Director's Notes || Jade Tea Bone / Glory

Jan 14, 2026 05:14 pm

Zhang Zhi Wei, Jan 13,2026.

When I first came across the script for "Jade Tea Bone," I was immediately drawn to the story. It features a cunning and scheming top scholar and a cold & aloof female tea queen. The characters are distinct, and the story revolves around a matriarchal clan, the selection of a husband, family feuds, and suspenseful detective work. The story was unique, so I quickly accepted the role and began pre-production work.

Filming for "Jade Tea Bone" began on March 13, 2025, and wrapped on June 10, lasting 90 days. With a production volume of 45 x 36 episodes and a large number of ensemble scenes, it was a challenging production.

(The following content contains minor spoilers~)

(a) Tonal values

On the eve of filming, our directing team, cinematography team, and lighting team held discussions. The filming location is the Rong family, a tea-making family with a history spanning hundreds of years. How to present its prosperous atmosphere through the interplay of light and shadow is a crucial element in the story's development. We conducted some lighting tests, using different tones such as golden, sunlight, and cool moonlight to refine the overall story. One of the more challenging aspects was shooting the "outdoor" scenes within the studio. The Rong family had a large number of outdoor scenes that needed to be filmed indoors, and the biggest challenge of studio shooting was the lack of real direct sunlight and natural skylight. Based on this, we set standard requirements for the visuals: on the one hand, we had to completely eliminate the unrealistic feel of traditional studio shooting; on the other hand, we had to accurately simulate the texture of real sunlight and skylight through the lighting system, and further serve and enhance the narrative expression through changes in the layers of light and the tonal variations in the image.

(II) One of the core shaping points: Rong Mansion

The Rong family story has a special background setting, a unique matrilineal clan where women are respected. The establishment of this background is an important factor in the story's opening. I thought more about the arrangement of the characters in the scenes, so that the differences can be seen at a glance, whether it is a staggered arrangement of high and low figures or a group of stars surrounding the moon.

(III) One of the core character development points: the relationship between the male and female protagonists

The two are evenly matched, both displaying wit, cunning, and subtle, witty banter. In their mutual tug-of-war and probing, sometimes they both clearly know the other is acting, yet willingly play along; or they deceive each other, but their understanding of each other's perspective leads to a deep-seated tolerance. This is the kind of "intellectual romance" I adore! hhh

The story begins with the unsolved case of the missing tea girl, and Rong Shanbao, in danger, decides to play along and get herself involved. After being "rescued," Rong Shanbao has her first encounter with Lu Jianglai on a high platform. Rong Shanbao, having lived in Linji for a long time, chose to protect Yang Yun in the Wei family case and was familiar with the ways of the Linji officialdom. The sudden appearance of Lu Jianglai evoked complex emotions in her—a mixture of admiration, appreciation, scrutiny, and even judgment from someone in a high position. This explains why, upon hearing Manzhu's words while changing clothes at home, she suggested investigating this newcomer, Lord Lu. Lu Jianglai, upon briefly glancing at Rong Shanbao, was struck by her subtle smile; their eye contact across the distance could be considered a fateful "love at first sight."

She demoted him to a stable boy not because she offended the Rong family, but quite the opposite. She knew that Lu Jianglai's fatal injury was definitely due to persecution in the Wei family case. He was a good official who didn't know his place and was not tolerated by the Linji government. Therefore, she planned to let him "live in anonymity" in the stable. Of course, at this time, Rong Shanbao did not fully trust Lu Jianglai, thus opening the door to their relationship.

For the specific arrangement of the male and female protagonists' first meeting, I used a high-status character relationship. First, the male protagonist is in a high position facing the female protagonist in the crowd, and then the female protagonist stands in a high position and looks at the male protagonist. This also serves as a hint at the direction of the early plot.

From Rong Shanbao rescuing Lu Jianglai in the snow, to Lu Jianglai being rescued by Rong Shanbao in his dream, and then to Lu Jianglai waking up and seeing Rong Shanbao's face by the window, I treated it as "one scene." Through the connection of these three scenes, I conveyed the complex emotions Lu Jianglai felt towards Rong Shanbao, which included both gratitude for saving his life and romantic feelings.

