As a very successful epic commercial film in the 1990s, "Brave Heart" won a number of Oscar awards that year. Photographer John Thor's skillful technique and unique way of expressing emotions also won the film the most. The reason for good photography. Talk about personal understanding based on several major modeling methods of photography. 1. There are several important points in the composition film: the appearance of the little Wallace, the appearance of the adult Wallace, and the appearance of the warrior Wallace. 1. The appearance of the characters from Wallace is fully in line with the design of the movie script, and the protagonist appeared at the beginning of the movie at 2'40". In order to highlight the protagonist’s mystery and not affect the father’s role, the photography adopted sports, short shots, quick cuts, etc. However, when shooting Little Wallace, they are all close-ups, and when shooting father and brother, they are medium and close shots (the principle is always maintained in the dialogue between positive and negative), which clearly guides the audience’s perspective. 2. Adult Wallace played and left home when he became an adult. Returning to the hometown again, the protagonist is mysterious to the villagers and the audience in terms of plot. Here, the photography shows this mystery through the first big vision shooting. The lens is divided into the big vision (William riding, side)-the big vision (William rides a horse, front)-distant view (William rides a horse, back)-distant view (William dismounts, front), in a few shots, the audience can't see the details of the characters, but can only vaguely see the silhouettes, in order to stimulate the audience's curiosity ; And through the length of 30s to express the importance of the characters. 3. Warrior Wallace’s appearance photography used 21 shots to pave the way for William’s appearance, half of which is the middle shot of William riding a horse from behind the branches and houses, and the other half. It is the prospect of soldiers waiting in full battle. The photography treats this part as high speed, and the movement of the lens is extremely slow, which seems calm, but hides the murderous intent. In addition, several shots explaining William are blocked by foreground objects to enhance the sense of mystery; Reason is also reasonable. Whether it is from the offensive William side or the defensive soldier side, it is natural to find objects to form a cover for yourself. Because of the occlusion of the objects, the aggressor is not found. This is all natural, and the duty of photography is to express this. Reality, or more emphasis on this reality. 2. Sports 1. At the beginning of the film, the father and brother entered a room and found that the hanging corpse was constantly shaking. Using a short focal length lens, low-angle close-up shots were used to highlight the sense of perspective and space; hand-held shooting, There is a slight shaking, which simulates the real effect of human eyes. 2. In the scene where the princess and the maid were chatting at 1h05m, in the corridor of the castle, the prince and his servants came over and sorted their clothes. The whole process was basically with their backs to the camera. The photography conveyed to the audience that the prince was not important in the scene. Then the princess and the princess followed the prince and walked towards the camera. Both of them were front-facing. The camera used a fixed lens to show the princess's integrity and steadiness. 3. The Battle of Stirling is the highlight of the whole film, in which the two armies are fighting and heavy cavalry attacking is a set of parallel editing. The English cavalry are mostly distant shots, panning shots; William’s side mostly mid shots, zooming shots, rendering The tension on William's side. The lens was designed to be high-speed at the beginning, and then turned to normal speed. The internal and external rhythms of the picture are constantly accelerating, forming a strong visual tension. 3. Color As a film in the 1990s, the color is quite regular, and I don’t feel that color has been used to add color to the whole story. For the same epic film, it is far inferior to the color creation of the Lord of the Rings. It may also be because the director wants to express bias. The feeling of documentary, and the Lord of the Rings is a mythical work. The color of the whole film is too blue and the saturation is too high. In the large-scale war scene, the green of the grassland is too bright, showing a vibrant scene, which I personally think is not in line with the atmosphere of the whole film. On the whole, this film is undoubtedly a successful model, a milestone in an epic genre, and a good film that is worthy of repeated study and consideration. Many places are worth learning from future generations. The author believes that good photography should render emotions at the key points of the plot, highlight the emotions of the characters, and promote the development of the plot. It is not deliberately exaggerated, and does not deliberately seek novelty to attract people's attention, so as not to overwhelm the host (plot), at least for commercial films. Yes, the art film is another story. The Battle of Stirling is the highlight of the whole film, in which the two armies are fighting and the heavy cavalry is attacking. It is a set of parallel editing. The English cavalry is mostly for the distant view, and the panning shot; the William's side is mostly for the middle shot, and the camera is pushed to render William's side. Atmosphere of tension. The lens was designed to be high-speed at the beginning, and then turned to normal speed. The internal and external rhythms of the picture are constantly accelerating, forming a strong visual tension. 3. Color As a film in the 1990s, the color is quite regular, and I don’t feel that color has been used to add color to the whole story. For the same epic film, it is far inferior to the color creation of the Lord of the Rings. It may also be because the director wants to express bias. The feeling of documentary, and the Lord of the Rings is a mythical work. The color of the whole film is too blue and the saturation is too high. In the large-scale war scene, the green of the grassland is too bright, showing a vibrant scene, which I personally think is not in line with the atmosphere of the whole film. On the whole, this film is undoubtedly a successful model, a milestone in an epic genre, and a good film that is worthy of repeated study and consideration. Many places are worth learning from future generations. The author believes that good photography should render emotions at the key points of the plot, highlight the emotions of the characters, and promote the development of the plot. It is not deliberately exaggerated, and does not deliberately seek novelty to attract people's attention, so as not to overwhelm the host (plot), at least for commercial films. Yes, the art film is another story. The Battle of Stirling is the highlight of the whole film, in which the two armies are fighting and the heavy cavalry is attacking. It is a set of parallel editing. The English cavalry is mostly for the distant view, and the panning shot; the William's side is mostly for the middle shot, and the camera is pushed to render William's side. Atmosphere of tension. The lens was designed to be high-speed at the beginning, and then turned to normal speed. The internal and external rhythms of the picture are constantly accelerating, forming a strong visual tension. 3. Color As a film in the 1990s, the color is quite regular, and I don’t feel that color has been used to add color to the whole story. For the same epic film, it is far inferior to the color creation of the Lord of the Rings. It may also be because the director wants to express bias. The feeling of documentary, and the Lord of the Rings is a mythical work. The color of the whole film is too blue and the saturation is too high. In the large-scale war scene, the green of the grassland is too bright, showing a vibrant scene, which I personally think is not in line with the atmosphere of the whole film. On the whole, this film is undoubtedly a successful model, a milestone in an epic genre, and a good film that is worthy of repeated study and consideration. Many places are worth learning from future generations. The author believes that good photography should render emotions at the key points of the plot, highlight the emotions of the characters, and promote the development of the plot. It is not deliberately exaggerated, and does not deliberately seek novelty to attract people's attention, so as not to overwhelm the host (plot), at least for commercial films. Yes, the art film is another story.
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