In the creation of film and television works, the famous director Li Shaohong presented to the audience the "deep red, thin and dilapidated" Datang, and the "smoky and rainy, hazy, dreamlike" Jiangnan.
In the currently hit "Da Song Gong Ci", Li Shaohong once again exerts the oriental charm, presenting the breath and rhythm of Bianjing in her lens.
Qilu Evening News, Qilu One Point Reporter Liu Yuhan
Reproduction of "Han Xizai's Night Banquet"
The cultural characteristics of the Song Dynasty were formed in the process of socialization to the masses and ordinary people, which derives the unique aesthetic system of the Song Dynasty: simplicity, elegance, high quality, and simplicity.
This feature is reflected in the developed painting art of the Song Dynasty. Famous Song Dynasty paintings such as "Ruihe Tu" and "Ting Qin Tu" have become the source of Li Shaohong's inspiration, giving her the creativity to restore the scenes in the paintings to audiovisual images.
Just as in the Xuandemen scene before the Daqing Palace, the director creatively moved the scene of Ruihe flying into the sky on the screen, and presented it with the language of the lens.
When filming the King of Qin Zhao Tingmei (played by Zhao Wenxuan) in order to avoid seizure of the throne, while the guests of the banquet sang songs every night, director Li Shaohong immediately thought of Han Xizai, who had been in the same situation and was suspected by Li Yu, the queen of the Southern Tang Dynasty, and reproduced " The idea of "Han Xizai's Night Banquet" also came into being. She hopes to combine classical culture with modernity, and use the scheduling of long shots to integrate famous paintings with plots.
"So we filmed the "Han Xizai Night Banquet". In order to integrate into the plot, we deliberately expanded from left to right, consciously letting King Qin string together in these five scenes like Han Xizai. We hope to create one like a copy The effect of the lens."
In order to let the audience have enough sense of substitution, Li Shaohong first restored the furnishings in the painting, selected a good angle, and then used a large number of motion shots to slowly implement the panning, accurately scheduling the characters, including each role, one shot to the end, It fully combines the characteristics of the long axis of the ancient paintings, and gives the seemingly flat long axis paintings a depth of field and a sense of perspective, and finally shots with a sense of "rhythm" and "breathing".
The famous "Ruihe Tu" is also presented in the language of the lens in "Da Song Gong Ci".
Although it takes a lot of energy and time to display these classic pictures realistically, Li Shaohong thinks it is worth it, "I believe it will be very shocking. A good work should leave some classic pictures to the audience."
The Daqing Palace in the play is based on careful study of its historical prototype, and a one-to-one palace was built in Hengdian. This is currently the only real-life scene of the Northern Song Dynasty palace in China.
Restore Song Dynasty costumes and battles
The costume styling in the play has attracted much attention since the filming started. Whether it’s Yiyi phoenix crown, court clothes or daily costumes, Li Shaohong and his team not only pay attention to exquisiteness and texture in design, but also break through the general dramatization that only looks good. The concept restores the original Song Dynasty costumes, which are polished with aesthetic concepts.
Not only the women’s clothing and court clothes are well-made, but even the armor can be "floating" in wars. This is due to the "tie armor" technology and the complicated production process. Small pieces of armor are worn with gold threads or twine. It breaks through the limitations of the rigid performance due to armor restraints in previous war scenes, so that it can move with the rhythm of the body, and is not affected by running, swinging swords.
The women's makeup in the Song Dynasty was simple and simple, fading the prosperity and luxury of the Tang Dynasty, and more prominent natural beauty.
Among them, the eyebrow style is very particular, which is well presented in the play. Whether the queen or the court lady, they often draw the eyebrows into a broad moon shape, and then use a pen to smudge one end of the moon eyebrows, from deep to shallow. Spread out, don't have the charm.
What is eye-catching is also the "lip lip" in the Song Dynasty. The "lip cream" made of cinnabar as the main raw material is applied to the lips. Compared with the Tang Dynasty, the range of lip red is smaller and more natural.
The most stunning look is Liu E's "Pearl Makeup", which truly restores the beauty of three white pearls and pearls, and innovatively breaks through the audience's inherent impression of the Song Dynasty.
The "Battle of Chanyuan" is a famous battle in history. It is not easy to truly create the tragic and true conditions of the war.
In order to make a good film of this much-watched war scene, Li Shaohong invited Xiong Xinxin, who had played the Ghost Foot Seven in "The New Legend of Huang Feihong", as the action guide. First, he cleverly used props, and various military equipment took turns in battle, including gunpowder, Missiles, arrows, crossbows, and so on, there are even more artifacts, the "Bedzi Crossbow". The long range and power are amazing. As soon as they came out, they shot the No. 1 General of Daliao, as well as digging tunnels, stumbling horses, and chiseling. In the use of witty tactics such as Glacier, props have played an irreplaceable role.
When shooting war scenes, the crew used sports footage throughout the entire process. In the “Iron Horse Stepping on the Glacier” scene, they used slow-motion close-ups. The “horses” galloping from a distance took close-ups of the “horseshoes” nearby. This magnificent battle of Chanyuan was restored among the soldiers and the iron horse.