When love begins to loosen, and emotions slowly lose their gravity,
we choose to let imagery speak first.
 

The series #Adrift in Love , adapted from the novel by Wen-Yong HOU and directed by Fu chun HSU ,
translates states of emotion that are difficult to articulate in words
into visual forms of flow, fragmentation, and recurrence.

 

🎬 The first emotional entry point begins with the title sequence.We adopted a digitally painted, oil-like visual style,
reconstructing key scenes and emotional fragments from the series.
The imagery exists between realism and abstraction—like traces of memory, or feelings not yet spoken.
 

The title ultimately settles within the imagery of “desire as drifting sand”:
a deep crimson sea formed by the flow of longing, with a single white curve—shaped by the profiles of two faces winding through it. It is both the only path forward, and the fragile connection that has yet to break,
leading the characters toward the blooming red spider lily on the other side.

 

🐍 The Ouroboros, appearing in Episode 1, serves as one of the story’s central metaphors.
In the CG animation, we emphasized contraction, twisting, and moments of tension and stillness,
giving the serpent a sense of struggle. Through detailed texturing and reflective lighting,
it becomes more than a symbol, but a tangible emotional presence with weight, pressure, and life.

 

Throughout the series, visual effects work quietly beneath the surface,
supporting the emotional atmosphere:
shattering glass in moments of crisis,expanded emotional space when gazing across the sea,
and evolving layers of rain and weather as emotions intensify.
 

On the realistic side, environment compositing—from architecture and signage
to screens, magazines, and graphic content—
ensures that every frame carries both narrative and emotional continuity.

Visual effects here are not merely technical enhancements,
but an integral part of storytelling.

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當愛開始鬆動、情感逐漸失重，我們選擇先讓「意象」開口說話。

 

影集《#人浮於愛》，改編自#侯文詠 同名長篇小說，#徐輔軍 導演執導，

將文字裡難以言說的情感狀態，轉化為影像中的流動、裂解與循環。

 

 

情感的第一道入口，從片頭開始選擇以電繪油畫感的視覺風格，

重組劇中多個關鍵片段與情緒瞬間，畫面介於寫實與抽象之間，

像記憶殘影，也像尚未說出口的感受。

最終，片頭標準字落在「情慾流沙」的意象中，

一片由慾望流動而成的深紅沙海，一條由兩人側臉勾勒出的白色曲線蜿蜒其間，

唯一可行的道路，也是尚未斷裂的情感連結，引領角色走向那朵盛放的彼岸花。

 

說到這次第一集正式登場的銜尾蛇，作為整部故事最關鍵的隱喻之一。

這次在CG動作設計上，讓蛇身呈現收縮、扭動、停滯的掙扎感，

材質上強化肌理層次與光影反射，讓牠不只是象徵，而是一個有重量、有壓迫感、有生命的情緒載體。

 

本次視效更多是默默支撐劇情氛圍，

緊張時刻的車禍破碎玻璃、凝視海的另一邊所延伸的情緒空間，隨情感推進而增強的雨勢與天氣層次。

在寫實層面，從建築外觀、招牌的環境合成，到電子產品、雜誌，內容等細節應用，

讓每一個畫面都能承接情緒與敘事。

 

讓視效不只是技術補充，而能成為敘事的一部分。​