From what moment did we start, completely unable to stand the actor whose facial features were about to be flattened by the filter, wearing red and willow green clothes and eating the small dumplings on the p? And at what moment did the Battle of Fuhua Dao begin? It seems difficult to find a clear node when looking back, but it can be clearly seen that everyone is secretly working hard: the Qing Palace drama began to "find another way out" under the strong suppression of "The Biography of Zhen Huan", such as the "Yanxi Raiders" that fired Morandi; in the Great Song Dynasty, there were "Knowing or Not" and the costumes that claimed to restore the city environment in the "Qingming Upper River Map", and even restored the "Qing Ping Le" made by Empress Cao in the "Recoiled Portrait of Emperor Renzong of Song"; the Tang Dynasty had a system from the imperial court rules, makeup, clothing, eating and drinking, The "Twelve Hours of Chang'an", which was fully restored by the etiquette system, and this year's "King Fried Player" Henan Satellite TV, with "Tang Palace Night Banquet", "Roselle Water Endowment", "Dragon Gate King Kong" and so on, broke through in a number of ancient trend evenings, and the ceiling of classical aesthetics in film and television was also high and high.
Henan Satellite TV "Roselle Water Endowment"
The difficulty of the production of costume drama costumes is probably such a sequence: the simplest of overhead history can be imagined at will; the re-creation based on a certain dynasty belongs to the medium difficulty, such as "Langya List" and "Crane And Huating", although the clues can be pieced together to roughly which dynasty it occurred in, but the drama side will not point out, so there is a disclaimer; the most difficult is that the time and place are stuck, and the restoration needs to be extremely elaborate, otherwise it is easy to wear a gang. The recently broadcast "Wind Rises in Luoyang" draws on the cultural elements of the Tang Dynasty, that is, to tighten the spatial clue of "Luoyang City" at the same time.
"Wind Rises In Luoyang" said that more than 100 scenes have been restored, more than 5,000 sets of costumes and accessories, and more than 15,000 sets of props... Fu Hua Dao has become one of its most important points of view, so far, while being praised as "God restoration" and "aesthetic yyds", on the other hand, it has also been scrutinized by the critical eyes of the audience, some say that the shape of the house is not right, some say that the fan style is a problem, the actor's acting skills, the story is different, there is still room for discussion, it seems that only art design, has been pushed to the front and become the target of the public.
Recently, The Paper interviewed Di Kun, the art director of "The Wind Rises in Luoyang", and also took the art production of this drama as an example to talk about how to build an ancient Luoyang City in film and television dramas.
The main work of art design: modeling and color
What parts of a play does the art design have to be responsible for? Di Kun replied: "Art design needs to be responsible for all the visual presentation parts of a play. There are two important factors in the design of this part, the modeling factor and the color factor. The styling factor not only refers to the character modeling, but also includes all the shapes in a play, such as architectural styling, the furnishings inside the house, and so on. The color factor is the main color orientation and color control of your play, such as "Wind Rises Luoyang", the basic color we choose is the color and texture of wood and stone itself, but we all know that the color of the Tang Dynasty is not as quaint as the Song Dynasty, the Tang Dynasty likes the big red and green, our treatment is to also retain these colorful colors, just reduce the area where these colors appear, and use the form of drawing patterns on the building to reflect the colors of the Tang Dynasty. ”
South City build
Aesthetic color elements also include lighting, and in recent years a trend has been to use candle lighting close to the ancient environment, and the previous "Know It or Not" said that almost all night scenes are illuminated by candles. Di Kun said: "In "The Wind Rises in Luoyang", the Vientiane Hall uses more than three thousand candles to illuminate, and the director has high requirements for the point light source, so we try our best to let the candle light form clusters and surfaces to illuminate, considering safety, we use relatively short, not easy to pour candles, but also equipped candles with relevant statues of candles. And we use a lot of lanterns, luoyang has a ubiquitous lantern, but also because there are very few types of ancient light sources, either candles or lanterns. ”
Prominent candle lighting
The art designers' work began with getting the script. The writer Ma Boyong once said that adding an extra sentence to the book, "a thousand cavalrymen wearing armor galloping on the grassland", the producer will run and break his leg, and to what extent will the art design restore the content in the original novel? Di Kun said that there are groups of screenwriters between art design and original authors, and scenes of art and screenwriters "bargaining" occur from time to time.
