Usually the specific construction of all scenes and art elements of a commercial film is derived from the unified aesthetic style and color scheme of the work.
After completing the location survey, Yan Qing did not wait for the opportunity to contact Professor Weng during his busy schedule. He spent the rest of the trip in meetings until midnight, leading the team to rush forward.
A competent film location selection team must not only consider the outdoor shooting scenes of the crew, but the matching of studio scenes is equally important, and the two must be coordinated to form a unified aesthetic style.
The location selection team of the "Laughing East" crew, led by Yan Qing, met non-stop with professionals from the logistics, props, and art groups (scenery, props, makeup, costumes, etc.) to discuss the Miao Village Drum Tower, Diaojiao Tower, and Fuso in the film.
We will discuss the layout plans for the interior scenes of the style inner room, the water prison, and the Heimuya Sun Moon God Sect General Altar.
Of course, before that, there is still a problem that needs to be solved urgently - the core idea that guides the artists in making the setting plan, and the unified aesthetic style of the entire film is still unclear.
After pouring himself two cups of coffee, Yan Qing discussed this issue seriously with the artistic decision-makers of the crew, Su Xiuzhen, the art director appointed by Whisper Pictures, and Xie Wanying, the costume director supported by Shanghai Film Studio.
"The mist and rain are vast, the wind and sand are rolling, drinking in the wind, playing swords and singing, the helplessness of being unable to control yourself, the sadness of not being able to love, the vicissitudes of white clouds and gray dogs, and the unparalleled open-mindedness of smiling at the wind and clouds."
Although he has practiced sketching skills in private, Yan Qing's own artistic attainments are not high. He can only try to use some emotional adjectives to summarize the overall aesthetic style that needs to be presented in the film.
"You are too general..."
Su Xiuzhen, who has more than 30 years of experience as a professional film artist, slowly shook her head. She expressed it as euphemistically as possible: "Director Yan, we need more precise words..."
"Old Monster Xu's personal style is a bit unpredictable. This is a bit difficult, but there is nothing we can do. If we want to achieve excellence on the basis of the original film, we must use a systematic film industry process to replace the relatively extensive randomness.
Production mode."
With a correct attitude, Yan Qing continued to try to summarize the results he wanted.
"The so-called aesthetic style itself can only be understood but cannot be expressed in words. In fact, Director Yan has expressed it very clearly through the soundtrack..."
The influence of "A Laugh in the Sea" seems to have exceeded Yan Qing's expectations. Xie Wanying, who was thinking thoughtfully on the side, blurted out and concluded: "There is still a night of glory left!"
Xie Wanying's sudden inspiration can be said to wake up the dreamer. Comparing the effect and atmosphere map of the set drawn in advance by Yan Qing, and combined with the site survey photos taken during the location selection, after an in-depth exchange between the three people, Su Xiuzhen accurately
The aesthetic style of the film can be summed up in four words by combining the ground and the atmosphere: aloof, poignant and beautiful.
"Director Su, Director Xie, apart from "Li Yu", I have never done any costume work before..."
After determining the harmonious aesthetic style, Yan Qing turned the topic to color grading: "Perhaps the overall color grading scheme of our film also needs some guidance from the two teachers."
"Director Yan, you are being overly modest. "Pause Today", "Moonlight Sultry"..."
Apparently Su Xiuzhen took Yan Qing's lack of confidence as modesty: "The aesthetic style of these two works and the overall color matching of the movie are very harmonious!"
"There are reference standards. This is a period film, and the original film was very rough..."
Suppressing the complaints in his heart, Yan Qing looked at Xie Wanying for help.
"Don't look at me. In the later stage, Fu Hua can't say anything..."
Resolutely stating that she did not want to be involved in post-production, Xie Wanying couldn't put it down and looked at the pile of Wanli New Year-style costume manuscripts on the table: "We revised all the costumes the day before yesterday, and now we are rushing to meet the deadline. Director Yan's color matching
It’s obviously a great job…”
"I plan to do it this way. In the early stage, the tone will be determined through the arrangement of clothing, lighting, and scene color matching."
Forced to rush to put it on the shelves, Yan Qing had to stand up and explain his point of view: "In the later stage, the overall picture saturation and other parameter balance values of the film were adjusted to make the contrast effect harmonious."
