燈光設計理念

以聚光燈讓觀眾聚焦在說話的演員身上，當群戲時則以不同亮度的光照演員來分出焦點。

我們使用LED燈做Wash，在演員的心情轉折時做氣氛的營造。比方在神創造天地時，我將燈光調亮並且把色調轉黃表示天地的形成，在陽光被雲擋住進入夜晚時，我讓畫面回到深藍色等。

當幽靈（家人）圍在抓周的演員身後時，我想使用白色背側光照披著布的演員身上，該抓周片段使用較暗的面光，凸顯幽靈的身影以及期待。同時也用紅及綠色光營造頭痛時的感受，放在與自身姓氏矛盾，自我認同與他人眼光間拉扯的片段。

在一些分兩派勢力的場景時，我用兩種顏色分出派別。當演員在衝浪時，我使用淺藍和深藍營造海的感覺。當有詭異的場景時我則是用紫色為底配上綠色營造詭異的氣氛。

試圖在好的地方做出差異。

Lighting Design Concept

The lighting design focuses on using spotlights to direct the audience's attention to the speaking actor. During group scenes, we employ varying intensities of light to highlight different focal points.

We use LED lights for washes, creating atmospheres that reflect the actors' emotional transitions. For instance, during the creation of heaven and earth, I brighten the lights and shift the hues to yellow to symbolize the formation of the world. When the sun is obscured by clouds, transitioning to night, the scene shifts to deep blue.

When ghosts (representing family members) surround the actor during the "抓周/one-year-old catch /zhua zhou" ceremony, I use white back and side lighting on the actors draped in fabric. The scene is lit with dimmer front lights to emphasize the ghosts' silhouettes and their expectations. Additionally, I use red and green lights to convey the feeling of a headache, representing the tension between personal identity and external perceptions, particularly in scenes dealing with surname conflicts and self-identity struggles.

In scenes depicting divided factions, I use two distinct colors to separate the groups. For surfing scenes, I employ light and dark blue lights to create a sense of the sea. For eerie scenes, I use a purple base with green accents to create a spooky atmosphere, aiming to highlight contrasts effectively.