The film "Kekexili" tells the story of Ga Yu, a reporter from Beijing, who risked his life to follow the mountain patrol team into the Hoh Xil Nature Reserve, where he witnessed and witnessed the bloody evidence of the rampant poachers. The film has a high achievement in film and camera modeling, and also won the Best Cinematography of the Golden Horse Award that year. Some people even commented that every shot in "Kekexili" is like a painting. (1) Scenes In many films, they usually start with a long shot, but "Kekexili" starts with a close-up to a close-up shot, which clearly captures the appearance of Jamba taking a nap at this time. At the same time, in the picture, the specific environment in which Qiangba is located is not obvious. Here, it also attracts the audience's attention at the beginning and guides the audience to continue to look down. And in the 46th second, there is a medium shot of six hunters surrounding Zomba outside the car, and the audience can clearly see the movements of their hands - guns, facial expressions - aggressive. This medium shot focuses the audience's attention on the characters and makes the audience's attention focus on the behavior and movements of the upper body of the characters, and then through the comparison with the close-up shot of Jamba, it shows the hostile relationship between them and Jamba at this time. The situation where the enemy is strong and we are weak, and the power is weak, promotes and lays the groundwork for the development of the plot line of the subsequent killing of Qiangba. Vision is also used several times in the film. For example, in the scene where poachers drive cars to chase and kill Tibetan antelopes in the desert, long-range shots are used when shooting Tibetan antelopes fleeing. The first shows the desolate and boundless harsh natural environment of Hoh Xil, which increases the authenticity of the picture through the description of the environment. The second one combines the Tibetan antelope with this environment and expresses its emotions with the scene, which further highlights the isolation and helplessness of the Tibetan antelope in the face of the dual threats of nature and poachers in this dangerous environment. Third, it can also make the audience get the picture information more clearly. In the same way, there are also many visions of patrolling team members in the Hoh Xil desert, showing the insignificance of human beings in this harsh environment, and also laying the groundwork for many team members who suffered disasters due to the environment. The use of close-ups also plays a vital role in the film. Close-up is a kind of compulsive scene. The image in the close-up screen shows a trend of breaking through the frame and expanding outward, creating visual tension. at 1: In 40 seconds, in the dark, in the plot of the poachers raising their guns to kill the Tibetan antelope, there is a close-up of the Tibetan antelope struggling in pain after being hit. This cruel picture highlights and magnifies the movements of the Tibetan antelope, forming a strong and clear visual image that shocks the audience. With editing, the comprehensive use of various scenes can also create strong visual effects. In the plot of Liu Dong being swallowed up by quicksand, the creators alternately used panorama, medium shot, close-up, and close-up. It fully presents Liu Dong's desperate struggle to save himself, and then he is getting deeper and deeper, finally giving up resistance and gradually being swallowed up by quicksand, fully highlighting Liu Dong's character image and his continuous efforts to fight against fate. , as well as man's interrelationship with nature and his facial expressions. Finally, it ends with a vision, which once again illustrates the insignificance of human beings in the natural environment. (2) Shooting angle In film and television works, the shooting angle has: (1) reflects the positional relationship and narrative relationship of the characters in the space, (2) strengthens, exaggerates or reduces the perspective relationship of the original scene space, (3) expresses the image of the characters , depicts the character's character, and expresses the role of the creator's attitude towards the subject. It includes both shooting direction and shooting height. The shooting directions mainly include the front, the front side, the oblique side, the oblique side, and the back. At 1:52 seconds, watching the Tibetan antelope being brutally killed and skinned, but unable to do anything, the creator chose to shoot a close-up of the front of Jamba, the audience can see the complete facial features and expressions of Jamba - he was beaten all over, bruised and bruised, Due to being bound, he was unable to save the Tibetan antelope and even his own destiny. He could only watch the Tibetan antelope being brutally dismembered with painful eyes, just as he could only wait quietly for the end of his destiny. At 14:42, the mountain patrol team confiscated the Tibetan antelope cashmere of the criminals who helped the poachers to transport them, but they could only let them go. Watching them go away, the mountain patrol team knew very well that they still Driven by interests, they will do such immoral things again and again, but they