Last Friday, I made a quick trip to Hangzhou to shoot my largest-scale Okita Souji project to date alongside Master Monster. For our location, we chose a pool of water tucked inside a dark nocturnal forest, pre-planting numerous arrows among the gravel. Combined with surface water reflections and ambient smoke, the grim, desolate atmosphere of the battlefield was instantly established. For makeup, high-adhesion stage blood was used to deliberately deepen the scratches and mottled stains across my face, ensuring a realistic look under cool lighting.
Throughout the shoot, poses were constantly refined: maintaining a low center of gravity in the pool while timing the dynamic billowing of the haori coat. Capturing the split second of splashing water was exceptionally tricky, and the explosive tension of drawing the blade required multiple rounds of continuous takes. However, the lasting impact of this stage blood was intense—after wrapping up, I discovered the wig had been stained pink and the costume collar was permanently discolored beyond washing, effectively ruined as a painful sacrifice for our creative vision.
Special thanks to Anyu and the two other logistics crew members for assisting with smoke machines and lighting in the water. The cool blue lighting accented with localized warm orange highlights cast across my face intertwined with water reflections, yielding surprisingly stunning texture. Despite being utterly exhausted from standing for most of the night, seeing the rich layering of light and shadow within this cool-toned environment made all the hardships worthwhile. This was also my first time attempting environmental portraiture with such a dark aesthetic. Due to the unique setting, we had to account for light absorption by the aquatic scene and manage reflections from sweat and wig fibers in close-up shots. Accumulating these pre-production and post-processing insights proved thoroughly fascinating, pushing the set's narrative depth and emotional tension to the absolute maximum within this atmosphere.