Hollywood Road

After exhorting Philip Raschel about the precautions during shooting, and exchanging opinions with Franco Miller, Murphy walked into the set surrounded by green screens, three camera assistants were setting up the cameras, and Helena Aye Spozela took his assistants to make a final check on the green screen that had been set up.

This kind of green screen shooting that relies more on post-production special effects undoubtedly greatly reduces the workload during preparation and shooting.

Looking away from Helena, Murphy looked to the left, and suddenly saw a familiar girl walking towards him.

Her blond hair was simply combed into a ponytail at the back of her head, and she was wearing a small denim suit, which was a little gray and old, with a pair of small brown leather boots on her feet, and a tall and slender face. A pair of raised eyebrows showed a unique wildness.

This is... Murphy thought for a while, and finally remembered that compared to what she remembered, she had grown taller, and her wildness was heavier.

"Hi, Murphy," the girl greeted him politely before she came over, "Long time no see, do you remember me?"

"Are you..." Murphy watched her getting closer, "Are you Margaret? Maggie?"

Margaret walked four feet away from Murphy, tilted her head and looked at him, "I was on the phone with you yesterday."

"Oh, I remembered." Murphy smiled apologetically, "I've been too busy recently, and I keep forgetting some things."

Seeing the girl opposite nodded slightly, he asked politely, "Why did you come to Los Angeles?"

"I'm on summer vacation." Margaret looked curiously at the surrounding green screens, "Come here for a trip, I heard that you are making a movie, let David bring it to see, I haven't seen a movie yet Woolen cloth."

She stretched out her hand and pointed to the large green screen behind Murphy, "What are these for?"

"It's used to replace the background of the shooting." Murphy couldn't explain clearly to this kind of layman for a while, and Murphy said a few words briefly, and asked, "Do you want me to have someone take you around."

When he was in Australia, the other party had entertained him, and now that he came to his place, of course he couldn't wait too long.

Margaret thought for a while, then nodded slightly, "Okay."

Murphy beckoned to Paul Wilson and asked him to find a female assistant to show Margaret around.

As soon as the little girl left, Murphy heard footsteps behind him. James Franco, who had no filming role today, walked over in a casual outfit.

He stood beside Murphy, looked in the direction Margaret left, and asked, "Who is this?"

"Don't think too much, Jim." Murphy warned, "She's David Robbie's sister."

"Hey, Murphy, you're overthinking it!" James Franco said innocently, spreading his hands, "I already have Lily, and I'm not interested in anyone else."

Murphy patted him on the shoulder hard, he didn't want to see his crew having nothing to do with each other.

Soon, the shooting kicked off. Today's shooting is mainly about action scenes, about the scene where Seth Rogen's muffle attacks the police.

The shooting is done with a green screen as the background, and the special effects are added in post-production. Unlike ordinary green screen shooting, Murphy will use high-speed photography technology to shoot here.

During the preliminary preparations, he, Philip Raschel, did experiments, and the experimental shots he shot were also approved by Frank Miller.

The style of the whole film will definitely match the comics, and Murphy will not change this, but some individual scenes will also be adjusted appropriately, for example, the action scenes in the comics are completely fragmented, how to shoot and produce More attractive, more comic-like, can it bring people a different kind of stimulation?

After all, there are still differences between movies and comics.

"Fran, the action in the comics is different from the action in the movies,"

Standing behind the director's monitor, Murphy and Frank Miller, the named director, said, "In the background of thick ink and heavy colors like black and white oil paintings, the blood of the **** and the dead body in the wind can bring a stronger visual effect in slow motion. The impact, which you saw in these previous experimental shots, worked really well."

"What I mean," Frank Miller raised his cowboy hat, "these shots should be properly controlled, after all, that's not what comics are about."

Murphy nodded, "I know, these will definitely be restrained."

Without moderation, the film would not be rated R, but would become NC-17.

Frank Miller is old and mature, and he can see that the situation in the crew has exceeded his expectations. As long as the style and general direction of the film do not deviate from the track of comics, he rarely expresses his opinions recently, and no matter there are any changes , Murphy, the director, always consulted him for his opinion at the first time, and showed enough respect.

What's more, judging from the high-speed and slow motion in the preparatory stage, the effect of the action scene is indeed very good.

After the actors and other departments were ready, Murphy quickly shouted to start shooting. The shooting looked quite boring. The ugly-looking Seth Rogen and several stuntmen jumped around in front of the camera according to the action-guided routine , After a few minutes of filming, I have to stop and readjust, especially Seth Rogen's makeup is quite troublesome, and I have to touch up the makeup if I touch it.

