>Lance stood in the corner of the floor-to-ceiling window, looking around at the whole house, and conceiving the composition of "hard fruit candy" in his mind.

In the last life, David Sred's lens was not exquisite, but the effect was very outstanding. He used a lot of enlarged close-ups. In many pictures, the facial expressions of the two protagonists filled the entire picture, leaving less than a quarter of the space for the background picture, so David used the red wall to strengthen this feeling of emotional conflict.

The success of this approach lies in magnifying the actors' emotions to the extreme, and invisibly creating an indescribable sense of oppression, which leads to the entire viewing process being very depressed; but the disadvantages are also very obvious, lacking the digging of characters, lacking the outline of the relationship between characters, and even lacking the use of space.

It can be said that David does not have a clear idea of ​​using the lens. Sometimes when some shots are taken, he uses them directly, without special conception, and no careful design. He uses the composition method of the lens, running trajectory and switching angles, etc. to achieve the purpose of emotional guidance, story preparation, psychological suggestion, etc. In this regard, Mexican director Alessandro Gonzalez Inaritu is an outstanding representative, especially his culmination of works "Birdman" and "Wild Revenant".

Lance does not intend to give up the close-up shot in the original version, but Lance hopes to use the medium scene and even the panoramic view to show the relationship between Hayley and Jeff in a more three-dimensional way. Especially the change in the relationship between hunters and prey can be presented with the sense of space of the panoramic lens.

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"Hayden, you know, when Hayley just arrived at Jeff's house, she was nervous, even tense, but on the contrary, Jeff felt very comfortable, and that was his territory. I don't want to use too many trivial shots, but show this relationship between the two." Lanss held his chin, constantly came up with a plan, and then overturned it himself, and finally decided to exchange ideas with Hayden.

Hayden was used to this mode, so he glanced at the audience, "What do you think you should use a long shot to show it? Michael, Allen, can you demonstrate it? You two have just arrived at Michael's house, one is the master and the other is the guest." Hayden shouted loudly, but Allen was still not used to it and was a little confused.

Lance interrupted, "Emma, ​​you can take the place of Allen, take a look."

Emma simply responded, then trotted to Michael, gave Allen a comforting look, and then demonstrated with Michael. Emma had read the script of "Fruit Hard Candy" repeatedly, so she immediately understood Lance's request. While visiting the house, she explained to Michael in a low voice.

Hayden ignored Emma and Michael's conversation, but began to gesture, "The way we can retreat, follow the two of us in the house, and then follow Hailey's footsteps to visit the whole house. Behind Hailey, Jeff was talking while opening the refrigerator to pour water for Hailey, using Hailey's uneasiness in his movements to contrast with Jeff's freedom of voice..."

At the beginning of the birth of long shots, the biggest feature is to emphasize reality and present space, time and characters in reality, but with the development of film art, long shots give more meaning. Now using long shots is more to show the complex relationships of characters and the synchronous beginnings and ends of a grand scene. The long shots of the four and a half minutes of Dunkirk retreat in "Atonement", and the long shots of the "Birdman" that are nearly ten minutes behind the scenes of Broadway.

Lance shook his head and interrupted Hayden's words, "I'm considering that the castrated part uses a long shot to contrast Jeff's emotional changes in static with the dynamics of Hayley's busyness in and out, making full use of the entire sense of space to push that torture to the extreme. However, I'm not sure."

Long lenses are undoubtedly the simplest of all shooting techniques. You only need a camera and a tripod, and you can complete a static long lens without moving; but at the same time, long lenses are also the most complex and difficult of all shooting techniques, because montage can complete the lens splicing through editing, but long lenses in the moving must consider the changes in space and time. Therefore, don’t use long lenses easily. Once used, you must do the best.

"I mean, I want to highlight the confrontation in the whole space. Jeff is the hunter, and Hayley is the prey. At this time, the prey enters the trap, and the hunter is proud and paces around the trap with ease, enjoying the final struggle of the prey, and then begins to lure the prey little by little and relax and take the initiative to dedicate themselves. Therefore, the sense of space is very important, but the mentality of the hunter and the prey is also very important."

