Riyu's Back File 2011

"Where is Taiping-san praised!" Matsushima Nanako responded modestly, but covered her mouth with one hand and smiled softly, indicating that she was still eating Taiping praises.Which woman doesn't like other people's praise?While laughing, Matsushima Nanako's eyes floated to Miyazaki Sosuke, as if she was like a little girl who had scored a hundred on the test, and she wanted him to compliment.

"Matsushima-san's acting skills are indeed excellent, and his ability to perform Mita Tou robots so vividly is worthy of the title of the queen of Japanese drama." Miyazaki Aosuke also did not pretend to be high-minded, and followed Taiping to praise Matsushima Nanako's acting skills.But he brought up an interesting aspect, that is, praising Matsushima Nanako for performing the Mita Tou robot side.

The subtext is that Mita Tou is also a person. Matsushima Nanako's unsmiling appearance during the previous rehearsal was indeed like a robot, in line with the character of Sanda Tou, but Sanda Tou is just an ordinary person, just on the surface like a robot.

When Matsushima Nanako heard Miyazaki Sosuke’s words, her smile couldn’t hide her face. At this time, director Ryuichi Inogu was shouting that the crew was ready to shoot, and she was ready to return to the theater for the formal filming, but she didn’t take two steps. Matsushima Nanako suddenly raised her eyebrows after the recollection, turned around and took a look at Miyazaki Sosuke, but did not stop, returned to the performance area and the makeup artist checked her makeup again.

While the examiner put on makeup, she was still savoring what Miyazaki Aosuke had just said.What she didn't expect was that the newcomer Miyazaki Sosuke could actually see the shortcomings of her acting skills and dare to remind her in such a tactful way.

The acting skills of Japanese dramas are not very demanding, or the acting skills of all TV dramas are not very demanding, otherwise some TV dramas will not invite idols and models to act.Even for "Housekeeper Sanda", which has high requirements for acting, senior actors such as Matsushima Nanako, as long as they perform at an average level, they basically perform the whole process while lying on their backs, generally not NG. This is the confidence that she has honed in dozens of film and television dramas and has been awarded the best actress six times by the Japanese Drama Academy for nearly two decades.

Like the previous rehearsal, her acting skills are usually qualified. Mita Lan’s character in the script is this kind of slightly exaggerated technique, cold and ruthless Sima’s face, can help employers do everything, including murder without inner fluctuations. .It's just that Miyazaki Aosuke reminded her in a tactful way that it's not enough to be a robot, and Mita Tou's humanity should also be shown.

As for how to behave, this is naturally unnecessary for Matsushima Nanako, small movements, small habits, complex eyes in close-up shots and so on.The important thing is that Miyazaki Sosuke's high standards left a deep impression on Matsushima Nanako.

### Chapter Seventy-Six is ​​not right (seeking collection recommendation) ###

Soon all the fine-tuning was completed, and the actors all entered the state and returned to the performance area.Then Miyazaki Cangsuke heard the director Inogu Ryu call out loudly to clear the scene, let all the staff leave the performance area, and the working group reported on the preparations.

After a while, the various working groups were ready to take their positions. The camera was turned on, the recording microphone was in place, and the actors stood at the starting point of the walk. The boomman also moved the long microphone to the top of the performance area to prepare for the sound. .

"Everyone is in place, the first scene of "Housekeeper Sanda", the first scene, the first article, ready to be shot." A reporter stood in front of the camera holding a clapperboard, listening attentively to the voice of director Ryuichi Inogu, ready to play the game at any time.The production company, shooting date and other content are recorded on the clapperboard, also for the convenience of later editing.

Since the shooting of Japanese TV series is carried out in the order of one episode, the editing is very simple, basically in accordance with the process of the script, so the clapperboard is not recorded according to the scene first, and the mirror later, like film shooting. , It is very simple to follow the shooting process.

"Three, two, one." As Zhugu Ryuichi counted down, the clapper was quickly closed by the clapper and left in front of the camera.The first filming of "Housekeeper Sanda" officially started, and Miyazaki's first film and television work led by Sosuke in his life also began.

