I really don't want to make bad movies!

Jiang Wen wanted to make an ambitious film, so how could he really trust someone to be the main cinematographer after watching just one clip?

These three big shots probably devised this "interview" to test themselves while they were chatting.

Xia Ming walked past several camera assistants to the front and took the camera from Zhao Fei.

Before filming even began, Zhao Fei asked with a smile, "What's wrong with the footage shot by the assistant cameraman just now? Tell me your thoughts."

Although he knew Zhao Fei meant no harm, Xia Ming could still feel the intense gaze from behind him.

Xia Ming opened the video, watched the original footage, and analyzed, "The camera cuts too frequently. This part could actually be done with a long take."

Shi Xiangyuan, standing behind, immediately became anxious: "How do we establish the background using a long shot?"

Xia Ming slowly said, "It depends on what kind of clip we want to show. If it's just shooting a short film, then we do need shots to explain the background."

"If it's a scene from a movie, I think a long take is better at expressing the character's emotions, and the shot won't feel disjointed."

This answer surprised both professors, who became interested and continued, "If we set the background as a scene from a movie, how would you film it?"

Xia Ming adjusted the camera's focus and replied, "As the lead cinematographer, my job is to fulfill the director's task and capture the scenes the director envisions."

"According to Teacher Zhao's idea, this part should express the protagonist's reluctance to leave the campus, focusing on the character's emotions."

"I would choose a 50mm lens, at a frame rate of 25 to 50 frames per second, to always keep the subject in the frame and prevent the emotion from being lost."

"Oh? So what's your shooting strategy?"

Jiang Wen also joined the discussion on the camera angles.

He was also very interested in the footage and would often reshoot hundreds or thousands of times if the footage didn't meet his expectations.

Xia Ming paused briefly to gather his thoughts before continuing.

"Once you've determined that the subject of your photography is a person, choose a clear and impactful visual style."

"I think 'back view' and 'separation' are both very suitable images to express the feeling of reluctance to part. After all, missing school is more about missing the interpersonal relationships on campus, the feeling of not wanting to separate from friends or being reluctant to part with good teachers, which can resonate more with the audience."

Xie Fei's eyes narrowed slightly as he listened, and his gaze, usually hidden behind his glasses, brightened: "Highlighting the humanistic spirit, very good."

Zhao Fei eagerly pressed, "How exactly will the filming be done?"

Xia Ming calmly replied, "The opening scene shows the protagonist and his friend parting ways at the school gate, and the two are initially chatting and laughing."

"As the camera pulls outward, the protagonist walks with the camera, while the friend remains at the school gate."

"At this point, the focus is zoomed in, and the friend gradually disappears from the frame. The camera position is lowered and slightly tilted upwards, the frame rate is reduced and the rotation is made so that the camera position and the character are moving in opposite directions, circling half a circle around the protagonist to the back of the screen."

"The school gate and the familiar surroundings gradually appear as the camera rotates, and finally the shot focuses on the character."

"A friend shouted the protagonist's name loudly off-screen, and the protagonist backed away while reciting his lines, building up his emotions."

"The camera keeps moving, and the main character always moves in the opposite direction to the camera. After the main character finishes reciting his lines, the friend should enter the frame from off-screen to have a final interaction with the main character."

"After the lines are finished, the camera cuts to show the protagonist's and his friends' inner thoughts after they are separated, allowing them to release the emotions that have been building up."

"For example, the protagonist is sitting in the car, leaning against the window with a melancholy expression, and the school gate outside the window is getting farther and farther away."

"Friends stand at the school gate, they may be breaking down in tears, or they may be waving goodbye to the protagonist."

As a veteran commentator, Xia Ming explained his filming strategy in a clear and organized manner, making it easy for everyone around him to understand.

Moreover, everyone present was an industry professional, and they quickly visualized the scene in their minds.

Xie Fei, a director specializing in humanistic narratives, was deeply moved and pondered Xia Ming's cinematic expression, unconsciously nodding slightly.

"The reluctance to leave school should be shown through the separation of characters, rather than simply 'reluctance to leave school.' This is a very good idea."

Jiang Wen listened with his eyes shining; this was exactly the kind of story-based photography he needed!

Zhao Fei stroked his chin, and after understanding the described camera movement, asked, "You can actually film that?"

As a photography professor, his biggest concern is whether the photographer can actually capture the image.

If Xia Ming can recreate the spoken footage, his value will rise to another level.

After all, Director Jiang's storyboard was rather poorly drawn.

Relying solely on Jiang Wen's verbal descriptions to recreate the scenes often left the director of photography exhausted.

Xia Ming simply smiled and said, "I'll give it a try."

