There is no shortage of strange phenomena in the film and television industry, and when the S+ martial arts drama (strictly speaking, it can only be regarded as a costume drama) is popular, let's enjoy the S+ level "wonderful" play in the next new era.
One word to sum up: slow.
Slow to the point of the peak of the domestic play stage, it is not an exaggeration to say that even if the audience is adjusted to triple speed, the follow-up play of this play still looks slow, and it is recommended that the platform open a 4 times speed service.
Admire the moves of the grandmaster-level swordsman again, which is very challenging to the audience's eyesight.
Because the eyes are slightly worse, they will think that people's three moves look exactly the same.
The classic moves of the jianghu characters are designed like this, don't expect the "close-quarters" duel between the two masters, basically a large section of light air chase.
"Come and chase me."
"Lao Tzu has caught up with you."
Playing? The level is too advanced, and I and other mortals can't see how the masters are dueling.
Moves? The level is too advanced, so it's a simple one.
Although I didn't understand it, I was shocked by the seven words.
Small production, not to play as the point of view of the ancient puppet slow motion flood, lack of moves, perfunctory action, we endure to endure it is also used to it, play martial arts S + big production to give this level of play, commission is a bit unbearable.
Perhaps, it is time to look back at the real fight in the old drama.
Slow motion, also often appears in old martial arts dramas.
However, the opening method of the old drama is definitely not from the beginning to the end, but the special design according to the type of kung fu, the lens effect, and the artistic needs, the action is slow, the charm is not slow, the lens is slow, and the moves are definitely not simple.
For example, Jet Li's "Taiji Zhang Sanfeng" realized the famous scene of Taiji.
Slow is the characteristic of Tai Chi, with soft kegang, slow movements but clear and powerful moves, each move is implemented in practice, so that the audience can immediately believe that this is a kung fu master, not an actor with a fist embroidered leg suit X.
Wu Jing also has many famous scenes of playing tai chi in "Tai Chi Master", many of which are single-player plays, nor is it for the rhythm of the fast-paced style, but it can make the audience feel the surging air around the warrior.
Even so, when the Tai Chi masters really fight each other, the director will not really engage in slow motion or let the male protagonist stand there and play Tai Chi without moving, but because of the particularity of the kung fu type, the moves need to be rigorous and good-looking.
Compared with the slow motion that requires plot matching, the fist-to-flesh fast punch is more widely used in martial arts dramas.
In this regard, Zhou Yi, who was once known as one of the two giants of ancient puppets, is a treasure trove of cases, their play design is dense and professional, pulling a play out at will, almost cutting out dozens of classic fight scenes.
Yu Bo vs. Xu Shaoqiang, close combat, single-fist close-up changes five or six moves.
Yang Junyi used the palm method for Xu Shaoqiang, not only changing multiple fancy styles, but also adding a volley flip to the old drama bone.
Shi Xiaolong, Zhang Jin, yang Junyi once had a three-person sandwich melee is also very classic, first Zhang Jin and Shi Xiaolong's double battle, both are experts, the whole drama moves are flowing, without caton at all.
When another martial arts expert, Yang Junyi, joined the block, the three of them should have been equivalent to improvisation, but they were still properly matched, and there was no superfluous move, "Immortal Fighting", nothing more than this.
In addition to the fast play, Zhou Yi will also play some simple design, freeze-frame fancy or slow motion, not much frequency, but the creativity is generally brilliant, is the kind of type that impresses the audience as soon as it is moved.
For example, "Peacock Plume of Seven Weapons" Mu Tingting's play, the volley play bamboo throwing people is concise enough, more neat than the S+ drama heroine, the same is no move design, but there is a martial arts flavor.
The heroine's wedding night fight scene has a slow-motion take-off, with a sword stepping action, although it is not a novel move in the play, it is very skillful, good-looking, and convincing enough.
In "Tianlong Eight Parts", Xiu Qing gangster also played a few slow motions, but the audience will not care at all whether the camera is slow or not, and will only be amazed at the beauty of the character's freeze-frame POSE, and the sense of praise atmosphere is full enough.
Simple moves and slow motion are not the original sin of playing and pulling the crotch, and it is not good to look good and has no martial arts flavor.
Some people say that slow motion is the pursuit of the ethereal sense of play, which is actually a serious misunderstanding, because the flow of play has never been interpreted by people slow and slow pictures, but depends on the overall completion effect of the actor.