Now Lance's understanding of movies is closer. The lens is the director's eyes. In fact, every shot of a truly outstanding movie is carefully designed and thought about, rather than saying "it seems to be good to shoot like this", so it is shot like this. Even commercial movies, downward shooting, upward shooting, aerial shooting... close-up, medium-scene, long-range shooting... different lenses have different visual effects. For example, Michael Bay's complacent "bomb perspective" in "Pearl Harbor" is very special. It rarely takes the bombs dropped by an aircraft as the perspective to shoot the panic of the crowd on the ground, and finally presents the explosion.

Therefore, the way Lance looks at the camera has also changed. If the previous works only rely on experience and ability to use the camera, then now Lance knows clearly what he is doing and what he wants.

Hayden thought carefully, "Panorama, then we will use panorama." Hayden walked quickly and looked for the right shooting angle in the room, "Michael, Emma, ​​stop, Emma, ​​you stand in the kitchen, Michael...you, you appear a little casual. You see, we put the whole space into the camera, stand in the corner, and then put Hayley in the far end, and Jeff was at the proximity, making full use of the space to create visual differences, and then use close-up or close-up to capture the details of the face and the emotions of the eyes, and use montage editing to integrate emotions into the entire space.

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Someone once described montage like this. If you just see a person smiling, then everyone will have countless guesses; but if it is a smile, followed by a bouquet of flowers, then people will assume that the person likes flowers and smiles, and followed by a lover, then people will naturally assume that the person is immersed in love. Similarly, the person is followed by a corpse or even an explosion, then people will think that the person is a terrorist or a perverted murderer.

This method of using lenses to generate associations and editing to achieve narrative purpose is montage.

Now, Hayden is going to use the camera suggestion and montage technique to present the relationship between prey and hunter.

The corner where Hayden stood was diagonally diagonally the door of the house. Standing here, the whole room was an upright rectangle, which would create a visual illusion of increasing space. Then, let Jeff get closer to the camera, which would make Jeff look taller, and his relaxed movements would also magnify; as for Hayley at the far end of the camera, she would appear smaller, and her weakness and tension would be further highlighted.

But the problem is... "Is there a camera position from beginning to end? There are 120 to 150 seconds of footage." Lance frowned slightly. If the camera position does not change for a long time, it will give the audience an illusion of "I am a bystander". Some movies need such a sense of isolation, but "fruit hard candy" is not. Lance needs the audience to be substituted into the perspective of Haley or Jeff and truly become a member of the movie. This is also the reason why a large number of close-ups were used in the original movie - the feeling of immersion is very obvious.

"Of course not." Hayden and Lance have collaborated on four movies and immediately understood what Lance means. "I will slowly push the camera, creating an illusion of peeping footage getting closer and closer, and finally entering the room." Hayden walked to the center of the room, "I remember in the script, when Hayley was bartending in the kitchen, Jeff went to the room to play music. We can rehearse several times to ensure that the camera can also bring all the details into the eyes as it slowly advances. Then after Hayley finished the bartending, the camera can focus on her, follow her steps into the room, and turn into a close-up or close-up..."

Create an illusion that the audience empathizes with Hayley - becoming a prey. Hayden fully understands what Lance means. This part of the audience must be prey because it is a plot that accumulates the audience's hatred for Jeff, so the audience needs to deeply feel Hayley's uneasiness and anxiety.

Lance recalled carefully that in the original work, most of this scene was locked on Hayley, and Jeff was talking outside the camera as an outsider, which is also the reason why the audience could never hate Jeff to the core. But now in this way of shooting, the audience can observe Jeff from the perspective of Hayley - Jeff, who was calm and contented, Jeff was always hooking/inducing Hayley. From alcohol to music, to photography, Jeff has been picking/knowingly teasing Hayley.

"You can take pictures of Hayley from the side, and then at the far end of the camera, Jeff occupy the main body of the picture. Finally, the camera slowly draws closer and observes Jeff's expression from Hayley's perspective, but don't lose Hayley's performance in the camera." Lance also followed quickly, and inspiration began to flow continuously.

"What does it mean?" Hayden was surrounded.

"I mean, in this section, the focus of the shot is Hayley, and it should show Hayley's nervousness, even fear and disgust, and convey the rejection of Jeff in this way. But the protagonist of the picture should be Jeff, one quarter is Hayley, one quarter is the background space, but the remaining half is all Jeff, using Jeff's expression and posture to convey the condescending feeling of playing with applause." After Lance explained this, Hayden immediately understood.

"But..." Hayden couldn't help but hesitate, "This requires a lot of attention to the actor's performance."
Chapter completed!