HelloLove 和導演子賢在前期討論時，就定好了不論是攝影機，表演者的舞蹈與情緒還有整體的視覺都很克制，也是我很喜歡的方向，節制並恰如其分的表現出人與人的關係間，若有似無的痛苦和依賴。 我們在表演者的頭上搭了一組 12*12 的 Silk 作為環境的主光源，即使整體的環境走向是 Low-key，但榴槤與表演者身上的輪廓光讓他們從背景中適度地分離出來。以此為基礎，在背景處點亮了一個暖調的房間與前景的冷調對比，拉出環境的縱向深度，右後地面的暖光也用來拉伸環境的橫向廣度，讓整體的畫幅比例即使較方正，視覺上也能很好地延伸。
On HelloLove, the director Tzuxian and I agreed early on to keep everything restrained — the camera, the performers' dance and emotion, the whole visual. Just enough to bring out the quiet ache and attachment between people. We rigged a 12×12 Silk above the performers as the main ambient source. Even though the overall scene runs low-key, the kick on the durian and on the performers pops them just enough off the background. From there, we lit a warm-toned room in the background against the cool foreground to pull out the depth of the space; the warm light on the floor at the back right stretches it sideways as well, so even though the frame is fairly square, it still extends nicely.
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劇照Stills
