates not being disturbed while watching a movie, understandable.

But the scene was really well done.

Especially with a movie texture——

Nowadays, in the conventional operation of the film and television industry, most movies use a 16:9 aspect ratio, which magnifies every detail.TV shows generally have a 4:3 aspect ratio.

Later, American dramas officially broke this law.Many popular online dramas have also entered the stage one after another, because PCs and mobile terminals can fully support this kind of picture quality selection, and this kind of quality investment can be regarded as the common point of "popular" TV dramas.

As for TV... Anyway, in later generations, half of the 4K high-definition TVs on the market are fooling people, it just depends on who fools people.

In the deep blue and narrow alley, the shadows cover most of the light, and Luo Dong's "A Lai" slowly moves from far to near.

Shots change continuously.

The surroundings were empty, and the others had long since disappeared.

At this time, a beam of bright light came into the arena, and a 'taxi' with a license plate number of 1024 drove into the arena.

That's right.

It is this "Shadow Red Taxi" that appeared in many of Wu Xiaozu's films, not only in his films, but also in the films of Liu Wei, Qiu Litao, Wang Jiawei and others.

The horn sounded.

With a flick of his foot, the round-cut 'A Lai' turned his head slowly, looked around, his face turned cold, he tilted his head, and stared straight at the taxi...

thump~thump~
Ah Lai walked into the room with a stern face, and several careless people including Ashin, played by his Ma Zi Gu Zai, were also eating.

"Come on brother!"

"Where is ghost?"

"Calling in the garden."

The camera is separated by a layer of glass to capture the conversation inside. The menacing Luo Dong and Gu Tianle stand and have a conversation. On the opposite side, Fei Cheng holds a cup of coffee in his hand and freezes in the air. Su Liyao on the side is buried in his head and continues to eat pasta. This is a typical group. peeping lens.

Just like Hitchcock's famous case of "the bomb exploded within 5 minutes".Here, the perception of the audience is higher than that of the characters in the play.

In fact, here, the picture is divided into a rule of thirds composition by two glass frames.

In the middle, the character played by Luo Dong and the horse boy Gu Tianle stood in the middle, and the two vertical frames on the left and right placed Fei Cheng and Su Liyao respectively.Wu Xiaozu used this split composition to reveal the setting of the relationship between the characters.

Luo Dong took the lead to paint, followed by Gu Tianle, the horse boy, who chased after him. Then Fei Cheng paused, put down the cup swiftly, and chased after him.

Su Liyao was still immersed in eating noodles,

After eating, he paused, put down his fork, and walked out.

Is this design very staged?
That's right, in fact, many of the designs in this play are very dramatic~
Skip the field.

The bust of the vicissitudes of Uncle Fan's Marshal Bi Wu Xiaozu appeared on the screen, and many female audiences below were faintly "dihua".

"I don't care, help me find him."

At this time, a figure quickly walked over in the reflection of the swimming pool next to it.This is also the hallmark of Wu Xiaozu, who likes to use mirrors to increase the communication space.

Then--

boom!
Luo Dong pushed Wu Xiaozu without saying a word, and then caught off guard and slapped him hard!

Snapped!Snapped!
Two slaps were not enough, followed by another punch.

Punch and kick.

Snapped!
Wu Xiaozu covered his face in pain, but he didn't dodge.

It's a real hit!

When filming at that time, in order to achieve the effect, Luo Dong used everything for real. After the whole scene, Wu Xiaozu's face was swollen.

"Stop~"

Fei Cheng suddenly took out his pistol and pointed at Luo Dong's character.

At the same time, Gu Tianle, who was standing sideways beside him, quickly drew out a pistol and pointed it at him.

The two stood at an acute angle, facing each other faintly.

"Are you crazy? Put the guns away!"

A Yao, played by Su Liyao, hastily intervened in the middle, matching this picture and emotional confrontation.

(End of this chapter)