"We can all see the smooth thinking and Director Yan's level. Professor Weng's appearance is also amazing..."
She casually picked out from Xie Wanying's hand a photo of Weng Huai's make-up taken during the preparatory meeting for reading the manuscript. Su Xiuzhen leaned back slightly and couldn't help but praise: "What is the beauty of oriental charm?"
"She is the perfect candidate for Dongfang Invincible in my mind..."
Once he talked about Weng Huaijing, Yan Qing couldn't help but become full of confidence, and finally restrained his sudden pride. His answer seemed a bit reserved: "A large part of my confidence in this film actually comes from the actors themselves.
.”
"Judging from the costumes Professor Weng tried on before, the style of Dongfang Bubai in the film uses a square scarf round collar and buttons on the front as the main binding..."
Xie Wanying carefully commented on Weng Huaijing's makeup photos from a professional perspective of clothing: "The typical Ming Dynasty Hanfu style is compatible with some Fuso ethnic designs..."
"Dongfang Bubai's clothing is mainly red, which is a warm color, highlighting her confident, assertive, enchanting and charming features..."
Su Xiuzhen continued to interpret from the perspective of color science: "Most of the others wear cold-toned clothing, using changes in cold and warm to create a sharp contrast to highlight the unique image of Dongfang Bubai."
"Her outfit also combines some elements of Peking Opera... I think I have made some optimizations on the original work..."
Shamelessly, Yan Qing accepted all the compliments from the two of them: "Yes, Director Su, my idea is to achieve the purpose of highlighting the characters through the contrasting effect formed by two corresponding colors."
"Use two colors, warm and cool, to emphasize contrast and enhance bright, prominent effects."
The professional terminology came to mind, and Su Xiuzhen, who is well-informed, summed it up: "complementary color scheme! Typical Hollywood style, complementary color mode color mixing technique."
…
…
The outdoor stage design, studio style planning, scenery layout plan, large-scale prop production, costume style matching, and even the specific booth erection progress were all agreed upon one by one in this meeting with high communication efficiency.
In addition to being responsible for the costume styling of the art team, costume director Xie Wanying is also in charge of the makeup artist team. After unifying the scenery and costume plans, she communicates with Yan Qing accordingly on the makeup photos of the other main characters to ensure that every
The makeup and styling plans for individual characters are in line with the atmosphere and effect expected by the director.
Scenes such as the Miao Village-style Drum Tower and Diaojiao Tower cannot be reconstructed at the Yanqi Lake base. The meeting also decided to select a site in the hilly bamboo sea for artificial scenery.
Although temporary scenery has many inconveniences, it is not without its benefits. At least the scenery can be constructed strictly according to a unified aesthetic style, which is more in line with the requirements of Yan Qing and Su Xiuzhen.
…
When Yan Qing finished the busy preparatory work on the first day and returned to his room on the eleventh floor of the hotel, it was already two o'clock in the morning in the Imperial City.
The room arrangement for the "Laughing East" crew was decided by Luo Bing and Shao Qing. Originally, the two villas Danyunju and Huangliju were allocated to the two main creators of the show, but Yan Qing showed his gentlemanly style and moved into the main building.
, he gave up Huangliju to several female supervisors of the crew.
After some final adjustments, Dan Yun moved into Miao Miao, Zhang Yameng, Li Hanyuan, Zhou Peipei, Shao Qing, as well as Yi Yi and Weng Huaijing who had not yet joined the group.
Huangli Ju was divided among Luo Bing, Xie Wanying, Fei Jingyu, Yi Li, Zhao Mu, Su Xiuzhen and others.
［nighty night, good night. don’t let the bed bugs bite.］
Good night, sleep well, and don’t let the bed bugs bite you. Before going to bed, Professor Weng sent Yan Qing a playful good night message in a New York style.
"Subtle and restrained, that's her style..."
Yan Qing, who took off his mask, smiled tiredly and contentedly. He turned off the screen of his mobile phone and placed it carefully under the pillow. He murmured softly: "Anyway, I can accurately translate what she wants to express."
"Good night sweetheart, let's share the morning and evening together!"
After washing and bathing, putting everything away, Yan Qing muttered his own interpretation, and fell into a sweet dream in room 1109.