What are the ten differences in China's film photography in your mind?

Later, when I saw the word Li Pingbin, I knew that photography must be great. In fact, there is no doubt about Li Pingbin's ability to shape light and shadow. In Later Us, Li Pingbin also gave full play to his unique shooting style. In the part of recalling the past, Li Pingbin used a lot of saturated colors and contrasts to render the atmosphere, showing the youthful vitality of Jian Qing (Jing Boran) and Mix (Zhou Dongyu) when they first arrived in Beijing. In reality, the picture becomes a black-and-white image full of texture, which is their maturity and precipitation after being honed by reality. The transition between the two video styles is smooth and natural, especially at the end of the film, when I smile and read the letter written by my father (Tian Zhuangzhuang), the picture switches back and forth between color and black and white, but it is not abrupt at all. Coupled with Du's music and Tian Zhuangzhuang's monologue, this clip made countless audiences cry.

"Dying for Survival" is a phenomenal film of 20 18, and its drug concern has aroused heated discussion in society. In order to express the cruelty of reality and the warmth of human feelings, the film adopts realistic creative techniques, and enhances the texture of the picture through the shoulder-hugging lens, low saturation picture, dim lighting and rough graininess. In most scenes, the characters are always in dim light. Through the point light source and mixed color temperature, the film highlights the hardships of the characters' living conditions and the subtle changes of their expressions, and adds a little expressionist symbol to the realistic style.

"Evil Does Not Suppress Righteousness" continues Jiang Wen's previous style, and uses real scenes and special effects to restore the style of Peiping in the turbulent period in a dramatic way. The cozy romance on the roof contrasts sharply with the undercurrent inside the house. The film portrays a feminine character with soft light, and also highlights the ugly face under the power and money struggle with top light. The presentation of Jiang Wen-style violence aesthetics in "Evil Doesn't Suppress Righteousness" is also impressive, especially the boxing-to-meat duel between Black Lee (Eddie Peng Yuyan Yuyan) and Zhu Ganlong (Liao Fan), which makes the audience feel quite strong sensory stimulation through smooth mirror movement and sharp editing.

"Jianghu Children" is narrated by the story structure of a road film. The time has been extended from 200 1 to the present, with a great span. At every stage, we can see the shadow of Jia's previous films. In order to present the different textures of each era, Jia deliberately used six kinds of photographic equipment, including film, and gradually changed from the lowest pixel, so that the audience could unconsciously feel the passage of time and the changes of things during 17 years. The reunion of small hotels is the most important scene among the children of Jianghu. The film captures the emotional undercurrent between Jojo (Zhao Tao) and Brother Bin (Liao Fan) through the movement of the lens and the actions of the actors.