Hollywood Road

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No matter how busy the work is, it is necessary to ensure a certain amount of rest time to complete all the filming work. Murphy gave the crew a three-day vacation. Most of the crew will quit the crew after receiving part of the salary, except for a few who need dubbing In addition to the actors, not many people are qualified to participate in post-production. Bayi≥Novel Network \u003e ≤≦≤≦﹤≤\u003c\u003c\u003c﹤

For the past three days, Murphy basically hid at home, one was to relax the nerves after busy work, and the other was to not want to be disturbed by others.

After these months of quarrels, some things can no longer be turned back, and Murphy himself doesn't want to turn back when things have developed to this point.

After hiding for two days, Murphy felt that his depressed mood had improved a little.

Then Bill Rosses came over.

"I just spoke to Miramax and Harvey Weinstein yesterday,"

By the swimming pool in the backyard, Bill Rossis sat under a sun umbrella and took a bottle of juice from Murphy, "The global screening of the film will be held in Cannes."

He looked across, Murphy's face was hidden under a pair of large sunglasses, and there was no change in emotion.

While filming was successfully completed, Bill Rossis was well aware that something had affected Murphy's work.

It was nothing before. After seeing Carey Mulligan's rebellious side thoroughly, he really didn't want her to disturb Murphy and affect his future.

He looked at the problem first from the perspective of Murphy's agent, not Carey Mulligan's agent.

Murphy grabbed the cold drink on the small table in front of him and took a big sip, "Have you confirmed the itinerary and who will go to Cannes?"

"It's confirmed," Bill Rossis nodded to Murphy, "You and the producer Erica Steinberg are going to Cannes before the festival to go through some screening procedures. Harvey and I It will pass before the screening."

"Where are the personnel?" Murphy asked again.

Since the crew is doing global screenings in Cannes, the main cast and crew must rush there.

"The cost is limited, and there won't be too many people." Bill Rosses thought for a while, and said, "It's mainly the front-screen personnel. Downey, Jim, Seth, Jonah, and Jessica Chastain .”

Murphy closed his eyes under the sunglasses,

Opened it again, then he took off his sunglasses, glanced at the swimming pool next to him, and shook his head vigorously, as if he had thrown away a lot of things.

Bill Rossis looked at Murphy and added on purpose, "This is the list given by Miramax."

From investment to production to execution of the film, all come from Miramax, and they have the real decision-making power for this film.

Murphy nodded, "You guys deal with it."

He stood up, "Also, Bill. In the last two months, I will devote myself to post-production, and you will handle those tedious matters for me."

"No problem, leave it to me." Bill Rosses also stood up, "I have to go back to the Death Star Building, call me if you need anything."

After seeing Bill Rossis off, Murphy went back upstairs and sat in the study for a whole afternoon. The three-day vacation ended and he started working again.

Busy work can also make him forget some unhappy things.

With the full support of Miramax, this post-production is completely different from the previous two. There is no need to rent a post-production studio. Miramax has a related studio in Burbank, which is well-equipped and fully capable of satisfying The production of "Planet Terror" required.

However, Murphy did not have the final editing rights.

This is also a natural thing. The investment in the first two films came from Stanton Studios. Murphy, the director and producer, has all the decision-making power, but this time is different. Even if the director's opinion and weight are more important in independent films, Still centered around the producer.

To put it bluntly, Murphy can put forward various ideas and suggestions in post-production, and participate deeply in it, but the final decision of the film is in the hands of Harvey Weinstein.

Similarly, the editor is no longer Jody Griffith, who worked with Murphy on the first two occasions, but Russ Beninter, hired by Miramax.

"Be careful in the choice of editing points!"

In the studio, before the start of the preliminary cut, Murphy communicated with Russ Beninter, "When I was shooting, I set aside enough cutting points. I think that according to these cutting points, the final cut The effect will be smoother."

The two had seen all the filmed material before, Lars Beiinter also had a general impression, and nodded slightly to Harvey Weinstein on the other side.

In fact, the editing points that Murphy mentioned are mainly used in the scene switching of different characters.

For example, the doctor played by James Franco opened the door, and the moment the door opened, the camera switched to Jonah Hill in another scene.

