The scene is expressed through the lens, so the lens language such as picture color, lens movement and sound configuration is an important part of narrative space construction. In terms of screen color, warm colors such as vermilion, orange and gold are widely used in the whole drama to express the prosperity of the Tang Dynasty. In the scene after dark, such as the Shangyuan Palace Banquet, the picture is crimson, which not only reflects the gorgeous feeling, but also restores the effect of candlelight lighting. So how does The Longest Day in Chang 'an present a vivid Chang 'an city to the audience through the lens?

First of all, the color of the picture in the lens presents a vivid Chang 'an City to the audience.

All the shots involving Jing 'an Division are in cyan tone. At the same time, the furnishings and decorations of Jing 'an Company are mainly in cool colors, and most characters wear green, blue, deep purple and other colors. The only two figures were dressed in colorful costumes-one was an undercover agent, Tong San, and the other was Yao Runneng, who wavered repeatedly in front of several forces. They are all people who are outside the mainstream values of Jing' an company. In the finale, when Yao Ru finally chose to join Jing 'an Company, she also changed into a dark blue suit. Another cool narrative space is memory and dream space. Compared with Jing 'an Company, the color of this kind of space is more heavy and depressing, almost becoming a black-and-white picture. Through color separation, the audience can clearly distinguish Jing 'an Master and Feng Baobao from the warm Chang 'an, and can also feel the different positions of the characters in different narrative spaces. Different types of narrative space are branded with their own styles through the color division of the picture. The clarity of this space makes the characters and plots have a higher degree of fit with their space, and the rationality of narrative space has also been improved.

The second is the lens action and sound configuration, presenting a vivid Chang 'an City for the audience.

As an important expression of lens language, lens movement and sound configuration also play a role in rendering atmosphere and strengthening style in the construction of narrative space. At the beginning of the first episode, a group of sports long shots "catch a panoramic view of all beings before the opening of the western market" quickly brought the audience into the plot; The Wolf Guard's subjective follow-up shooting in the warehouse allows the audience to follow the "brigade rate" Cui device to shuttle between the circuitous and narrow corridors, building an exciting pursuit space; In the palace banquet scene, a large number of saints look down and others look up, and the majesty and oppression are beyond words. The movement and scheduling of the lens not only enhances the narrative function of the space, but also enriches the construction method of the narrative space in the play, thus strengthening the style of the space. In the aspect of sound configuration, the lines with textual research color, Li Bai's poems and the soundtrack of traditional ancient music have increased the realism and audio-visual beauty of the narrative space in the play from another aspect.