[Sandrone Cosplay] Genshin Impact Puppet Sandrone study room behind-the-scenes

The shooting location for this time was chosen in a vintage study room with blinds. The wooden desks and chairs, the densely packed books on the background bookshelves, as well as the green plants and clocks in the corner, inherently carry a quiet and classical atmosphere, which matches the texture of this costume perfectly. Because the character setting carries puppet elements, the makeup intentionally emphasized facial smoothness and whiteness, paired with bright blue contact lenses and light golden wig, attempting to visually present an exquisite yet unreal effect.

The details of the costume are extremely complex. The multi-layered skirt hem used white, black, and dark red fabrics, and the corset at the waist features golden hollow-out patterns with a ruby embedded in the middle. Special attention was required when wearing and fixing the black separate sleeves; if the arm movements were too large, it would easily cause the sleeves to shift or curl up. I deliberately arranged the black neckwear at the cuffs and collar, paired with the red ribbon, to ensure there were no wrinkles in front of the lens. The large ruffled headwear on the head and the slender red ribbons on both sides added a lot of layering. The lower body wears white tights with hidden patterns; this material has a soft reflection under the light, but it is prone to snags, so changing and moving required great care, and the status of the stockings had to be checked frequently during shooting breaks.

The biggest challenge during the shoot was the coordination between light and shadow and postures. The light coming through the blinds was very harsh, and the light spots falling on the body were very beautiful, but they also easily produced strange shadows on the face. Therefore, when posing, I needed to constantly micro-adjust the orientation of my face so that my eyes were right in the bright part of the light, while ensuring expression in my gaze. For the few photos kneeling on the wooden table, to make the skirt hem fully expand, I needed to keep my back straight while sitting cross-legged or sideways, fully displaying the white leg lines. Kneeling for a long time would make my legs numb, so I often needed to pause to move around before continuing.
Figures 1 and 2 are mainly standing turning back and sitting poses, with the focus on presenting the shoulder and neck lines and the back and side layers of the costume. Figures 3 to 5 are sitting poses on the desktop, where I tried different leg placements to make the texture of the white stockings more obvious under the light. In terms of demeanor, to fit the puppet setting, I didn't make too many exaggerated expressions, maintaining a flat, slightly detached state most of the time. For example, the downward-looking angle in Figure 4 required controlling the drooping amplitude of the eyelids so as not to look too drowsy, but rather to have a kind of inorganic static beauty. The photographer guided from the side, capturing many moments when I adjusted my center of gravity.
Although the entire shooting process was tedious, seeing the perfect combination of light and shadow and costume details in the camera made me feel that the process of expending a lot of energy was very meaningful. Organizing these behind-the-scenes is also recording the true state of repeatedly adjusting postures and light interactions back then.