According to Murphy's request, Philip Lascher and two camera assistants of the film crew operated three latest Sony digital cameras to shoot every scene in the next scene at a high frame rate.

It's actually not complicated. Murphy just wanted to integrate the high-speed slow motion shooting action scenes in "Three Hundred Warriors of Sparta" into the fighting scenes in "Sin City".

Although "Three Hundred Warriors of Sparta" is more colorful than "Sin City", the background pictures of the two works are similar to a certain extent, and Murphy is far more restrained than Zack Schneider, just the action This shooting method is used in the play.

Action scenes are not the key to the success of a movie, but if it is brilliant, it can become a highlight for the audience.

Of course, using high-speed slow motion to shoot action scenes is also a more troublesome job.

The slow motion in the film is not a simple slow motion, which is the most low-level way to create a slow motion effect. Murphy uses a high-definition digital camera to shoot at high speed and then play it back at a slow speed.

Normal camera shooting is twenty-four frames per second, and film projections are also twenty-four frames per second, but when shooting Seth Rogen's action scenes, the two digital cameras are shooting at ninety frames per second. Six frames per second, and twelve frames per second for projections, so you can easily get excellent slow motion.

Of course, such a setting is not derived out of thin air, but is directly related to the recognition of human eyes.

At the present stage, when shooting and showing movies, the frame rate is basically adjusted to 24 frames per second. This parameter is consistent with the time resolution ability of the human eye. to form a coherent image.

It is precisely because the human eye has such a limitation that the human eye cannot fully capture some higher-speed movements. At this time, it is necessary to use external force to slow down the movement to ensure that it can be fully viewed-high-speed photography technology, that is, The product that came into being for this purpose.

High-speed photography is a kind of photography method with fast shooting speed and short exposure time. Relying on the technology of "fast shooting and slow playback", it will finally slow down the rapidly changing motion process to the time resolution level of human vision. enable people to observe. And this means that in high-speed photography, the shooting frequency (frame/second) must be synchronized with the rate of object motion change, and the faster the motion changes, the higher the shooting frequency will be required.

This technology has been widely used in Hollywood, far away is the opening funeral in Michael Bay's "Brave to the Deadly Island", which is shown in high-speed slow motion, and the bullet time in "The Matrix" is near. It is the finishing touch in the film.

At the end of the two-hour filming, Murphy stopped the crew and let everyone rest for half an hour. He, Frank Miller and Miramax's editor Russ Beninter checked that the filming had been completed. shot.

For Frank Miller, these backgrounds are all green screens, slow motion without special effects, which is really nothing to see, far worse than the blood shot that Murphy showed him during the preparation period.

But even as a layman, Frank Miller knows that in order to achieve that effect, he has to go through more complicated post-production.

In fact, it was Murphy and Russ Beninter who were watching carefully, and the two of them mainly discussed the editing points of the action shots.

All action shots will be shot with multiple cameras, and editing materials from different angles will be added. The editing points of action shots must be able to reflect and strengthen the emotional power of the action scene, which is also one of the basic principles of action shot editing.

"The character's reaction and action guidance will inevitably lead the plot to develop in different directions."

Sitting behind the director's monitor, Murphy looked at the dozens of shots of Muffle being killed because his parole officer was killed on the monitor repeatedly, and said to Russ-Beinter, "It must also help Bridging gaps in position and continuity, making the slow motion parts come alive and skipping the parts you don't want to move. Ideally, it's best to include the important people in the scene, including reaction shots from participants to bystanders cut into the sequence."

Russ Beint nodded, "I think that the shots shot with dolly and pan can't move at the same rate. If they are edited together, it will lead to disturbing wrong scenes."

"Hmm..." Murphy fully agreed with Lars Beiinter's statement, "We need to pay attention to this aspect."

He wanted to say something, but suddenly saw Paul Wilson walking over in a hurry, as if there was something urgent.

"Murphy," Paul Wilson tried his best to maintain a calm tone, "There are two people outside who claim to be from the directors' union and say that our crew has violated the regulations of the directors' union!"

Murphy immediately stood up, glanced at Frank Miller on the other side, frowned and said, "Paul, you go and inform Bill and Erica." (To be continued)). If you like this work, you are welcome to come to the starting point () to vote, your support is my biggest motivation. Mobile users please read here. )