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A simple set of cutscenes, the rhythm has been kept tight.

The main reason is that this drama doesn't have so much money and waste of film, unlike "Days of Wild". It uses cutscenes like this to show everyone's character and ability.

Especially A Yao, played by Su Li Yao, said "spring plus two pounds", which instantly showed his professionalism.

It was indeed very cool when five men wearing big lapel shirts and suits escorted the boss out of the house.

When filming this scene, Wu Xiaozu indeed borrowed many staging methods, static capture shots, and "static" to control "movement", including action scenes, which do not require too many movements, just use the camera position to react, so

Paired with the staged approach, it has a strong sense of cinema, which distinguishes it from other so-called down-to-earth low-cost productions.

Low mirror into the picture.

Four pairs of black leather shoes, peanut shells on the ground, and Goo Jai's lines.

Fixed camera shot, medium shot looking straight up.

In the alley, there are two ordinary TV sets, one black and one silver, parked, and the street lights are very bright.

Ah Fei kept peeling peanuts in his hands, and a piece of peanut shell was scattered on the ground. He kept stuffing peanuts from the beginning of the film, and many movie fans couldn't help but take out popcorn to eat.

Do you think this small design is just to enrich the character creation? Come on, you can get it if you have money~

The saltwater peanut brand the camera panned gave sponsorship money.

The most important thing for a fashion drama is advertising sponsorship, especially for Wu Xiaozu’s movies.

Goo Jai walked back and forth, talking endlessly, but the other party ignored him. Then he saw the other three people walking out to protect the boss, a close-up shot of the boss.

Bang!

An overhead shot, an unexpected bullet shot out,

It hit Brother Wen, played by Kaohsiung, in the chest. The opponent was staggered by the strong impact of the bullet. He was instantly supported by Agui, played by Wu Xiaozu, and then quickly lowered the opponent's body and hid nearby.

Everyone immediately took out their guns and took cover. The camera location was chosen particularly well! The half-suspended camera looked closely at the scene, taking care of all the movements of several people in the entire shot.

It doesn't look cluttered at the same time.

The sharpness of the composition is related to the camera settings. The spatial positions of several people are like watching an "emergency response" test. It was originally a slow rhythm of peanut shells, but suddenly the whole rhythm is picked up.

This suddenly broke the soothing feeling created by the transition shot just now, and the audience's minds started to "dodge".

It feels like when you're playing CS and sniping, your body is shaking in the same way.

Bang bang!

Bang!

Bullets hit the ground, splashing dust, and peanut shells were blown away by piupiu. Here we only shot a few people dodging, but the atmosphere was heated up through side descriptions.

The choice of camera position and lens is very clever.

Several protagonists constantly change positions.

Here, a large number of diagonal compositions, vertical diagonal vertical lines and diagonal horizontal lines, are used, which gives the audience a visual feeling of turmoil, imbalance, tension, and danger.

This is very critical for the choice of camera position. At the same time, here, Wu Xiaozu used backlight and side light many times to exaggerate the tense and dangerous atmosphere in the picture.

In the narrow alley, the street lights reflected the panicked figures of several people. Under the long lens, there was no one in silence. With the tense music, it instantly aroused the minds of moviegoers watching the movie.

Interspersed with shots of the killer looking down and A Yao's snake-skin movements below, the overhead shots here actually have a setting that despises the perspective.

Later, this classic lens was used in "Kill Bill".

When shooting this shot, in order to set the camera position properly, it was shot from the air. This increased the vertical angle. This increase in angle not only allows the killer to achieve omniscience, but also actually limits the audience.

perception area, which is conducive to creating a tense atmosphere.

At the same time, the depth of field design is used in the movie to guide the focus of the audience in the movie, allowing the audience to focus on the key areas in the picture, thereby creating a sense of immersion.

Bang~dang!

The bullet hit the car, causing sparks to fly. The marks on the car door were very obvious, and the audience was stunned.

It was the first time for several people to work together, and the cooperation seemed a little unfamiliar. However, through the constant changes in camera positions, the audience still felt that state of high alert, and the tension was revealed from the screen to every audience who watched the movie seriously. This kind of creation

The feeling that comes out is also the style implemented in this movie.

Although this series of shots is not that noisy, the audience enjoys watching it. However, laymen can only watch the fun, but experts can only see the rules.

In this scene, the shots were not cut very quickly, and the fragmented editing that Wu Xiaozu made good use of in "God of Gamblers" was not used.