From the script to the physical object, "the amount of drama determines the tendency of the design", Di Kun said, in addition to some special themes, such as tomb robbery-related dramas, the general screenwriter will not describe the scene environment in the script much, which provides a certain space for art design, "The script is written relatively simply, for example, there will be a sheep soup restaurant in South City, everyone goes to whose home, we have to see which scenes often appear, according to the scene to build... Considering cost control and 'repeated prompts to the audience to enhance memory', when making the scene, we will also merge the scenes in the script, for example, when the script says about a tavern, we will merge into a liquor store that often appears in the play. This may also explain why the protagonists in the TV series are always frequent in the same store, "after all, it costs a lot of money to build a new store."
Taking the luoyang play as an example, there are three new building complexes: Nanshi, and the bad well built in the shed and the Baili Hongyi family. Nanshi 15,000 square meters, more than 200 people built in 90 days, there is a river of more than 2,000 square meters and a tower of 25 meters high; the bad well is about 5,000 square meters, 120 people 65 days to build; Baili home is 35 days to build, 2,000 square meters, more than 40 people. Some of the other halls are changed by other groups that were built before.
When designing art, it is also necessary to strengthen the characteristics of a place, Di Kun said, taking Luoyang as an example, first of all, the grasp of the overall impression, such as Luoyang is run through a river, known as "Central Plains Small Jiangnan", "so we try to avoid the mountain, when we shoot in Hengdian, the mountain behind the palace we all use green cloth to block, and then it is to integrate into the water, we built the South City as far as possible to do a waterway, there are many through the ditch; the story of the Baili Erlang's room is also designed as an indoor courtyard with meandering water flowing, There is also a Wu Youzhi, his character is more special, yin and leisurely, we made him a small waterfall, and the hidden thing behind the waterfall is the map of Luoyang. ”
"Recognition": Water and Buddha as a wonder
In the interview, although Di Kun has always emphasized that the costumes are designed and existed according to the needs of film and television scripts, if they exist for the sake of existence, there will not be much room for display, and it may be invalid. But as we mentioned earlier, art design has been paid more and more attention in recent years, and it is often discussed separately, and it is increasingly expected to be beautifully done, accurately and intentionally.
For example, the "epic blockbusters" claimed by foreign countries often have to create spectacles, sometimes giant sculptures, sometimes unbalanced giant beasts, and sometimes extraordinarily tall steel cities. China, which has always been small and beautiful, likes to focus on the historical themes of exquisite daily life, and in recent years has also included an important historical relic, that is, the statue of Buddha.
In "Di Renjie's Tongtian Empire", there is a three-hundred-foot-high Tongtian Floating Tu, in "The Twelve Hours of Chang'an", a giant Buddha head appears, and this year's domestic game "Black Myth: Wukong" reproduces the statues in the twenty-eight Yuan Dynasty sculpture groups of the Jade Emperor Temple in Jincheng, causing cultural relics lovers to revel.
A giant statue from Di Renjie's Heavenly Empire
Black Mythology: Goku
Talking about the use of giant Buddha statue elements in "Wind Rises In Luoyang", Di Kun believes that one of the labels of Luoyang is grottoes, especially the Statue of Lushena Buddha in the Longmen Grottoes, which is said to have been carved by Wu Zetian according to his own appearance, and the Tang Dynasty worshipped Buddha, and put this image in the film and television drama also borrowed from the cultural background of the time. "The faces of all the Buddhas that appear in "The Wind Rises in Luoyang" are almost all statues of lushna Buddhas, such as the statue of the reclining Buddha in the shrine where the saint is located, showing that although she has reached her twilight years, Yu Wei is still there, and she will not even walk out of the main hall in the play, and she creates a solemn atmosphere with the reclining Buddha statue. The crystal Buddha head statue in the joint defense of the intelligence agency directly refers to the statue of the great Buddha of Lushena, which, as a symbol, also implies the 'presence' of Wu Zetian's authority, and even the bad well where the criminals are located also appears, which is also an omnipresence that conveys the authority of the Son of Heaven. ”
Hinting at the reclining Buddha of Wu Zetian's mentality
Difficult to explain about religion, authority, class, etc. is expressed in this form of metaphor, which is an important component of the story in film and television dramas, intuitively giving people a shocking visual experience or psychological impact. For example, in "Parasite" and "Hunger Platform", the distinction between the highlands of space is a metaphor for the class of people, and there is also an obvious metaphor in "The Wind Rises in Luoyang": there is a "paradise" hanging in the clouds and under construction, there is a bustling and brightly lit god capital Luoyang, and there is a "dark and dark" slum bad well.
