What visual films do you know?

A special case is Wong Kar-wai. The extremely stylized visual images and postmodern expressions make Wong Kar-wai's film aesthetics extremely impressive. The most intuitive impression of Wong Kar-wai's films is the exquisite pictures. The rosy picture quality in In the Mood for Love is like an oil painting, the pale green phantom in Buenos Aires in spring, the lonely sail inn in the desert in Ashes of Time, and even the streets and shabby houses in Chongqing forest are full of beauty in the shocking picture.

For example, the recently released "3D Master" was converted to 3D, but Wong Kar-wai's artistic attainments are one of its most important killers. Standing in battle, solo dance in the jungle, mottled Buddha statues in the sunset have a strong three-dimensional sense, and the transformation can also achieve good results. And the static picture of the film is extremely exquisite. Many pictures in Master can be used as wallpaper. Ip Man plays the scene of Gong Er in the Golden Building. There is a table at the front desk, IP Man and Gong Er are in the middle scene, followed by a dusty woman standing at will, and the static picture is further processed in 3D. The pictures in the movie are gorgeous and retro color photos, and every shot is extremely elegant. Even the skirt lifted by the wind is so easy-going in the whole picture.

Mainland China: Strictly speaking, Peng Youlun is not a film director, but his concert beauty, mv, making short films for young idols in China and other visual contents are beyond the control of many mainland directors. Then let's briefly talk about the style characteristics of this rare visual director in the mainland. Peng Youlun, born with stage vision, can be said to be familiar with the picture composition in the film, but he also showed his unique composition and lens concept, which brought different visual impacts to the audience from many aspects such as image elements, photographic composition, light and shadow tones, color language and action forms.

First of all, Peng Youlun's pictures have a strong contrast, and the mixture of light and dark tones often highlights the surreal texture of the pictures. For example, her music micro-film "Beijing City" for "Awakening". In this black-and-white image, the warm decorative background of gold and red makes the overall gloomy picture more romantic.

The same is true of The Gift of quasimodo, where the warm white and gold in the cool tones show a strong sense of contrast. Of course, this visual impact is common in film and television works. In fact, her works do not pursue the fullness of tone, but only emphasize collocation. Su Miaoling's micro-movie "Eyes Always Know" uses a light yellow filter, and the background color is matched with the main color of deep tone, emphasizing the patchwork of the whole scene, such as mailboxes, bookshelves and letters all over the place. Under this background composition, the characters are matched with simple costumes, and the light warm colors are matched with the deep warm colors of the background. Under the application of volume light, it presents the effect of seamless combination of realism and freehand brushwork. This is true in several of Peng Youlun's works (such as the bicycle on the floor in The Gift of quasimodo, or the fashionable girl in bright clothes in front of the white wall). Exquisite minimalism with exaggerated and ethereal deconstruction.

In addition to the tone matching style, its most prominent style is composition. Peng Youlun's works have a strong sense of composition and deliberately pursue that sense of symmetry and wide angle. Almost all the characters in her films are in the center of the picture, for example, the eyes always know, but in this film, it is a symmetrical retro style as in The Grand Budapest Hotel, and this symmetrical style is reflected in the contrast between the two sides of the characters.

In quasimodo's Gift, a door is taken as the main perspective, and the black and white spaces on both sides are in contrast. On the one hand, they suppress helpless emotions, and on the other hand, they are lively and cheerful. In this work, the character wears a space helmet, a gas mask and a clown's face. In this style of symmetry and contrast, the close-up shows a distorted sense of reality, while the distant view is ethereal. The loneliness and longing of urbanites, depression and helplessness are undoubtedly revealed in the close-up in the ultra-wide-angle lens. The two worlds inside and outside the door are displayed with a wide-angle lens.

Wide-angle style is also Peng Youlun's visual symbol. This kind of lens has the advantages of short focal length, large viewing angle, large depth of field and strong perspective. The beach is the main perspective in the Mengwa Beach promo of "Where is Dad Going 2". In the distance, the sea of clouds is intertwined, and the close-up shows a unique sense of reality, while the distant field of vision is a fog. This novel lens language highlights the true colors of colorful dreams, and the innocence and childlike beauty of children are undoubtedly revealed in wide-angle lenses.

The intoxicating place of visual directors

As an oriental director, Peng Youlun's visual style is different from the oriental freehand visual system represented by Wong Kar-wai, but biased towards the west. There are very few visual directors in mainland China, who can only watch and cherish. The directors of the visual department gave us different visual enjoyment, from the new director Peng Youlun to the famous Wong Kar-wai and Mika Ninagawa, and even the famous Wes? Anderson, their works are unique and impressive, just like a glass of wine and a dose of medicine. It makes you addicted to it, but can you stop your inexplicable overeating?