_w-fnl6_0684 _w-fnl5_0553 _w-fnl4-_0779 _w-fnl4_0558 _w-fnl3_0828 _w-fnl3_0826 _w-fnl3_0825 _-w-fnl3_0702 _w-fnl3_0512 _w-fnl2_0784 _w-fnl2_0667 _w-fnl2_0537 _w-fnl2_0534 _w-fnl_30675 _w-fnl_0825 _w-fnl_0762 _w-fnl_0618  

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遠景出版新書發表會新聞稿)
《迷路》──篤信,前方自然有路:縱貫大陸華中旅遊文學筆記

  徐樂眉:以土地丈量勇氣,以江河化解畏懼。遠離只是種姿態,而最美的時刻,不停歇,腳步向前。

3/10下午三點 台北場:誠品信義店Forum(台北市松高路11號3F)

繼前作《遠足》之後,旅遊文學筆記《迷路》是徐樂眉走訪大陸華中區域的真摯紀錄。在亙古的大陸土地上,徐樂眉繼續未完的行程,走出興趣,走出意志,更走出方向。旅行成了遠行,遠行成為流浪,流浪成就故事。
這是一場追尋自我與丈量世界的冒險遊戲,儘管蜿蜒徒步、穿林涉澗、翻山越嶺,她用「土地丈量勇氣,以江河化解畏懼。」辛苦的只是過程,而旅途中的感動卻是永恆。
抹掉胭脂紅粉,丟棄華裳霓服,背包與影子是她唯一的裝飾品,穿越華中區域五個省、一個直轄市。登上梵淨山、黃山、廬山、井岡山、衡山,划過長江、嘉陵江、贛江、舞陽河、三板溪,山水之間,見證重慶的抗戰遺跡感嘆歷史風雲,震懾於天坑地縫的鬼斧神工,造訪沈從文筆下的鳳凰古城,也曾親炙黔東南少數民族的純樸村寨,體驗鄉野住民的純樸真摯。百里跑馬,奇風異俗,在浮光掠影間,手上的相機幻化成徐樂眉的另一雙眼睛,載入古今輪迴的光年。朦朧的「距離」與記憶的「真實」,是種觸動,或是一種紀錄。她不懈的探尋行腳,吹拂而生的正能量,舞動跳躍的自由感,
迷路,僅僅是選擇。山林岔路,心態從容。
只要篤信,前方自然有路。

作者簡介:

徐樂眉 Hsu le mei
道路開了,就得往前走。
徐樂眉從北京「中國藝術研究院」取得電影學博士文憑後,即展開大陸華中區域的畢業旅行。她說:「耕耘的是學業,得到人生階段的勳章。 收穫的是旅途,披戴星光灌注的桂冠。」
於是,
她專注地走這一條不尋常的路。
她執著地探尋族群文化的深淵。
如果不扮演影視角色,
風起雲湧的大千世界,
她仍游離於多重身份。
可以是行者、鬥士,詩人……
更是時空翱翔者。
萬里路、萬卷書,沒有一蹴可幾,
浩瀚書海,寬闊道路,全在步履中實踐。

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韓流來襲,婚紗攝影大吹韓式風!

根據國內幾個婚事相關網站觀察,2010-2012年韓風婚紗照成長約三成,不少新人選擇在婚紗照中,穿插韓式風格,歡喜一嘗韓國明星的風采。

事實上,南韓婚紗業很早就由影劇業汲取靈感;溶入許多電影電視的浪漫元素及美學手法;並隨著韓流向中日台的括起旋風也因之擴散至這幾國;尤其這幾年更日漸成婚紗攝影的新興顯學.

大相逕庭於台灣發展了三十餘年日趨制式化的傳統手法;韓風婚紗攝影講究以主題式、故事性的拍攝,除了白紗之外,最特別的就是精心設計的互搭情侶裝。
尤其喜劇化/帶劇情的婚紗照,攝影師另得身兼編導的角色,以鏡頭重現新人的戀愛故事,特意呈現新人戀愛過程中浪漫唯美的切面;也因之所拍得的結婚照不僅更富個人特色,其濃情蜜意狀尤顯突出!

因而,配合劇情演出,手寫告示牌、路標、黑板街頭長凳等生活化的道具一一出籠,連玩偶、寵物、布枕、床單也一起入鏡,絮語綿綿/溫情繾綣地表現戀愛生活的每一剖面。

而美學方面,韓風婚紗照也別具特色:尤其是其承襲古朝鮮的美術傳統,更講究古雅色調及各色系搭配的諧調與互襯.
因而「低飽和」的色調呈現便成最顯著特色,輕輕柔柔的低彩度色彩,使照片越發醇雅耐看。
(待續一)

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在CF史上,用已故巨星新演出30秒以上的短片倒不乏前例;比如重出土已死去幾十年的舞王佛雷亞斯坦及金凱利在舞台上大跳其舞;或請出老牛仔約翰韋恩騎在馬上講幾句廣告詞等等.
但基本上都是剪接其舊片片段重組.充其量補上若干電子影像之填充,讓影片略顯完整....
而如赫本的此片,幾乎可說是空前的了----畢竟,雖說CGI技術已無比進步,但要做到能完全摹擬其面容神態,且其人形貌又是全球影迷無人不知/纖毫可辨的;
更難的是須完整於外景中千變萬化的自然光線下演完一整場戲....
而這門檻之高,製作方也是著手進行後方知障礙重重!