"However, we still need an actor to play Director Jiang's friend."

"I'll do it!"

Xie Fei volunteered.

"Thank you for your help, Teacher Xie."

Xia Ming held the camera and mentally reviewed the camera's trajectory once more.

This shot design, while utilizing Hitchcock's subjective perspective to present the concept, also incorporates Michael Bay's famous camera movement technique, namely, low-angle rotation to show close-ups of the characters.

You can't just watch Transformers for free, right?

Soon, the actors were in place.

Xia Ming found a good camera position and angle, and with a "start shooting" command, the two of them moved in response.

Xie Fei said goodbye to Jiang Wen in front of the school gate.

Jiang Wen walked forward alone, and the camera continuously filmed and showed his movements.

During the movement, Jiang Wen also naturally added the action of blowing his nose and frowning, like a tough guy holding back tears.

When Xie Fei's figure disappeared from the screen.

Xia Ming also seized the opportunity to adjust the shooting frame rate, slowly bent down while holding the camera, and quietly walked behind Jiang Wen.

Jiang Wen looked at Zhao Fei's prompt from outside the field, turned around, and raised his arm towards Xie Fei, who was still standing at the school gate.

"Old Xie! See you the fuck again!"

He kept retreating, and Xia Ming also kept retreating in the opposite direction.

When they were close enough to the school gate, Xie Fei burst into the frame and shouted at Jiang Wen, "You still owe me a meal!"

Jiang Wen burst into laughter in the distance, only to hear a line that fades into the distance: "It can only be next time!"

The camera pans, and only Xie Fei and half of the school gate remain in the frame.

Xie Fei leaned against the doorpost, took off his glasses and wiped his eyes. Right next to him was the security guard watching this scene.

I wonder how many farewells the security guard who has worked here for decades has witnessed.

Xia Ming quickly moved to the MPV, found a good angle, and filmed Jiang Wen leaning against the car window.

At this moment, the vehicle starts moving, and the school and Xie Fei outside the frame get further and further away.

Jiang Wen covered his mouth, without uttering any lines, his emotions fully expressed in his eyes, which held a story to tell.

"CUT!"

The MPV stopped after only ten meters.

Xia Ming and Jiang Wen got off the bus together.

As soon as Jiang Wen got out of the car, he laughed and said to the crew, "Great! Even without seeing the footage, I can tell this scene was well-shot!"

"Let me see it quickly."

Zhao Fei couldn't wait to pick up the camera and adjust the buttons to review the footage.

He nodded repeatedly without even glancing at him for a few moments.

"I can feel it, I can feel it!"

Jiang Wen immediately leaned his head closer.

As the camera panned out the scene, he couldn't help but exclaim, "Amazing!"

Not only are the smooth long take push-pull shots immersive, but the low-frame, low-position rotation also effectively showcases the characters' expressions.

What's even more remarkable is that, throughout the long camera movement, as the camera moves, the audience can truly feel the distance growing between the characters.

The negative emotions accumulated through the camera, dialogue, and acting all exploded in a close-up shot after Jiang Wen got into the car, completely releasing his emotions.

The passing scenery outside the car window is a perfect example of indirect description.

That was a fantastic shot!

Although there are still many details that are not good, this is, after all, the first time shooting.

After some minor adjustments and refinements, it can be used as a ready-made movie shot.

The smooth narrative flowed so well that the three industry leaders present couldn't help but exchange glances, seeing deep admiration in each other's eyes.

"Good! Good! Good!"

Xie Fei used the word "good" three times in a row: "It's truly a perfect creator's perspective; no wonder you're a student in our directing department!"

Zhao Fei was incredulous: "How could you come up with such a complete shot arrangement in such a short time? The visuals are simple, but the thought process is invaluable."

The two professors had already figured out the logic behind the camera.

It's definitely not a superficial shot design like "the protagonist walks out of the academy, looks back at the school, and shows a reluctant expression."

This segment not only includes camera movement techniques, but also encompasses the display of character relationships, the evoking of emotions, the design of storyboards, and even the use of negative space in the shots.

This student has a bright future ahead of him!

At this moment, Zhao Fei thought of the movie "The Big Hornet" again.

With Xia Ming's talent and skill, how could he possibly produce something like that?

However, he soon felt relieved.

A good movie isn't something that can be made simply because the director is highly skilled.

There are too many influencing factors.

Ultimately, it's just a short film competition for newcomers; maybe they're just playing around.

"Old Jiang."

Zhao Fei called out to Jiang Wen, smiling as he asked, "Has the car arrived?"

Jiang Wen smiled and pointed to the crossroads ahead: "You're here! Look, it's over there!"