How was the mirror shot made in the movie?

Because this prop turns off the lights and opens the movie. These good movies need you to see them again.

Yi Zhi bingbing

In daily life, the mirror is always our indispensable good partner.

Rearview mirrors and mirrors can broaden our horizons.

Cosmetic mirrors and vanity mirrors help us to be careful with ourselves.

When the film meets the mirror, it can also be used in

Technical level and narrative level

Play a wonderful role

Today we will explore together.

When the movie meets the mirror? What kind of spark will it spark?

▼

Scene scheduling? Element juxtaposition

The beginning of a good movie is particularly important, and it needs to briefly and effectively explain the background of the times and introduce the characters.

In Sweet Honey, Li Xiaojun visited his menstruation home for the first time. The scene is a typical Hong Kong residence, cramped and cramped.

When the camera can't be turned on, the director sets up a mirror in front of Li Xiaojun, and juxtaposes the photos around Li Xiaojun, aunt and dressing table through specular reflection.

It not only clearly explained the relationship between Li Xiaojun and his aunt, but also laid the foundation for later revealing the relationship between his aunt and the people in the photo.

The first thing Li Xiaojun did when he came to Hong Kong was to witness a long and unforgettable secret love in front of the dresser, which also indicated his indissoluble bond with Li Qiao.

The juxtaposition of all these important elements is due to the role this mirror plays here.

At the same time, due to the narrow building space, using specular reflection for scene scheduling is also a common scheduling method for many Hong Kong films.

Another classic mirror application in Sweet Honey appeared in the scene where Li Qiao and Li Xiaojun asked Teresa Teng to sign on the street.

The lens simulates Li Qiao's subjective perspective and looks at Li Xiaojun in front of the car. The word "Teresa Teng" on the clothes kept reminding her that it was a secret symbol of love between them.

At this time, the camera is turned upside down and aimed at Li Qiao's face in the rearview mirror.

Up to now, it is not difficult to see that Li Xiaojun still has the illusion of love for Li Qiao, who is a relatively unstable party in this relationship and always avoids problems.

Using specular reflection, Chen Kexin consciously showed these two roles to the audience. On the one hand, he effectively conveyed the excitement of crackling characters at that time, and pointed out that Li Qiao still had feelings for Li Xiaojun in real scenes.

At this moment, the two people who had hidden their feelings finally revealed their feelings and faced each other.

The effect of mirror reflection juxtaposing the front faces of two characters is far better than the emotional power that can be carried by overlapping the back faces.

Using mirrors to schedule scenes like this is the application of mirror elements in film technology.

The overlap between reality and reality? Intrinsic consistency

In the mirror application, the third suspicion can be said to be innovation.

The film repeatedly presents the encounter between lawyers and prisoners, and each dialogue is shot in a different way, which is very design-oriented.

One of the details is that with the deepening of mutual understanding between the two people, the virtual shadow of the prisoner or lawyer began to be gradually projected on the glass of the interrogation room.

Under the dim scene lighting, transparent glass also acts like a mirror, which can present two faces with different orientations on the same screen at the same time.

This feature reached its climax in the last scene of the interrogation room, and the virtual shadow of the prisoner's face directly overlapped the lawyer's face.

At this moment, the two people have achieved spiritual unity in both the relationship between father and daughter and the concept of life and death, so the two people in the picture are facing the same one, as if pushing the same place.

However, if we look closely, we can find that the virtual shadow of the prisoner is always ahead, while the lawyer in the real scene always tries to get close to the virtual shadow, which highlights the relationship between the two.

Lawyers have come this far under the guidance of prisoners' spiritual beliefs.

At the same time, the prisoner has gladly accepted the fate of the death penalty, and his virtual shadow is like a ghost left in a dark space, while the lawyer's entity gradually disappears with the reflection on the case.

This two-minute fixed lens is a virtual shadow effect made of glass or mirror, which expresses rich connotations in the language of the picture.

Self-warning? Critical turning point

In other scenes, mirrors as props can provide a new perspective for cameras. The mirror can even simulate the mirror with the camera lens without actually appearing, so that the protagonist can look directly at the lens and achieve the effect of looking at the mirror.

In "I, the Queen of Flowers", there is such a set of scenes. The audience witnessed the process of tonia's makeup step by step before the Olympic Games, and had the opportunity to observe her personality state that she was almost overwhelmed by pressure and had to pretend to cheer up.

When shooting, the actor actually made up for the camera and couldn't see his face, which was a great test for the actor's acting skills.

Through the medium of "mirror", people in the play can stare at themselves for a long time, communicate with their true selves, and also guide the turning point of the development of the subsequent characters in the play.

Similar treatments include Einar's staring at her body in front of a mirror in The Danish Girl. Through some self-admonition, he finally established his inner desire to be a woman.

This scene of staring at the true self in the mirror is the key to Einar's transformation.

The mirror here plays a progressive role in the narrative level, and the only difference between The Danish Girl and I, the Queen of Flowers is that the latter not only has narrative expression, but also provides an auxiliary perspective by using the mirror, which combines the technical level and narrative level in the same shot.

We can't say which film has a better shot, as long as it is suitable and meets the current needs, it is an excellent idea.

Compartment space? The boundary between reality and reality

Mirrors are also frequent visitors in thrillers. The Shining and other classics introduced Danny for the first time, using his photos in front of the mirror.

Danny, with a lovely face, has an unusually strange conversation with himself in the mirror. At this time, the world in the mirror has become a virtual and eternal world, which is unreasonable.

And this mirror is the entity between illusion and reality.

Another classic, Black Swan, also uses a lot of mirror elements. The first sign of Nina's schizophrenia is that Nina in the physical space is inconsistent with Nina in the mirror.

Since then, Nina has often seen her virtual shadow variation in the mirror. It can be said that Nina is aware of the disorder of her spiritual world, and the reality in the mirror is Nina's spiritual world.

When she comes to the dressing room, Nina is in direct contact with the black swan in the mirror, which is a fixed element and always occupies the left and right sides of the picture. It is because of the existence of the mirror that the channel between reality and illusion is opened.

It's not that using mirrors to distinguish reality from fiction is the patent of thrillers.

In the biographical film Goya, middle-aged Goya walked into his own imagination when he was ill, from the real scene to the imaginary space, and finally passed through a mirror to the real life of old Goya, which meant that old Goya recalled the past and his thoughts flew back to reality from memory.

This double transition finally falls on the medium of mirror, because it has the ability to realize the hero's self-prudence.

Therefore, the application of an element in the narrative level and technical level is often not single-layered, but superimposed, which is a perfect attitude of an excellent director towards the work.

Mirrors are important movie props.

On the one hand, it expands the breadth of physical space in the picture.

On the one hand, it opens the extension of the inner world of the characters.

Let's continue to explore in the next program.

Difficulties and skills that should be paid attention to when shooting mirror images

We, read only classics.