The male protagonist then falls from a county magistrate to a stable boy, while the female protagonist is the heir to a powerful family, forming the initial "strong woman, gentle man" relationship.In key scenes, I used subjective camera angles multiple times to allow female viewers to quickly immerse themselves in the female lead's perspective and see this "little tea cat." Who wouldn't love this cat?

As their feelings for each other deepened, the colors also became more intense.

For lighting, both the orange and red-orange tones utilized a homemade array of candles as front lighting to create a delicate, shimmering, hazy, and ambiguous feel. As the shoot progressed, the weather gradually warmed up, and the entire set became incredibly lively and bustling.

After the male protagonist's identity is restored, their relationship changes from "strong woman, gentle man" to "both gentle and strong".

Salwa Nice

Jan 14, 2026 05:23 pm

(iv) One of the core characterization points: ensemble acting

"Jade Tea Bone" features numerous ensemble scenes, and after the story enters the Rong family, it involves the appearance of the entire family. This scene is the only one in the entire film that uses a round table for seating, where the family appears to be enjoying themselves, yet each harbors their own thoughts, and undercurrents are swirling within.

The play frequently employs symmetrical compositions, conveying emotions such as solemnity, tension, and confrontation.

The scene of the Rong family's night trial uses a relatively formalistic positioning pattern: the old lady sits in the center, the Rong family members stand in rows, and the person being tried kneels opposite her, creating a sense of oppression.

There are many more behind-the-scenes creations and plot analyses like this—after all this time, I realize I've only just begun. I'll talk about them in more detail another time.

Let's wrap this up with some screenshots of my favorite scenes and lighting effects.

(V) Some thoughts on short dramas vs. long dramas

These days, surfing social media, I constantly see arguments like short dramas outperforming long dramas, long dramas becoming like short dramas, short dramas being boring, and long dramas flopping one after another. Deep down, I have some thoughts on this. After more than a decade of experience in film and television creation, and gaining some recognition in the short drama field, I finally had the opportunity to direct my first standardized long drama as a director transitioning from short dramas. I felt both nervous and full of creative desire, and I poured my heart and soul into filming "Jade Tea Bone"—just like my short drama days, I gave it my all.

Whether it's a short drama or a long drama, there are no shortcuts to gaining audience approval; sincerity is the greatest asset. The competition in short dramas is fierce, and so is in long dramas. I believe that everyone involved in both short and long dramas is undergoing a difficult period of reflection and transformation, which I won't elaborate on here.

In the current environment, breaking through the limitations of long-form dramas is like rowing against the current; the cost of trial and error is so high, every step is like walking on thin ice, and limitations are inevitable. "Jade Tea Bone," a revolutionary work that "shortenses a long drama," aside from its fast-food style segments and dazzling, lively scenes as audience-attracting tactics, its core themes and ensemble cast are its biggest highlights and my favorite parts. Whether it's Lu Jianglai, a man shrouded in darkness yet possessing a bright heart, or Rong Shanbao, burdened with the responsibilities of a corrupt family yet maintaining integrity, both uphold their principles in the "Wei Family" case. Whether it's the young men with their own motives participating in the selection of husbands, the power struggles and love affairs among the Rong family ladies, or the bizarre and complex relationships within the Lu family in the capital, each character ultimately has their own arc and highlights. This is also the biggest feeling I gained from my first attempt at a standard long-form drama: it can carry more expression and more narrative methods, possessing its own unique charm.

If "Jade Tea Bone" brings you some enjoyment while watching, it would be a great pleasure for all of us on the creative team.

(VI) Conclusion

Special thanks to Teacher Yu and all the actors for their trust and support in me, a newbie director of a long-running drama. I am also honored to be able to film Teacher Zhou Mo's script. With "Yu Ming Cha Gu" now halfway through its run, thank you to everyone who discovered the "corn pork ribs soup " highlight and "artificially fermented" the yeast!

Finally, whether it's criticism, correction, or love from the audience, it's all my motivation to move forward. Thank you all for taking the time to watch, I'm grateful!

Life is a continuous journey of self-cultivation; the path is long and arduous, but my original aspiration remains unchanged.