There are even very few bells and whistles on the lens.

The most awesome thing is the constant selection of camera positions!

Wu Yusen, Tsui Hark, and Wang Jing, the three first-line directors in the industry, were all fascinated.

Scalp numbness.

In terms of lens design, Wu Xiaozu chose the most conventional choice, but the camera position outlined the alley as a dangerous 'battlefield'.

The constant changes in camera positions made the whole scene full of suspense.

"This guy gave all the directors a vivid teaching lesson on camera selection and picture composition analysis. In the future, there will be directors who will not hide their camera positions. Just look at this series - no wonder the Academy of Performing Arts invited him to be a visiting professor..."

'Wu Chui' Tsui Hark excitedly patted Shi Nansheng's thigh next to him and talked about popular postures.

As we all know, there are three major Wu Chui representatives in the Hong Kong film critic circle - "Film Fortnightly" editor-in-chief Chen Borong, "Ming Pao" film review columnist Lu Yanhua, and the last one is director Xu Da.

"Shut up."

Shi Nansheng stared closely at the people in suits on the screen. He had to say that Wu Xiaozu, Luo Dong, Gu Zai and Su Liyao looked really cool in suits.

Especially Director Wu, this kind of unorthodox big lapel shirt paired with a suit is so cool! He is worthy of the gangster nickname of "Jingzu" in Causeway Bay. Many girls have said in the tabloids that they were with "Jingzu" in the past.

Have you ever had a love story?

In front of the screen, many filmmakers in the film industry couldn't help but sigh, they are too greedy for such a strong body, and thanks to Director Wu's high status, if he is a little fresh meat, they really... let Director Wu

You should understand clearly what is meant by the allusion that hungry eels will eventually be rewarded. The entertainment industry is a place of right and wrong, and no one can be alone.

Tsui Hark quickly shut up. He actually hated not disturbing people while watching movies. That’s understandable.

But this scene was shot really well.

Particularly cinematic--

Nowadays, the conventional operation in the film and television industry is that most movies use a 16:9 aspect ratio, which magnifies every detail. TV series generally use a 4:3 aspect ratio.

Later, American dramas officially broke this law. Many popular online dramas also entered the scene one after another, because PC and mobile terminals can fully support this kind of image quality selection. This kind of investment in image quality is also the common feature of "hot" TV dramas.

.

As for TV... Anyway, in later generations, half of the many clamoring 4K high-definition TVs on the market are fooling people. It just depends on who can fool people better.

In the deep, blue and narrow alley, the shadows block most of the light, and Luo Dong's "Alai" slowly moves from far to near.

The shot changes continuously.

The surrounding area was completely empty, and the other people had long since disappeared.

At this time, a beam of bright light entered the scene, and a 'taxi' with license plate number 1024 drove into the scene.

That's right.

This is the "famous taxi" that appeared in many of Wu Xiaozu's movies. Not only is it often glimpsed in his movies, but it has also appeared in the movies of Liu Weiyi, Qiu Litao, Wang Jiawei and others.

The trumpet sounded.

With a kick of his feet, the round-headed 'Alai' head slowly turned, looking around, with a cold face, tilted his head, looking straight at the taxi...

Deng~deng~

Alai walked into the house with a straight face. Several uninterested people, including his co-star Ashin played by Goo Jai, were also eating.

"Come on brother!"

"Where's Agui?"

"Call in the garden."

The camera was separated by a layer of glass, filming the conversation inside. The menacing Luo Dong and Louis Koo were standing and talking. Opposite them, Feicheng was holding a cup of coffee in his hands and was frozen in the air. On the side, Su Liyao was immersed in eating pasta. This is a typical group. Peeping lens.

Just like Hitchcock's famous "bomb explodes in five minutes" case. Here, the audience's perception is higher than that of the characters in the play.

In fact, here, the picture is divided into three parts by two glass frames.

In the middle, the character played by Luo Dong and Ma Chai Louis Koo stand in the middle, and the two vertical frames on the left and right respectively place Fei Cheng and Su Liyao. Wu Xiaozu used this divided composition to reveal the relationship between the characters.

Luo Dong was the first to draw, followed by Ma Zai and Louis Koo, then Fatty paused, neatly put down his cup, and chased after him.

Su Liyao was still immersed in eating noodles.

As he ate, he paused, put down his fork, and walked out.

Is this design very stage-like?

Yes, in fact many of the designs in this drama are very dramatic~

jump scene.
To be continued...