Murphy reserved a lot of editing points like this during the shooting. For example, Seth Rogen turned on the faucet and the water just flowed out, which happened to switch to the shot of Robert Downey Jr. washing his hands.

This is a very common way of editing in Hollywood, so neither Russ Beiinter nor Harvey Weinstein objected.

Especially Lars Beiinter, as an editor, he participated in the entire shooting process and had enough communication with Murphy.

He knew very well that the young director Murphy Stanton did not just talk about it, and that the shooting of the film had indeed done enough preparatory work for the editing.

The shooting process is fundamentally shooting for editing. The ultimate goal of shooting is not to take some good shots, but to serve the narrative of the film in the end. Therefore, the director must shoot the shots needed for post-editing, and be able to stitch these shots together. Complete the entire scene and plot, complete a logically coherent, touching finished product, and achieve the final goal.

This is a very simple shooting principle, but not many directors do it, and many directors like to shoot indiscriminately.

Russ Beninter could see clearly that the director named Murphy Stanton had a clear conception, and the shooting was orderly, and he implemented this principle very well.

Such a director is the editor's favorite director, and also the production company's favorite director.

He glanced at Harvey Weinstein. The other party's full support for a young director like Murphy Stanton was not because of blind trust, but because the director won it for himself with practical actions.

Harvey Weinstein and Erica Steinberg sat on one side, never speaking, just watching Murphy dominate post-editing.

Just like Russ Beninter, they have seen Murphy Stanton prepare for post-production during the filming process.

A movie can only shoot one scene at a time, and each scene can only shoot one shot at a time. No matter how large or complex the production scale of the whole movie is, it can still only shoot one shot at a time. Faye Stanton kept in mind the overall goal of the shoot, so that this shot had to be consistent with the other shots so that the entire scene could be stitched together.

Continuity is a big problem in filmmaking, one that directors have to be on their toes at all times, a continuity error can easily negate hours of filming, or cause a lot of problems when editing.

Murphy-Stanton successfully circumvented these.

In addition to strict requirements during shooting, Murphy and Russ-Beinter also paid great attention to the issue of continuity during the initial cut.

The first is the continuity of content, which has to do with anything visible in the scene: costumes, models, props, actors, cars in the background, time on the clock, Murphy and Russ-Baint must ensure that everything is in the Continuity is maintained in different shots, and those shots that may cause errors in shooting should be cut as much as possible.

This type of problem is so big that it is very obvious, such as Jessica Chastain wearing a tight red T-shirt in the main shot, but changing it to a golden red T-shirt in the close-up shot.

There are also shots that are downright subtle, like a scene where James Franco enters the shot holding a nearly finished cigarette, only to cut to a freshly lit cigarette.

During the shooting, although script supervisors, on-site costume and prop technicians, and the director Murphy all prevented these mistakes, humans are not precise calculation machines. Just like other Hollywood movies, this situation cannot be completely eliminated.

Therefore, Murphy and Russ-Beinter should try to avoid using these wrong shots in the editing. If there are shots with continuity errors during shooting, they must be used, and the wrong shots should be cut as much as possible. If there is no other way , and can also be modified using post-processing techniques.

There is also the continuity of action, which is more important than the continuity of content for a film like "Planet Terror".

Any object that moves in one shot must also move in the next shot. This is a seamless connection of motion. Whether it is opening a door, picking up a book, or parking a car, the two shots before and after There had to be no gaps in the movement, and it was critical that Murphy knew exactly how the two shots were going to be edited together.

During the shooting, Murphy planned well-planned, safe and effective shooting of various types of sports shots, in order to avoid the situation of post-editing being stretched, and the most important thing is to overlap shooting of all actions.

For example, in the scene of Jessica Chastain opening the door on the set in Venice, the scene expressed in the script ended before she fully opened the door, but Murphy still let the camera take a few more seconds during the shooting, until the whole action is completed.

Murphy is very clear about not getting stuck shooting at the beginning of the action—give a little extra lead and lag to get the full action into the shot.

These are very important for the shooting and post-editing of a film, and can even affect the success or failure of a film. Everyone knows that shooting is only a part of the film, and post-production is more important.

Good post-production can sometimes even turn a bad shot into something amazing.

However, these principles of continuity are not the core philosophy of Murphy's post-production studio, and his core philosophy is never publicized. (To be continued.)