are powerless to change. The back shot here makes the things in the background the main object of the picture, integrating the subject and the background, and the audience cannot directly see their facial expressions, giving the audience a space for positive thinking and association, showing their inability to change themselves The helplessness of this reality. In the use of shooting heights, the creators are also original. In 3: In 23 seconds, with reporter Gayu as the narrator, he described the situation that poachers began to massacre Tibetan antelopes on a large scale after 1985. When photographing the wreckage of the Tibetan antelope, the overhead shot is used. In the picture, the threat and oppression of the Tibetan antelope are reflected, and the depressing atmosphere is rendered, with a strong emotional color, showing a gloomy and sad mood and atmosphere. . In addition, at 15:05, the mountain patrol team met with Ngawang at the Bufrost Spring Protection Station and when they took a photo together at 17:05, they adopted an upward shooting angle, highlighting the mountain patrol team as the main body of the picture, emphasizing the Their imposing manner highlights and enlarges their images, compresses the background, and the subjects are taller and taller than usual, showing the creator's admiration for the mountain rangers and the lofty image of the mountain rangers, as well as the creator's appreciation for them. The admiration and praise of the unbreakable friendship. (3) Formal elements and structural components of composition The composition of film and television photography is the process of integrating all factors related to the subject, including light, color, line, tone and other modeling factors, into the same picture. Essentially, composition refers to the formal structure of the picture, which must serve the subject and content. The first task of composition is to highlight the main image. (1) The light is at 0:51 seconds. The poachers are walking with their hijacked jimba on the way to hunt Tibetan antelope. From the picture, we can see that the strongest light in the lens is directly shining on the antelope. Jamba's face highlights the subject of the shooting, and also beautifies the image of Jamba, telling the audience that Jamba is different from the poachers who are in the same lens as him, that is, he is righteous. In the same way, at 1:26, in the darkness, the same light hits Jamba's face, making Jamba the brightest spot in the shot, and once again highlighting Jamba's righteous image. At 11: In 59 seconds, the mountain patrol team drove off, determined to wipe out the poachers, the strong light from the headlights illuminated the front. This light symbolizes the hope brought by the mountain rangers. They are not afraid of difficulties and bravely face the unknown dangers. This light guides the audience, creates an atmosphere, sublimates the spirit, and makes the audience also appreciate their great spirit. moving. (2) Color For a film, color is very important. In "Kekexili", the color that impresses me the most is red. Red is a warm, impulsive, powerful color, which can speed up muscle function and blood circulation. Because red is easy to attract attention, it is also widely used in film and television works, and the title of this film is displayed in red. Not only the title, the red is full of all aspects in the film, such as the blood of the Tibetan antelope wreckage, which shocked the audience time and time again. When Ngawang met with the mountain rangers at 14:55, it was obvious that Ngawang's clothes were different from those of the other team members-his shirt was red, and the red here symbolizes warmth, which reflects that in the vast In the desert, Ngawang brought warmth to the team members who traveled long distances. At 1:08:44, Badin gave Gayu rabbit raw meat to eat. The red color here symbolizes hope. Raw rabbit meat is the food they rely on for survival. Although it is raw, it can fill their stomachs. In addition, at 17:40 seconds, Ngawang said goodbye to the long-range shot of the mountain rangers. Ngawang was standing on the desert, while the mountain rangers were driving on the ice. A strong visual contrast was formed here, which also indicated that Ngawang I will be separated forever from some of the mountain rangers who died in this desperate trip, such as Ritai and Liu Dong, and they will be separated from each other from now on. (3) Tone Tone refers to the relationship between light and dark levels and the relationship between light and dark in the image in the picture. In film and television photography, the main factors that affect the tone of the picture are the intensity of light and the change of angle. At 1:28 seconds, a poacher sniped and killed a Tibetan antelope, the poacher was in the dark, and the Tibetan antelope was in the light. On the one hand, it reflects the fact that poachers are in the dark and Tibetan antelopes are in the Ming Dynasty. Tibetan antelopes are unable to guard against poachers' attacks, and in most cases they have to capture the reality. On the other hand, the creators also used tones to shape the subject, which further highlighted the injustice of the poacher. And at 20:50 seconds to 22: In 02 seconds, the mountain