Unreasonable spatial reproduction is easy to form reverse discrimination. ()

Unreasonable spatial reproduction is easy to form reverse discrimination. (error)

The main feature of film and television photography, which is different from other arts, is that there is modeling first, and artistic modeling (picture) runs through.

So how to create a three-dimensional space on a two-dimensional plane in modeling? In this respect, the pioneers of film and television photography have accumulated a lot of experience and theories, such as how to use the characteristics of human visual physiological images to strengthen the phenomenon of line perspective and shadow perspective, how to use diagonal lines and obliquely arranged objects to stretch and gather in the distance to express space, how to use the backlight illumination of multi-level scenes to form rich shadow levels to express space, and how to change the structure and position of space through the unique means of film and television-sports photography.

Create a real and moving sense of the scene and broaden the horizons of space. For example, in a scene in the movie Little Soldier Zhang Ai, Luo Jinbao disguised as a traitor and took his son into the yard. (In the middle of the camera, he pulls) They get under the grape tree, (in the camera) and then turn around and walk into the small iron fence. Luo Jinbao removes a bundle of grass from the door, enters through a door (in the camera, the door opens to give a panoramic view), and they climb the roof and then get off the ladder.

This series of sports scenes not only reveals a mysterious and legendary sense of the elusive anti-Japanese guerrillas in those days, but also reproduces a sense of realism in space. In expanding space, China summed up three words in his ancient painting theory. One is "zoning", that is, using the foreground to arrange more scene levels. When choosing a scene, we should make use of doors, windows, fences and buildings as far as possible to make the foreground, so that the scenery has a progressive relationship, so that the smoke spreads among multiple scenes and the phenomenon of spatial perspective is strengthened.

The second is "borrowing", that is, the choice of background, shooting indoor scenes, the background should have doors and windows to penetrate the light or see the distant scenery through it. Outside, there are distant peaks, towers, buildings and so on embedded in the background in the form of points. The third is "lead-in", that is, lines are used to extend and guide the depth of the picture. Such as roads, rivers, canals, rows of trees, telephone poles, etc.