A Brief Analysis of the Pictures, Shots and Photography of Crouching Tiger, Hidden Dragon

Looking back at Crouching Tiger, Hidden Dragon from the perspective of photography and looking back at Crouching Tiger, Hidden Dragon from the perspective of photography is nothing more than appreciating the dialogue between color and space again, which is related to the creative concept of Chinese painting. Bao Xide, the photographer of Crouching Tiger, Hidden Dragon, can best understand this message. Traditional Hong Kong films pay attention to gorgeous and dazzling pictures, and every penny spent by the producers must be seen on the screen, so the colors are gorgeous and in sharp contrast, and cigarettes must be lit at night to highlight the atmosphere; The protagonist must have a backlit substrate when he enters the stage, and his technique is fancy and his ability is extremely strong. However, Ang Lee does not want these technologies. Bao said: "The white-haired bride I photographed before is like a western oil painting with strong colors. "Crouching Tiger, Hidden Dragon that Ang Lee wants is a light China ink painting. This "light" style is exactly the same as Ang Lee. " "Light" is an artistic conception, not a formula. China's ink painting pays attention to space management, leaving blank only has charm, leaving blank only has memories. From the escort agency to Baylor House, Ye Jintian, an art designer, moved almost all unnecessary furniture, and the empty scene opened up the overall charm pattern; The theater space mastered through the viewing window always remembers to release the ethereal charm with the middle view and the distant view, so that the audience seems to be watching a painting. With space, the next step is to use color. "The movie is like a long poem, with a surreal artistic conception and a solid story. One TV series after another is dazzling, "said. "If I use extremely colorful colors to highlight the drama, it will not only help, but will cause interference. If color comes in to steal the show, everyone's eyes will be spent. " Crouching Tiger, Hidden Dragon has four groups of colors to match the development of the plot. The first half emphasizes that it is yellow and purplish, cold enough to match several action night scenes, and the moonlight is thin and gray. However, the feeling of sword fighting in the middle of the night is full of enthusiasm, mixed with hot and cold, so as not to add fuel to the fire in the sword shadow, which makes people fidgety. Followed by a strong red, yellow and Xinjiang color. This scene is a sweet past that Yu Jiaolong never forgets. It is because of her obsession that she will have vivid memories. Therefore, the color should be strong, highlighting her willfulness, highlighting Luo Xiaohu's important position in her mind, pointing out the intensity of this relationship, and bringing out her determination to break away from marriage and betray her family. Compared with the faint yellow and purple in the first half, the rich red and yellow here is already a declaration of action. The third color is Jiangnan green. From Huangshan Mountain to the green bamboo forest, it is full of vitality, which not only reflects the changes in the geographical environment of the plot and acting, but also implies that there may be a turn for the better. Li Mubai spoke inexplicably to Yu Xiulian at the window of Zhu Bi, and also caught a glimpse of the girl's worries that Yu Jiaolong refused to return the sword, which she had never faced and was unwilling to solve. The last cave scene, whether it is syncope, ecstasy, poisoning, heady, farewell crying, is gray-blue and in a difficult situation. A sea of people, gray and blue, just corresponds to the relationship between Li Mubai and Yu Xiulian. The title of Crouching Tiger, Hidden Dragon is directed at the names of Yu Jiaolong and Luo Xiaohu, but the focus of Ang Lee's lock is Li Mubai who is middle-aged and Yu Xiulian who has seen the wind and frost: if Li Mubai insists on returning the sword, the rivers and lakes will no longer be Percy; It is not that Yu Xiulian is considerate and forbearing in many ways, and her sisters have long turned against each other. In fact, the proportion of dark colors, light yellow and red, has indirectly shown the master-slave scene of the protagonist and supporting role, and because darkness is the most important, the desert yellow and Jiangnan green at a glance are particularly vivid. Crouching Tiger, Hidden Dragon is Ang Lee's dream of reading martial arts novels when he was a child. His martial arts guidance and Bao's control of the mirror position are heroes. It's not difficult to fly over the eaves and walk over the wall. Fixed-point displacement can also be solved by messenger wire. The difficult thing is that the knight-errant is flying, and the photographer has to simulate the flight, so as to create a three-dimensional space. This visual spectacle, of course, seems like an impossible task for a handicraft filmmaker who only knows the operation of pushing the track. But with the help of manipulator and strut, the physical limit of ergonomics is no longer a problem. Bao's double-flying panorama is the concrete practice of Ang Lee's aesthetics. As for the legendary beauty of martial arts, Bao abandoned the close combat of traditional martial arts movies and used a lot of medium and long-range shots. Only by looking from a distance and looking down can we reproduce the strange skills of the sword and experience the beauty of the rhythm of Wushu. Li Mubai night mask Jiaolong, as well as Yu Jiaolong's teahouse drama group of chivalrous and romantic; As for the escort agency confrontation between Yu Xiulian and Yu Jiaolong, it is a long-term dance and a close-up interactive rotation. Leave some blank space and leave a charm. Pale colors dilute the charm. The mirror position is full of charm. Bao's camera lens makes the audience fascinated, making the martial arts dream no longer a dream. See: /f? kz=205739834