patrol team carried the corpses of the killed Tibetan antelope, buried them, and cremated them. This process used the warm sunlight and the flaming flames to form a soft tone, which brought a rare touch to the film. The warmth of the mountain rangers rendered the mountain rangers' sadness at the killing of the Tibetan antelope and their anger at the cruelty of the poachers, and at the same time reflected the brilliance of the mountain rangers' humanity. At 1:12:57 seconds, the creator also used a warm tone to describe the plot where the two team members finally walked out of the blizzard and were able to continue their lives, followed by a cool image of Gayu and Ritai struggling to walk in the snow. It forms a strong visual contrast and inspires the audience's vision. In some episodes when the patrol team members get along with Liu Dong and his girlfriend, they are also presented with warm tones, symbolizing warmth. (4) Structural components As mentioned before, the primary task of composition is to highlight the main image. At 18:34, the patrol team found a whole piece of Tibetan antelope carcass on the road, and the vultures were pecking at the flesh on the carcass. The camera uses the bald eagle as the main body of the picture, while the patrolling team members in the background are extraordinarily small, which increases the spatial depth and perspective of the picture, making the picture present a multi-layered three-dimensional modeling effect, enriching the structure of the picture, and producing a strong life. The sense of reality further highlights the powerlessness of the mountain rangers who are at a loss in the face of all this, and reflects their weak power. At 1:14:57 seconds, when Gayu and Ritai finally found the shelter of the poaching leader, but were surrounded by countless poachers with guns, the poachers were the foreground in the picture, highlighting Ga as the main body. Jade and Ritai, on the surface, reflect the situation of the disparity between the enemy and the enemy at this time, but from the deep meaning, it also highlights the lofty image of justice represented by Gayu and Ritai, as well as the injustice of the hunter. Although the number is large, it is very small , forming a strong contrast, forming a mutual relationship between them, strengthening the authenticity of the picture effect, and promoting the development of the plot of the death of Japan and Thailand. In 34 seconds, the patrol team found a whole piece of Tibetan antelope wreckage on the road, and the vulture was pecking at the meat on the corpse. The camera uses the bald eagle as the main body of the picture, while the patrolling team members in the background are extraordinarily small, which increases the spatial depth and perspective of the picture, making the picture present a multi-layered three-dimensional modeling effect, enriching the structure of the picture, and producing a strong life. The sense of reality further highlights the powerlessness of the mountain rangers who are at a loss in the face of all this, and reflects their weak power. At 1:14:57 seconds, when Gayu and Ritai finally found the shelter of the poaching leader, but were surrounded by countless poachers with guns, the poachers were the foreground in the picture, highlighting Ga as the main body. Jade and Ritai, on the surface, reflect the situation of the disparity between the enemy and the enemy at this time, but from the deep meaning, it also highlights the lofty image of justice represented by Gayu and Ritai, as well as the injustice of the hunter. Although the number is large, it is very small , forming a strong contrast, forming a mutual relationship between them, strengthening the authenticity of the picture effect, and promoting the development of the plot of the death of Japan and Thailand. In 34 seconds, the patrol team found a whole piece of Tibetan antelope wreckage on the road, and the vulture was pecking at the meat on the corpse. The camera uses the bald eagle as the main body of the picture, while the patrolling team members in the background are extraordinarily small, which increases the spatial depth and perspective of the picture, making the picture present a multi-layered three-dimensional modeling effect, enriching the structure of the picture, and producing a strong life. The sense of reality further highlights the powerlessness of the mountain rangers who are at a loss in the face of all this, and reflects their weak power. At 1:14:57 seconds, when Gayu and Ritai finally found the shelter of the poaching leader, but were surrounded by countless poachers with guns, the poachers were the foreground in the picture, highlighting Ga as the main body. Jade and Ritai, on the surface, reflect the situation of the disparity between the enemy and the enemy at this time, but from the deep meaning, it also highlights the lofty image of justice represented by Gayu and Ritai, as well as the injustice of the hunter. Although the number is large, it is very small , forming a strong contrast, forming a mutual relationship between them, strengthening the authenticity of the picture effect, and promoting the development of the plot of the death of Japan and Thailand.
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