Looking at Matsushima Nanako's meticulous expression in the performance area and the serious attitude of each work, Miyazaki Sosuke got up from the chair, walked two steps forward, and looked at the shooting scene in the performance area more clearly. .

There was no expression on his face, but Miyazaki's heart was surging. This was the beginning of his new road and the beginning of a new journey.This step in life is a step forward after all.

Aosuke Miyazaki on the side was full of pride, but the atmosphere in the performance area on the other side was somewhat deserted.This scene was shot in a family of five. The mother died, so a nanny was hired.Housekeeper Sanda Lantern debuted on the stage, her aura is very strong, and it is also a typical positive and negative shot.

Shooting the camera forward and backward is a kind of photography technique that refers to the camera switching between the characters when two people are facing each other.The general framing is "over the shoulder", that is, over the shoulder of the person facing the camera to shoot the front of the talking opponent, and switch to insert a few close-up shots without the back of the shoulder as a supplement to the combination of front and back.

We often see half of the protagonist’s back in some shots on the screen. If the other half of the screen is empty when the camera passes over the protagonist’s back, that’s internal reversal. If it’s not empty, the other person will also have a little shot. , That is the fight against the outside.

Ninety percent of the two-person or person-to-person dialogue scenes are made with two people looking at each other, standing or sitting, and then shooting with three cameras at fixed positions, interspersed with front and back shots and some small panoramas. Okay, shoot the entire dialogue scene.Of course, the front and back fight, the inside fight, and the outside fight are a very profound knowledge. It cannot be explained clearly in one or two sentences. Here is just a brief introduction to the most common modes.

At this time, in the performance area, there are two fixed lenses facing Matsushima Nanako and Hasegawa Hiroki respectively, and another camera takes a panoramic view on the other side, forming a classic triangle axis position.

Matsushima Nanako walked into the camera where she was filming with a serious expression, and the actor Hiroki Hasegawa also walked out of his position, walked to Matsushima Nanako's body, and officially met Matsushima Nanako.This is Matsushima Nanako's first visit to the owner's house following the introduction of the office.At this time, Mita Lantern played by her is an expressionless robot.

At this time, the director Zhu Gulong yelled "click," and the entire crew stopped filming.The actors also stopped filming, but did not move around. Instead, they stopped and waited for the director's instructions.

Miyazaki saw Ryuichi Inogu's head sticking out from behind the monitor from behind, so he stepped forward, wanting to hear what happened.

"Lights, make this scene look colder, you are too bright. Don't use soft light, use hard light. How can it be so bright when the hostess is dead in the house?" Zhu Gulong was greeted by the reflector opposite to each other. The lighting engineer exclaimed that the lighting engineer responded immediately, so the crew rested for a few minutes, waiting for the lighting engineer to adjust.

As a lighting engineer, no, it should be a crew member. When you hear the director use "I want to see more emotions" or "make the scene look more realistic with ambient light instead of lighting", There are even "no, I'm not satisfied, adjust it" this kind of ambiguous words can be heard almost every moment.

Just as the designer hears the client's proposal to be colorful and black, the crew is always broken.But as a qualified film and television practitioner, when you hear the director describe his thoughts in this way, all you have to do is to convert these quick descriptions into film language and present the effects the director wants through work.

I saw that the lighting engineer removed a soft light source and used hard light to light the panorama. After communicating with the photographer, I asked the props to bring a 12×12-foot soft light cloth near the actor. Reduce the hard light that knocks down the actors, so that the brightness of the hard light source on the scene meets the director's requirements, and is not too glaring.

So the crew quickly resumed filming work, but Longichi Inogu sat behind the monitor for a short time, stood up again, and shouted "Ka." But this time he did you directly name a certain staff member, but Let the actors rest first and think for themselves.

"What's the matter?" Miyazaki Sosuke stepped forward and saw Inogu Takaichi touching his chin with his right hand, thinking about something.Obviously, he was not satisfied with the lens just now, but he couldn't think of how to improve it.If it is some director, it is very likely to repeat the shots infinitely, knowing that he finds the feeling he wants, yes, you are right, you are the king of sunglasses.However, Inogu Ryuichi filmed the RB TV series. As a Japanese drama director who is not very powerful, his work habit is more to solve the problem, rather than to wilt and let the whole crew play with him.

