In fact, I think "The Migration of Birds" is more tricky because of the only line - " The
Migration of Birds is a story about commitment."
de l'herbe), although there is no poetic theme that outlines the outline, it does not escape the human vision - I mean the vision is the angle rather than the object - the connotation that can be carried, as exquisite as the hand-carved window display, accurate to the slightest The scene switching, if it includes interesting sound coordination, has already fully demonstrated the ingenious craftsmanship of the Beihan team and the inheritance of the sounds of nature.
The beginning of the film is not a small world. What people see is a perspective like a dandelion seed swaying in the sky. The French children's chorus is clear and holy, accompanying people through the clouds. When the subtitles passed, the camera suddenly dropped, and the clouds and mists were cleared away, and it was a primitive grassland full of business. No matter how fast, no matter how fast, suddenly our world came to the ground. When I looked up, the sky that was originally high and distant was already torn apart by grass stems. But stop - we finally came to the micro world.
Then there are short shots that switch quickly, semi-static, and the subjects are the subjects of various small worlds, transparent, laborious, and giving the most vivid glimpse.
The camera pulled back again, as if deliberately trying to whet the audience’s appetite, the man’s brief monologue—in fact, I didn’t understand a single line or lyrics in this film—it was just a cutscene, it didn’t matter, it made people feel in the middle of the small depth of field and the virtual image. Look for the plump lens and the existence of the small world just now. In fact, the camera is lowered to the grass again. The grass that blooms at the beginning of the rain after the rain reflects the sunlight and reflects the string of water droplets on the grass stems, arranged like musical notes. It was deliberately released and evaporated to dryness. People's eyes must be unaware, the background music that simulates water droplets is too frivolous and pleasant, and the ants who have just emerged from the crypt are too lazy and greedy - the small world is indeed everywhere.
The director's usual method is to shoot a group of long-range shots when each group of shots is switched, rotate the camera slowly, sweep across the distant landscape, and search for the meaning. After reading it a few times, you will know that he looks like a crowd. Searching for his behavior thousands of times, the final result is not the awareness of the feet, but it is interesting.
Second, the most outstanding and most showy thing is that the original image is endowed with a sense of music—of course it is artificial, but such artificiality is precisely arranged in front of the truly beautiful nature, and it does not show any traces of carving
... In 8 minutes, the fast-released vines were climbing in circles in the air, circle after circle. The background music was actually amplified by the bees' wings. It looked like the sound of a violin, the bees moved with the shadows, and the flowers were crazy.
In the 15th minute, the romantic Frenchman once again showed his sensitivity to love. The female voice is very tense, and even more tense is the two lingering snails. The director did not spare time and shots here, so that the two snails were left alone - if They know the word, too—showing their happiness, plump skin with a provocative touch of pink, and cuddling with each other in the midst of an indestructible green.
In the 22nd minute, the irritable humming that had been foreshadowed for a long time before, the flowers withered, the bees were busy... A timpani sounded the prelude of the cracked earth, and the arid sand and gravel surface I caught from somewhere unexpectedly In this way, it can be connected with the green scene before. There is an extremely long migration queue of caterpillars on the ground. Sand hammers, hand drums, and timpani work together to create a long march of caterpillars. These caterpillars line up the two teams in an orderly manner, which is indeed surprising.
At the 30th minute, the dung beetle came on stage with his works. The military drums seemed to be specially made for him. He was fast, the drums were urgent, he was slow, and the violin was melodious... The last shot was zoomed further and further, showing that we have a long journey. The dung beetle is like Sisyphus, indomitable.
In the 44th minute, it finally rained. The camera of the raindrops falling on the ground and the pond was slowed down, showing a crystal clear crown effect. Every drop of rain and dew splashed us. The subjects in the small world all mean the calamity of empowerment—or the fun of empowerment, who knows, frogs in a daze in the pond, grasshoppers under the petals, ants fleeing around... That's what happened... But the rain and wind condensed, and the small world once again became a paradise.
...
Every frame of this film is cut to be full and balanced, and the color effect is also considered to be "simply used to test the fidelity of the restoration of the equipment." It took two years of filming equipment design and three years of actual shooting to complete it," and finally won the Caesar Award.
Modern shooting techniques and classical music are perfectly combined in this pure and natural microscopic world.
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