Arthur Wong's photographic style.

Stylistic photography style "Film photography doesn't have to be beautiful. The most important thing is that it can match the plot, strengthen the tension of the plot, and make you feel comfortable, and you won't feel any photography style at all. Let you see that the deliberate photography style has long since failed. "

Arthur Wong shut down many blockbusters for The Painted Skin. "The painted skin has a sad and romantic feeling and a magical color, which will give me a lot of room for photography. If I have a choice, I will try to choose a movie type that I have never been exposed to. For example, magic movies give fashion action movies less space than fashion action movies. " Arthur Wong said.

How to use the lens to show the magical color of the film in pink ink painting is undoubtedly the first problem that Arthur Wong has to solve. Arthur Wong said that this drama is different from some magic films he has made before. He wanted to shoot the sad and romantic love in the story, so he gave up the strong contrast lights and reduced many scary scenes. Therefore, in practice, his lens moves a lot, and his composition will be very special, constructing a world without layers: "The lenses are all crooked, a magical world without balance." Arthur Wong said with a smile.

In addition, Arthur Wong has used many innovative technologies. "The play revolves around three girls and two boys. I used softer lighting, and the effect was smooth and bright, like the feeling of ink painting. In addition, I added a softer pink tone. " Arthur Wong said, "Warlords use a tough approach to reproduce how painful it is to live in the war. The lighting of "Painted Skin" is very soft. " Arthur Wong takes Zhou Xun as an example. "She is a beautiful girl at ordinary times, but sometimes she becomes very seductive in an instant. In the handling of this drama, we explore the feeling of man and demon according to the plot. When others doubt whether she is a demon, they should find a composition to set off her true and false atmosphere. "

In "The Painted Skin", Arthur Wong subverts the image types commonly used in ghost films and horror films, emphasizes the sad and romantic love with exquisite oil painting texture and golden warm tones, and abandons the horror images with great visual impact that are widely used to create a horrible atmosphere. This innovation has been recognized by the audience, adding a new type of "Oriental New Magic" to the 200 million box office club of domestic films.

Seven headlights lit up the day. Because 70% of the plays in "The Painted Skin" are night shows, the lighting requirements are very strict. A scene uses up to seven chandeliers, making the whole city become daytime. Arthur Wong was also moved: I have never shot so many scenes with seven machines. There is also the scene of the roof at night. The roof follows the roof, which requires a high range of lighting, several kilometers. This is the first time for me to use so many machines to light lamps, and the number of lamps used this time has also set my record.

In the film warlords, in order to highlight the characters, details and emotions, Arthur Wong used a lot of close-ups, often shooting close-ups around one or two hundred people, and capturing these rich details with eight machines, which not only made the presentation of the big scene more vivid, but also made the audio-visual language more rhythmic.

For vivid details, Arthur Wong will do the opposite and shoot big scenes with his strength. In the movie "The Painted Skin", the final outcome of Xiao Wei's fate turned into a display of a fox, which was reflected by a lens shaking from a height of ten meters. As the last shot taken by the film crew, the fox could have been represented by a fixed lens, thus avoiding the trouble that the camera fell and the animals were out of focus. However, Arthur Wong took pains to call the rocker arm and found a high platform for the fox to prevent it from slipping away during filming.

Compared with The Painted Skin and The warlords, the subversion in images is more thorough. From the perspective of commercial film owners and distributors, and from the image style of the whole China action film, Arthur Wong has gone further. He abandoned the elegant and gorgeous style of traditional Hong Kong action movies and challenged the image paradigm of "commercial blockbusters" in the audience's mind with rough bronze tones.

As an excellent photographer who grew up in Hong Kong's commercial system, Arthur Wong boldly subverted the existing large-scale image paradigm and genre paradigm in the process of deep cooperation with the mainland in filming "The warlords" and "The Painted Skin". He didn't emphasize personal style, and didn't put the prime number and unified style in the first place. All picture elements should be highly compatible with the psychological and emotional clues of the actors and stories.