"Parasite" uses the high ground of space as a metaphor for class
Bad well
Di Kun said that there is a similar feeling that Huang Xuan woke up in the coffin shop to imply that he has a sense of revenge that life is worse than death, and the daily livelihood of the poor well of the bottom people is also different from that of the "upper people", the upper people eat fish in the tavern, and the livelihood at the bottom is to kill fish and scale; the upper is to sell the coffin, and the following is to do some paper people's work, forming a control group.
True Restoration: Bad Past Hurdles
As mentioned above, we understand what kind of work needs to be done in the art design of a play, and then we will talk about how difficult it is to produce a play with a real dynasty background and one of the labels of true restoration, and what kind of audience expectations there will be.
Perhaps one of the most obvious feelings is that this audience is very confused. Not to mention the "per capita folk science" in the Internet era, but also the hidden dragon Crouching Tiger, Sanxingdui newly discovered six sacrificial pits as soon as they were announced, there are netizens to restore the broken gold masks and golden scepters when they were unearthed, the national trend has blown this few years, the lovers of traditional Chinese culture have been a very large group.
The third episode of "The Wind Rises in Luoyang" appears in a big wedding drama that restores the etiquette system of the Tang Dynasty, originally to show favor to traditional culture lovers, Di Kun said of this scene: "From the dress of the bride and groom to the shape and color of the horse and carriage, the color of the small flag, the pattern of the carpet, the pattern on the building, etc., we are copied from some mural documents. "It seems to be foolproof," but as long as the work can be wrong, the fan that the bride takes, because the painting on the literature material is too small to see clearly, then you have to find relevant things to supplement, this fan is not well traced, it often appears, we think it is a fixed schema.
Up the main restore Samsung pile gold mask
Restoration of the tang dynasty ceremonial system of the big wedding scene
"It is very difficult to do, especially the cultural elements of the Tang Dynasty, which have been re-created by various artists, which is a good and intuitive reference for us, but it is indeed easy to distinguish." Di Kun said. Any detail in the film and television drama is difficult to escape the audience's scrutiny, Di Kun from the perspective of art design: "A drama, after all, is a plot-oriented story, it is to be interpreted, we choose to restore and create something, must be because of the needs of the plot, and if it is seriously inconsistent with our story and aesthetics, we will definitely adjust this thing." For example, the crystal Buddha head statue, there must have been glass at that time, there was no problem on the timeline, but whether it will be made into this shape, then we have no basis, and from the perspective of film and television presentation, we need a saint here to monitor the feeling, we can only use the big Buddha statue of Lushe in place from the end. Including the complex gear mechanism of the intelligence agency, the daily mechanism of the intelligence agency can not always put up a bunch of library-like shelves. ”
For example, the bad well, the script is very simple, describing this as a dark place like a cave, it is not beautiful, "We designed an island in the middle of a big river, about 10 meters, 15 meters from the shore, these people live on the rock wall of this island, there is a bridge above it to walk normally." There are many chase scenes that happen here in the script, and we designed a complex moving line, so that people can wear it back and forth on the water and the roof, and when designed, it is also to cater to and please young people, who like the sense of play and are also very curious. Di Kun said.
The long production cycle and complex production process of film and television dramas determine that it is absolutely impossible to arm to the details and ensure that the words are pearled. Previous documentaries such as "I Repair Cultural Relics in the Forbidden City" and "If National Treasures Could Talk" and the crazy inner volume of the National Style Program have cultivated such a group of audiences: everyone has a strong curiosity about classical relics, and they also love cultural relics, regard them as an aesthetic model and incorporate them into their daily lives, accept such a set of rules that must be based on evidence, and every shot is true and credible to tell the cultural relics, and also practice a pair of poisonous eyes that can see which building has a problem with the eaves and which clothes are not the color of the right color.
As of June 2021, only the number of national wind enthusiasts in station B has reached 136 million, and there are more than 1 million national wind theme videos, and the national wind is a red sea, but the waves are vast and endless, and every ferryman is inevitably difficult to avoid dangers and obstacles.