The setting for this photoshoot was the younger siblings waiting at home together for big brother Wang to return for the Chinese New Year's Eve dinner. As Sui siblings in Arknights, the deep bond between Shu and Ji was prominently reflected throughout the photos. Bringing out this warm atmosphere required lengthy pre-production. Makeup and styling took considerable effort—securing the deer horn headpieces into the hair took time, and the ears had to be adhered carefully with spirit gum to ensure no edges showed during side-profile shots. The costumes were hand-altered, featuring metallic-textured accessories on the left shoulder and cuffs, along with multiple layers of light fabrics and leather; they were quite heavy, making movement restrictive. The Stockings worn on the lower half of the character on the left were chosen to match the setting; while sleek and crisp, squatting or turning sideways easily caused creases, so we adjusted posing repeatedly until the leg lines looked just right.
The shoot took place inside a retro timber-structured restaurant. During the shoot, the lighting technician specifically aimed warm yellow light onto the paper lanterns, giving the foreground and background deeper spatial layers. The first photo used a level, slightly high-angle perspective, capturing the spatial depth of the wooden pillars and lanterns while highlighting the playful interaction between us. I held chopsticks to feed the sister cosplaying Ji next to me while she waited with her mouth open—that relaxed, playful vibe was captured after extensive discussions about character personalities. Props also faithfully recreated festive New Year details, such as the patterned teapot on the table, bowls of noodles, and red chili oil broth; food placement had to be arranged precisely to avoid blocking garment details from the camera.
The second photo switched to an overhead bird's-eye perspective to emphasize an authentic dining table atmosphere. Someone next to us was peeling shrimp to eat, and the textures of scallions, cilantro, and noodle soup appeared crystal clear on camera, cultivating a cozy, home-cooked meal feel. Because the narrative was waiting for brother Wang to come home, our gaze needed to convey a delicate blend of anticipation and ease. Cool white light illuminated the tabletop, creating a tactile, textured contrast against the warm ambiance.
Midway through the shoot, we ran into wig glare issues and spent quite some time adjusting lighting angles. With many dishes and bowls on the table, every action had to be executed cautiously to avoid bumping things—holding bowls, passing chopsticks—all synchronized to the photographer's cues. The yellow-and-blue hair ornament atop Ji's head easily reflected warm light, causing minor overexposure twice in wide shots before we solved it by repositioning the camera. Storyboarding drew inspiration from the characters' daily life dynamics, aiming to showcase classical elegance without feeling overly stiff; while waiting for all dishes to be served, we practiced handling chopsticks in front of the mirror until the muscle memory felt effortless. The Stockings material photographed through warm lighting looked wonderfully textured; compared to rigid staged poses, these slice-of-life interactions made getting into character much easier. This concludes the full photoshoot log for the Sui family's Chinese New Year's Eve dinner.