Modeling characteristics of role modeling design

Film artistic modeling has three characteristics,

Realism Because the camera lens has the function of faithfully reproducing reality, all the scenes captured can reach a realistic level. The audience also demands a sense of reality. All clothes and make-up must be real or fake. It must be accurate in the sense of the times, region, identity, style, old and new, and depth. In front of the camera, all the scenery, such as landscape rooms, flowers and trees, and all the actions, such as wind and rain, fire and bombing, should appear the same as in life. The scenes designed by film artists must be able to blend seamlessly with the real scenes chosen in life. Since the rise of new realism, the documentary nature of films has been emphasized, and the requirements for realism have been raised. The small street in Guangzhou, where the Yamaha fish stall is located, is a rich secular picture of Guangzhou, and even makes people smell a strong fishy smell. This setting creates a credible living environment for the film and can win the trust of the audience. On the contrary, any falsehood or inaccuracy will destroy the authenticity of the film. For example, a modern thermos will destroy the credibility of a War of Resistance against Japanese Aggression story. Moviegoers regard the lens of a camera as their eyes. When it comes to close-ups and close-ups, they just stay in the scene and can look around as the camera moves. Therefore, every corner of the scene must stand the scrutiny of the audience.

suppose

However, the art of film is hypothetical. The scenery is set by the studio, and necklaces and jewelry are fakes; Car accidents, explosions, sea storms and other thrilling scenes are all fake, and so are many dream worlds and future worlds. Therefore, the realism required by the film is only seen from the camera lens and projected through the projector lens in the future. The image is real. What the audience sees is never the designed scene itself, but the image of the scene seen through the camera lens, which is the image of people or scenes shot under the control of different angles, focal lengths and speeds of the lens. Therefore, the authenticity of film modeling is not realistic authenticity, but artistic authenticity. It does not require the naturalistic representation of life, but the artistic representation of life.

truth and falsehood—actual situation

This realism requires film artists not only to have rich life experience and historical knowledge, but also to design real environment and clothing, and also to have artistic accomplishment. They can choose, refine and generalize on the basis of real life, create more typical, better and more expressive artistic truth, integrate real life with artistic truth, and bring the audience into an unspeakable realm with limited tangible scenery. For example, the hero of the story of the bonfire era was injured on the battlefield and fainted. The scene of his childhood hometown appeared on the screen: the roots of birch trees by the river were submerged in the water, and a small wooden boat with broken cables drifted slowly on the water with the wind. These scenes vividly explain the soldiers' yearning and attachment to their hometown, childhood, peace and life. More often, this kind of subjective lens is not needed, but in the specific scenery of the plot development process, the virtual reality is used to let the audience see the rich meaning behind the scenery. The opening of My Country and My People is a street square in a European country, empty and empty. The camera pushes a statue of an unknown soldier, like the year of World War I, and then Nazi occupation army officers and motorcycle teams enter. This tells us that 20 years after the First World War, the European people were trampled by fascists again, and the blood of unknown soldiers was wasted. Next, the rebellious pseudo-mayor welcomed the Nazi officers out of the car. There are two hands clasped in the camera, one is the mayor's glove-off hand, and the other is the officer's glove-on hand, which shows the arrogance of the officer and the servility of the pseudo-mayor.

Sports film is the art of sports, and the artistic modeling of the film should combine the three sports forms of the film. First of all, we should cooperate with the movements of movie actors. Art works provide actors with an activity environment and clothes that are in line with their roles and personalities. These environments and costumes can not only hinder or restrict the actors' movements, but also provide fulcrum and support for the actors' movements. The arrangement of doors and windows, furnishings and props, and the wearing of costumes are all conducive to the performance of actors and the scene scheduling of directors. Secondly, we should understand each other and cooperate closely with photographers. In the designed scene, it is necessary to provide convenience for the camera to push, pull, shake, follow, rise and fall, so that multi-distance, multi-angle and multi-direction shooting is possible, and the foreground and background levels are distinguished to make the picture more profound. It is also necessary to provide conditions for lighting work in various shooting methods. For example, when shooting in a long and narrow shaft of a mine, it is necessary to set up a set of lights in an ingenious way. Third, we should combine the movement of lens tissue. We should fully understand the director's montage idea, work closely with the editor, and use various organizational methods to make the shots taken from multiple distances, angles and directions coordinate with the montage rhythm.

Actor's scheduling, camera's action and lens organization are complementary, and the artist's modeling performance must be closely combined and complement each other. In the Soviet film The Man with the Gun, soldier Schederin saw Lenin busy in the narrow corridor of smolny institute, walking and chatting with Lenin. In order to finish the scene of Lenin and the soldiers without interruption, the artist removed one wall of the corridor, leaving only a row of columns, and added another corridor, raising it several levels. In this way, the camera can move on a long track and follow the actor to finish this dialogue without interruption. The camera has a sense of depth and the audience feels close to Lenin. It also captures the busy scene of smolny institute in the background. When Lenin stepped onto the stage, he was more prominent and sublime. The colonnade flashed from time to time in front of the camera shows the solemnity of smalley Palace, and the light and shadow changes caused by the colonnade highlight Shedelin's anxious mood.

Scheduling has two aspects: dynamic and static. Movies sometimes use static scenes to highlight the spatial modeling of scenes. In the English film Jane Eyre, the static panorama of Rochester Manor was shot several times. At first, Jane Eyre's lonely mood was set off by the quiet and empty environment. Finally, when she abandoned the unequal and disgraceful love and resolutely left, the empty hall, accompanied by Rochester's voice calling for Jane Eyre, showed a blend of scenery and characters.

Comprehensive film is a comprehensive art. Once all art departments participate in the film work, they lose their original independence, obey the requirements of comprehensive art, and reproduce and express their lives in coordination. For example, painting is a kind of artistic work that can be directly appreciated, but the works of scenery designers have lost the value of independent appreciation, but on the other hand, they have gained the value that painting does not have: although the scenery is also shot on flat film and projected on a flat screen, the designed scenery is no longer static two-dimensional with the change of lens orientation and distance, but has the effect that three-dimensional space produces time value, and static space art becomes dynamic space and time. At this time, the basic aesthetic principles in art, such as perspective, composition, chromatics and screen space processing, are still applicable, but they are not enough. Film art has more complicated requirements and richer expressive force.