上次SHP+采访台湾新晋导演王俞心的时候，她刚刚完成了豪车林肯路演推广的系列宣传短片——“林肯空间”的拍摄 。影片引人入胜的叙事和唯美的画面，让王俞心以惊艳的姿态跳入了大陆影视人的眼帘。
影片推出后，“王氏”股价节节上升，作品不断，除了再次出导林肯的新片以外，她还接拍了蒂芙尼珠宝以及麦当劳等大片，而且大部分作品都延续了她动人的叙事风格。最近她为清风纸巾拍摄的新作也不例外——呈现了人生中最重要或最细微的时刻里每个感人的瞬间。不过有别于以往推进式的叙事方式，在一分钟长的TVC里，王导尝试了“冷冻时间”的手法，在优美的钢琴旋律的配合下，让观众去解读每个定格画面背后的故事 – 爸爸给儿子的喂食、男同学背后着手紧握着情书、出嫁的女儿在父亲怀里流下的泪等。在每个冻结的场景里，“清风”都在中间默默地扮演了重要的角色。在每一帧冻结的画面里，随着摄像机的移动，某些细小的活态的元素又紧紧抓住了我们的眼球：如泪滚下脸颊的一颗眼泪和自动翻页的书本，动与静的结合中产生了奇妙的效果。
广告由JWT策划，上海The Eye制作公司执行，这部王俞心的又一力作仅用了两天时间就在上海完成了拍摄。虽然中国越来越多的广告片可以见到’冻结时间’技术的运用，但我们了解到王导此次的方法还是有所不同的。SHP+就此向王导打探了拍摄的一些背景和花絮。
SHP+：当初给你拍摄的brief是怎么样的？
创意的原点是要去捕捉生活中某些动人的时刻。然后把这些瞬间以冻结成照片的形式呈现出来，希望影片有个很特别的视觉风格。
SHP＋：你是怎么冻结时间的？
我们需要先展示产品——纸巾，然后再讲述背后的故事，所以摄像机需要做些大幅度的移动。我们先准备好所有场景的陈设，并要求演员在最精确和最关键的时刻冻结他们的身体和面部表情，然后我们使用高速摄像机并让以最快的运动速度拍下这个场景。
SHP＋: 整个过程中最大的挑战是什么?
许多冻结时间的影片描绘的场景主要是正在发生的动作，这类的冻结通常为了达到令人惊叹的视觉效果会让人腾在半空中，因此需要特殊的支架。但这次影片的出发点不一样，它是希望通过细致的情感和精确的表达来感动观众。其中最大的挑战之一是我们需要演员的情绪在瞬间’爆发’，并且停留在那一刻。例如，新娘在拍摄时真的流下了眼泪，而父亲的也在同一时间红了眼眶了。幸运的是，我们捕抓了那一刻。我们甚至不需要加上CG的眼泪。话虽如此，后期的工作还是相当多。在每一个场景中，我们都希望可以看到某些物品轻微的移动，在动与静的对下，使整个冷冻瞬间变得更具冲击力。
SHP＋：你看过什么参考片？
我们看了太多的参考片了，甚至包括一些3D照片，我们结合了不同的拍摄方式，很难说具体哪一个是我们的参考方向。
SHP+：你觉得最终的效果怎么样？与代理商和制作公司的合作如何？
我很满意片子的效果。它达到了我预期的想像。这是我第一次与JWT和The Eye合作，这是一个难忘的经历。制作团队The Eye非常有经验，我们之间的工作配合得很好，在拍摄前就整合好前后期必须各自准备的事项，效率也很高。我们和广告公司JWT做了很充分的沟通，对影片的看法也一致，都不希望影片的效果看起来很花哨，因为这会削弱人物的情感和互动。话虽如此，我们还是做了很多后期的修图，我必须为我们的后期特效师点个赞，他的辛勤工作使冻结的效果看起来相当真实，而且不露痕迹，这才是真正费工夫的地方。
SHP＋: 你有什么想补充的吗？
实际上，我们是同时拍了两支风格完全不一样的影片 – 另一支的形式是以手影來表現的。敬请期待噢。
制作人员:
客户: Breeze 清风纸巾
代理商: JWT
导演 Andrea Wang 王俞心
监制：简慈慧/韩家跃
摄影师：Ronnie 程赞海
副导：Hong SuiYen
制片：汤笑鸣
制片助理：小勇
美术：林仲贤
造型：阎小凤
道具组：刘建忠
后期特效：戴旭宏
后期制片：顾宇婧
Last time SHP+ spoke with young Taiwanese director Andrea Wang, she had just completed work on four short films entitled “Lincoln Space”, as part of luxury car brand Lincoln’s city roadshow promotion. Beautifully shot with powerful storytelling, the shorts marked Andrea’s impressive, high profile introduction onto the Chinese commercial scene.
Since that breakout campaign, Andrea’s stock has risen steadily, following it up with another film for Lincoln, as well as work on a host of commercials for leading brands including Tiffany and McDonald’s. Her latest work, a spot for Chinese tissue brand Breeze, picks up, stylistically, where she left off from last year’s Lincoln ads. To the sound of an emotionally-charged piano melody, the minute-long TVC gently transports us through pivotal life moments – a father feeding a baby, a student nervously giving a love letter, a girl marrying and leaving the family home, an old couple still deeply in love. In each scene, the tissues play a central role. These passing moments are immortalized in time in a frozen frame, bar the moving camera and certain small elements, like a tear rolling down a cheek and the fluttering page of a book. It is a potent combination.
Devised by agency JWT and executed by production company The Eye, the film was shot across 2 days in Shanghai and represents another impressive piece on Wang’s reel. Though the ‘freeze-frame’ is now a commonly used tool in commercial filmmaking, we learned that her approach to shooting this spot was unusual. We caught up with the director to hear more about the techniques used and the challenges of the project.
SHP＋: What was the brief?
The brief was to capture certain, emotional moments of life. These moments would become frozen pictures.
SHP＋: did you achieve the freeze time effect?
We needed to first show the tissue, and then reveal the story behind it, so the camera had to make a big movement. We set up everything and asked the actors to freeze their body and facial expression at the exact, key moment. We used a high-speed camera and made it move as quickly as possible.
SHP＋: What were the main challenges during the whole process?
It is different from many other frozen moment films, which would mostly depict something happening mid-action. That would require specially set up rigs and the aim is usually to wow the audience with the impressive visual effects. Instead, we wanted to move the audience through subtle emotions and delicate expressions. One major challenge was that we needed to make the actor’s emotions ‘burst’ out, and then hold that moment. For instance, the bride really did burst into tears and the father’s eyes got wet at the same time. Luckily we captured the moment. We didn’t even need to use CG tears. That said, there was still quite a lot of work to be done in post. In every scenario, we wanted to keep some objects moving slightly to make the frozen moment more impactful by comparison.
SHP＋: Did you look at any reference?
We looked at a lot of references and even some 3D pictures, but I can’t point out a specific inspiration.
SHP＋: How do you feel about the final result? How was the experience working with the agency and production company?
I’m quite satisfied with the result; I think it fulfills my vision. It was my first time working with both the agency (JWT) and the production company (The Eye) and it was an unforgettable experience. The production house is very experienced; they were supportive and worked very efficiently. We communicated well and our visions for the film were aligned. We didn’t want the film effects to look too fancy because it would dilute our character’s emotions and interaction. That said, I must say our online editor Dai Hsu Hong worked really hard to make the effects invisible – that was truly hard work.
SHP＋: Is there anything else you would like to mention?
We actually did two completely different films at the same time – the other is played by hand shadow. Watch out, it’s coming soon 🙂
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