原先的計劃倒也想得設想周到:
一.找個外形神態上肖似赫本的替身.
二.掃瞄其臉部,用一套FACS(facial action coding system)建立一操控七十個部位臉肌變化的母型
三.出外景時用全方位/包羅各角度的攝影機組,補捉演員扮戲時的神態及所有動作(包括光線變幻)
四.搜羅赫本所有影片/紀錄片及報章雜誌的定照,建立其臉部資料庫及CGI檔留待RENDERING.

於是乎,千辛萬苦終於覓得如意替身,也順利於意大利AMALFI海岸拍完外景.....方發現關隘全卡在後製上,

原因是,此替身演員固然身形俏麗,舉止神態也頗具赫本那種輕巧如風的韻味,大致也能傳達幾分赫本那種難以言傳的優雅風姿.
更足令製作單位雀躍的是:她有雙酷似赫本的翦水美眸-----他们一開頭擇角的盤算,就是想盡可能走捷徑:如能以現成素材直接置換,該可省去最繁瑣費事的重造眼睛一務.

沒料,殊與願違 ----等開始RENDERING,才發現欲以之重現赫本那眼神燦亮/既慧黠頑皮又帶點男孩氣的舉世獨一無二笑顏簡直是失之毫釐差之千里了....

於是唯有捨棄重來.....最後仍只能動用人工,一格一格/精工細琢出影片所見眼眸;總算也還差堪神似了.

於是乎,整部影片足足耗時一年終才完工.
 
CG VFX總監Simon French不免歎言:經此一役方有體會:原來摹擬某個熟臉孔之笑靨竟是如此之難!!

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 76-1-leibovitz-gaga-vogue-600x381  76-3-hansel-gretel-leibovitz-gaga2-600x463 76-2-hansel-gretel-leibovitz-gaga-600x463  

opyright, Annie Leibovitz.

Thanks to everyone who responded to the poll on the GTL facebook page. Annie was the hands-down winner of readers’ choice for my next guess. So, as you’ve requested, here’s a cool shot by Annie featuring Lady Gaga for the December, 2009 edition of Vogue.

As would be expected, Annie’s interpretation of the childhood Hansel and Gretel story rocks with drama and a high fashion sensibility. This image reenacts the scene where the two children turn the table on the witch and throw her into the oven. Having Gaga and model phenom Lily Cole on hand certainly doesn’t hurt.

I’m also guessing this image was not all shot together, in-camera. I don’t see how Annie could have achieved the vibrant red light on the oven and ground while keeping the models lit mostly white. I think the camera was locked off with Gaga being shot by herself, then the two models shot separately. 6 lights were used in total and the final image was composited in post.

Camera: DSLR with 50mm lens set on a tripod 15 feet back. Shot at 1/125, f11, ISO 400.

Lighting: The key light on Gaga is a Photek Softlighter at f16 (+1 stop), handheld by an assistant, high and 6 feet to camera right. It has been removed in post. A large octabank with a red gel at f8 1/2 (-1/2 stop) is set directly behind camera. This fills in Gaga and gives the red hue to the front of the oven and ground. A gridded magnum reflector with a full CTO gel at f22 (+2 stops) is behind her on the floor of the oven, aimed slightly upward. This adds the yellowish highlights to Gaga’s hair.

In the second setup, a medium octabank at f5.6 (-2 stops) is set high and 10 feet to camera left, providing fill on Lily’s back. Another medium octabank at f8 (-1 stop) is set similarly to camera right for fill on the man. The same large octabank with a red gel at f8 (-1 stop) is set just behind camera. A small, Profoto striplight with barn doors at f22 (+2 stops) is boomed directly above the models and aimed downwards, creating the areas of high contrast on their shirts, faces and legs. I’m guessing the red on the man’s hair has been accentuated in post. Probably lots of the red has actually been accentuated. Finally, the same gridded magnum reflector with a full CTO gel at f22 (+2 stops) sits on the oven floor and creates the yellow highlights on the man’s face. The final image is a composite of the two shots.

Comments: Lady Gaga thought it would be totally rad if she literally set herself on fire for the shot. But the level-headed Leibovitz (who ordinarily has a penchant for “reality” too) convinced her that sometimes “figurative” is just as good as “literal.” Especially when dealing with flames.

 

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