"Oh, produced by Miyazaki, I always feel something is wrong with the lens. Look, from the lens, after Matsushima walked in from the door, hers shouldn't be so grand. She is a servant rather than a master. But the script thinks This kind of effect is what I want. I didn't think of a good way." Inogu Ryuichi and Miyazaki Sosuke were discussing the content of the camera while facing the monitor.

Miyazaki Sosuke will form a joint filming team with three directors, Toya Sato, Jun Ishio, and Ken Higure in this drama, and each is responsible for the shooting of some of the series.That's why Inogu Ryuichi will discuss with him, because the last two episodes, Chapter 10 and the finale will be directed by Aosuke Miyazaki.

The other producer, Tai Ping Tai, is just a pure producer and will not participate in the filming of the TV series, so directors like Inogu Ryuichi will not ask him to discuss the work of the filming.You can understand it as Zhu Gulong's protection of his own director power.

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"Well, how about we adjust the reverse shot to the face-to-face" 75 degree angle, so that Sanda's cheekbones and nose bridge can be more three-dimensional. We use a shift lens for the back and adjust the lens height to make the small panorama become The big panorama, so that when the two figures are smaller, their expressiveness will rise and their momentum will also decrease. When editing later, insert a small panorama of Sanda Lantern to show his momentum. What do you think?"Miyazaki Cangsuke thought for a while and made a suggestion. The counter-attack has been introduced comprehensively, and the back-cutting is another name for the out-of-the-box attack, also called the cross axis.

Director Ryuichi Inogu imagined the shooting method proposed by Miyazaki Sosuke in his mind. His eyes suddenly lit up. He raised his right hand to pat Miyazaki Sosuke's shoulder, then suddenly woke up, scratched his head awkwardly, and turned around. The photographer facing to the side whispered to the suggestion made by Miyazaki Cousuke just now. After hearing this, the photographer walked to the performance area and began to arrange it.

"Unexpectedly, there is something in Miyazaki-san's stomach, and he deserves to be a graduate of Tohoku University." Takashi Inogu had a notebook in one hand, and couldn't think of any good compliments for a while. He could only catch Miyazaki's alma mater Tokyo. The university will make a fuss.

But what is ridiculous is that Miyazaki's theory was also learned from books. To be precise, the author summed it up from the actual shooting in Hollywood and wrote it into a book, and Miyazaki learned this hand in the process of reading it.

The best-looking angle in Hollywood's outer fight is the face of 75°. At this time, the cheekbones and bridge of the nose make the characters the most three-dimensional.The camera height is based on what the script wants to express.Among the above-described inner backhand and outer backhand (regardless of Hollywood or RB), they are the most expressive backhands.

This kind of shooting technique is often used by Hollywood directors in film and television productions. For example, David Fincher’s "Social Network" released last year, from the composition of the picture, he likes to use external shooting to amplify the expressive power of the actors. The big panorama highlights the loneliness of the characters.

To be a director requires a strong self-learning ability, because simply eating one’s own foundation is not enough to keep the director up with the pace of the times.In Hollywood, every ten years or so, there will be a major technological revolution, such as the special effects revolution from 97 to 08, and when reduced to the lens language and lighting arrangement, this change will have many innovative methods emerging in about half a year. .

If a director cannot maintain a huge amount of film viewing, often participate in technical discussions in forums and gatherings, and constantly practice Chinese shooting skills and hone his own skills, he will easily be eliminated by the times.

Just like in the mainstream shooting methods ninety years ago, there was always a kind of thinking that was always instilled in it, that is, the internal reversal is very expressive.But when the "Seven Deadly Sins" appeared in 1995, the old policeman and the little policeman just met at the beginning. David Fincher did not use the previous habitual cut, but used a long lens to show the relationship between the two. The relationship between De Pitt and Morgan was revealed in an unusual way of shooting, and it quickly swept Hollywood from then on.

When Miyazaki heard Ryuichi Inogu’s praise, he secretly smiled. The older generation of directors who debuted in Japanese dramas in the last century have formed their own shooting concepts during their decades of film and television production careers. Shooting techniques and shooting concepts have almost solidified, it is difficult to innovate.

