《Possible Love》(Possible Love, tentative translation) Behind the scenes of photography: building a house for natural light, and shaking the woods when the wind does not arrive

 While filming Possible Love (tentative translation), the crew built a house on the beach.How big the windows should be, what color the wallpaper should be, and how sunlight can enter the room are all taken into consideration during the construction phase.Director of photography Jin Zhilong wanted to use natural light as much as possible, and this space built specifically for shooting allowed him to adjust the image starting from the house itself.

The film directed by Lee Cang-dong will be released on Netflix in November.Jin Zhiyong explained several scenes in the film step by step during the master class held at the Busan International Film Festival and Netflix Creative Asia event.He said that in pursuing natural images this time, he spent more time on preparation than before.

The preparation of the script also experienced pauses.Jin Zhilong recalled that Li Cangdong tried to prepare this work about ten years ago, but then stopped.Issues such as class differences and the harm done to workers struck the director as sensitive, and he was not sure whether he was suitable to address them.

The film follows a documentary filmmaker who follows a family in hopes of filming a group of workers harmed after a company suppresses a strike.How the camera enters other people's lives therefore becomes a question in the story.

Jin Zhilong has participated in movies such as "Decision to Leave".When he first discussed the new film with Li Cangdong, he asked himself, how can he make this work different from the previous ones?He decided to first limit the tools at hand, reduce artificial lighting, and rely more on natural light when conditions allowed.As available means shrink, camera distance, environment, and actor movement need to be handled more carefully.

The opening scene first establishes this shooting method.

He didn't want the photography to look too elaborate in the first scene, the image should feel natural to the eye.In order to maintain a moderate observation distance, how close the camera is to the actors is planned: too close will look exaggerated, too far will look like peeping.“When shooting, the team made adjustments based on the actual reactions of the actors, making the camera seem to be in the same environment as the characters.Even when observing the children in the back seat, the child's perspective is not deliberately emphasized.

The shot of the child throwing the bag out of the car window was later slightly composited.Jin Zhilong smiled and said: ”This is not a Marvel movie.“Even if the special effects are very light, the audience may be aware of their presence, so the handling must be restrained.When answering a question about color temperature at the scene, he also mentioned that a lot of manual work still needs to be done in the later stage to make the picture look consistent with people's natural perception.

When Mi-ok, played by Jeon Do-yeon, talks about the day she met her husband, there is a subtle change in the way the camera is filmed.Jin Zhilong used a shallow depth of field in this scene to echo the character's nostalgia for that period of life.A large number of scenes in the entire film are shot in a way that is close to the naked eye, so such an ordinary photography method will stand out.

”The trivial things finally became highlights.%He used this sentence to talk about that memory with a soft and happy feeling.

The documentary director's beachside vacation home in the film is another place where the crew invested a lot of preparation.The team found the land through a real estate agent who posted videos on YouTube; Li Cangdong also likes to watch this channel.The house was built to meet the shooting needs. The team studied the size of the windows, the color of the wallpaper and the path of sunlight into the interior, striving to use less artificial light.Jin Zhilong also explained that artificial lights will still play a supporting role when needed.

A post-sunset scene in the woods next to the house cannot be solved by designing the house.

Jin Zhilong feels that the landscape is particularly charming when it is windy.Stormy weather forecasts were heard during the shoot, and the team hoped to wait for the right winds.They were on location for about a month, anticipating that only two of those days might achieve the required wind strength.Li Cangdong also checked another YouTube weather channel he liked, but in the end he didn't get the conditions he wanted.

Jin Zhilong joked that they were waiting for the “movie ghost” to arrive, but it didn't appear.The shaking trees in the shot were later completed by the staff who went into the woods and shook the trees by hand.He said that he has been working in the industry for 20 years and this is still one of the most unforgettable moments; if he still has the opportunity to cooperate with Li Cangdong, he hopes to have the good luck of making a movie next time.