Actor Xiu Qing's play is a classic representative.
In "Tianlong Eight Parts", He played Murong Fu can be called a "dashing and flowing" praise in every fight scene, and his play is particularly sincere, sword flowers, turning fans, one-word horses, volleys, and lower waists.
Putting a wooden POSE and then pulling a variety of slow-motion PPT-style play into "ethereal", it seems that the actor will not have "fairy qi" when he does a word horse, this kind of cognition, I am afraid it is not a new style of elegance.
The common "tricks" in the old martial arts play will never pass, whether the pursuit of play is ethereal or sharp, they can be integrated, but they have lost the basic moves, it looks like there is no fairy, only chaos.
Even the real fairy fights in the old mythological drama, and also designs the kicking action after the end, which is still very good.
Shi Xiaolong pulled a sword flower before fighting a hard battle, and Fan Er got up.
Liu Shishi even played the sword flower into a signature action in "Strange Hero One Branch", which is sassy and beautiful.
In "Divine Eagle Hero", Liu Yifei played a word horse, will it make the little dragon girl become tacky?
No, but it makes the play more eye-catching, with a word horse with white aya, quite soft with a strong taste.
Some people may think that the above cases are professional martial arts actors or artists with dance skills, they are experts in playing drama, it is normal to play well, and ordinary actors cannot be required to achieve this professional effect.
This view can only be said to lack reverence for play.
Ye Xuan is not a star or a dance student, but in "The First in the World", he can still shoot close-quarters moves, his posture is absolutely in place, and his sense of strength is even highlighted.
Hu Ge in the tang dynasty ancient puppet period, without any kung fu foundation, but can play a set of super long Yang family guns in "Young Yang Family General", the whole set of actions in one go, Wensheng, the beating scene may not necessarily be inferior to Wusheng.
The real stars of the old martial arts drama are actually not many, whether the play can be qualified, the training effect of the actor is on the one hand, the production party's investment in time and the director's aesthetics, the impact on the play is also crucial.
The issue of the dedication of the actor has been criticized many times in the early stage of the industry, and here I will not dwell on it, focusing on the problem of the producer and the director, because there are actors in front of them, they are really invisible for too long.
In recent years, the problem of slow motion flooding is obviously the common pot between producers and directors, and this problem has actually begun around 2015, but at that time, martial arts dramas gradually reduced production and did not receive much attention.
Until Jiang Jiajun remade Jin Yong martial arts, the play was too slow to be completely exposed, the 17th version of "The Legend of the Archery Hero" praised many dramas but also received some bad reviews because of slow motion, and the 19th version of "New Heavenly Dragon Slaughter" was criticized by the whole network because of slow motion.
Objectively speaking, the design of the play moves of these two dramas is not bad, and the actors are mostly real people to complete difficult actions, but the producers and directors feel that using "new technology" to engage in slow motion can make the audience "see clearly".
But what the audience asks for is not to use a microscope to see the play, but to experience the blood of the play, and the explanation of "seeing clearly" is unconvincing to the audience, and finally the director has to apologize and adjust.
But the slow-motion problem is still repeatedly scolded, "New Leaning Heaven" throws the pot to the new technology, but those crews who know that they will be scolded and use a lot of it, if it is not for the "water" time or cover-up to play perfunctory, no one believes it.
In addition to the slow motion and move design, the sense of camera atmosphere of the play is also very important, because the fight scene was besieged by the "Knife In the Snow" actually spent a lot of effort when filming the scene, and it can be seen from the interview that the crew is trying to make a play.
But if the effort is made in the wrong direction, the effect cannot be good.
The slow motion of the opening scene of "In the Snow" is designed by the director in order to pursue the "flowing" effect, but the film is not ethereal, even without a sense of atmosphere, and no matter how good the special effects are, they cannot support the empty soul of this fight.
"The First in the World" has a very low skill and special effects are now extremely fifty cents of the fight scene, but the camera switch and the combination of music, but the effect is full, when the audience watched the basic excitement.
It is not the so-called "film texture" to do the drama is to produce ingenuity, the good and bad texture, always by the audience to measure, play fast and slow, simple and complex moves, should serve the audience, serve the effect.
The director's lack of understanding of the charm of the play, or the aesthetics of the play is not in place, so the play created by a lot of money and time will still only be presented in an empty way, and such a play is invisible and soulless.