This is also the stubborn disease of the RB film and television production industry. The lack of stamina and the declining talents have become the first difficulty of the RB film and television industry.Not to mention Hollywood, even if compared to the same continent in Asia, the directors and film and television production staff produced by RB every year are insignificant, because RB does not have a complete talent training mechanism.

The only RB school that specializes in film and television production education is RB Cinema University in Kanagawa Prefecture, which only has "movie" for the academic purpose.Directors in the golden age of Japanese dramas, such as Zhu Gu Longyi, mostly entered the film and television production department of TV stations after graduating from other universities, starting from field affairs or directors, and step by step to become professional directors, which is commonly known as Ye Luzi.

Therefore, the number of academic directors in the traditional sense of RB is extremely rare, and it is even harder to find famous academic directors. Therefore, RB academics have gradually become a broad adjective with rich connotations.

It is not to say that without systematically learning professional knowledge, you can't be a good director if you go wild.Strictly speaking, Miyazaki Cangsuke himself is a director of Nojiko who is a monk.It is to say that compared to directors from academies, directors of the Yeluzi faction are often easily complacent with their past achievements and fall into a fixed shooting mode. They will not learn the latest knowledge of the industry and improve themselves like academic directors. Ability.

I have never seen the shining galaxy, so I naturally think that candlelight is the hope in the night.Miyazaki Aosuke could only accept the praise of Tokugu Ryuichi, and silently remind himself in my heart not to be as complacent as they are.We must keep the habit of living and learning and learning like James Cameron, so that we will have more chances to become an excellent director.

Soon the crew of the crew completed the layout of the performance area and returned to their work positions. The performance area returned to a silent state.

"OK, all in place." Takashi Togu sat behind the monitor and stared at Matsushima Nanako's face on the screen, preparing to issue an order."3, 2, 1!"

Standing behind Inogu Ryuichi, Miyazaki Sosuke looked at it through the monitor screen above Inogu Ryuichi's head. As expected, the effect of this shot was much better than before.Especially with the large panoramic lens, the personal aura of Matsushima Nanako was reduced to an appropriate level, and the entire screen was no longer flooded like before.As soon as Zhu Gu Long saw the monitor, he nodded in satisfaction.

"Crack, this shot has passed, the next shot, quickly rearrange." After the shooting process of the entire shot, Inogu Ryuichi and Miyazaki Cangsuke watched again on the monitor and discussed the next post editing. I felt that there was no problem with the effect, so I stood up and shouted to the crew and performance area.

Hearing the director's voice, the entire crew became busy again. The camera crew began to move the camera to the new shooting location, and the actors began to check their costumes and makeup again.Next is a complete set of five steps.The filming of film and television dramas is constantly repeating five steps, and finally a classic work is born.

"OK, this shot is over. Today's filming is over, everyone has worked hard." Longyi Zhugu stood up from behind the monitor, clapping his hands and shouted to the entire crew.

"Let's thank the director of Tokugu." On the side, Miyazaki Sosuke encouraged the crew to show respect to Tokugo after Ryuichi Toku announced that he had finished his work.This is also a tradition of RB Theater. Every day after the end of the work, the producer will lead the crew to thank the director for his dedication.

Because the director is often under an appointment system and is only responsible for the directing of the shooting scene, while the producer is the person in charge of the crew and is responsible for all the work of the entire crew.Of course, the director of a movie theater will have more power, so the person who leads the crew to thank the director becomes the field affairs or other leadership staff.

It was already eight o'clock in the evening, and the twelve hours of shooting a day was relatively arduous.Miyazaki said goodbye to the entire crew, returned to the car and did not leave. Instead, he poured a cup of Sauvignon Blanc, drinking and recalling his first day of work. It felt quite fulfilling.

### Chapter Seventy-Eight Where Are We Going?###

Recalling the daytime filming work, Miyazaki could not help but sigh that the staff of the "Housekeeper Mita" crew are indeed old people who have worked for many years. Inogu Ryuichi's requirements during filming are not high, but at the shooting site, everyone strictly implements it. After a period of time, the personnel of various departments can adapt quickly, and while maintaining order and efficiency, they can also cooperate with each other tacitly.