Hollywood Road

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The studio has already been set up. There are no tall buildings here. Except for the green screen that serves as the background, the other places are set up as dark and gloomy alleys, just like the theme that Murphy thinks this film should express, even if it is not used The lens is only viewed with the naked eye, and it will also bring a heavy sense of oppression to people, making people breathless.

In fact, what Murphy wants to express through the background is very simple. The protagonist and the people who help the protagonist think their actions are just, but they also know that these are all shady.

Therefore, like all creatures that cannot see the light, they can only meet in the darkest corner.

This is the last scene of the filming. When it is nearing the end, the crew will inevitably feel relaxed. Murphy watched each department next to each other, asking David Robbie and Helena Espora to adjust After finishing the lighting and background arrangement, he walked over to Henry Cavill and Christoph Waltz to briefly explain a few words, and then informed the shooting to start.

""City of Chaos", scene 415, act two, start now!"

As the sound of the scene notes fell, the crew switched to a high-speed operation state, and the shooting began immediately.

Feli Lascher personally controls a camera, and comes across from Henry Cavill on the sliding rail, and captures Christopher Waltz's camera assistant on the other side, and shoots Henry Cavill's photos from an angle that does not interfere with each other. The leading role.

"everything is over."

In the darkest corner, Henry Cavill stood like a stone sculpture, looked at Christoph Waltz and said, "The city has restored peace, I can disappear."

"Why?" Christoph Waltz asked. "Aren't you doing well now? Criminals in New York City know you exist, they fear you, they're terrified of you."

Henry Cavill's voice became low, "Because no one can restrain me, if I take one more step, it will lead to the abyss!"

Christoph Waltz was silent, as if he understood the pain and helplessness contained in these words.

But he hesitated for a while, slowly took out a magic ball from his pocket, did not answer Henry Cavill's words, and said to himself, "During this chaos, a very dangerous guy escaped from the madhouse, He has an insane desire to destroy."

Henry Cavill took a step forward, wrapped in darkness, took the colored magic ball from Christoph Waltz, and asked, "Who is he?"

"No one knows the exact name." Christopher Walz raised his head slightly and said, "Before he went crazy, he was a magician, and many people called him a magician!"

Glancing at the colorful magic ball that was unusually conspicuous in the darkness, Henry Cavill put it away solemnly, turned around and walked out of the alley, leaving only a black back for the camera.

"stop!"

Murphy's voice sounded immediately, but everyone did not relax because they knew that the shooting was not over yet.

Sure enough, Murphy shouted again, "Reset all departments! Philip, change to the IMAX camera to shoot with a full-range lens."

At the end of the film, he must leave enough guesses or interpretations for the audience in order to create more topics and prepare for the second part. Using the lens to make a fuss is undoubtedly a very suitable way.

Panoramic shots must capture the whole body of a person from head to toe. These shots show the audience the content and space of the movie. They can demonstrate scale, distance and a sense of space.

After the bulky IMAX camera was erected and adjusted, the shooting began immediately.

The footage captured by the IMAX camera was also immediately transmitted to the director's monitor in front of Murphy. In the dimly lit picture, the characters stood against the light. It seemed that they could not see the specific image clearly, but they could express the characters' personalities. This is exactly what Murphy wanted.

During post-production, he can use silhouette techniques to

Blurring the faces of the characters allows the audience to focus more on the actions and dialogues of the characters instead of instinctively focusing on the faces of the characters, thus highlighting the tragic and complicated side of the characters and making enough predictions for the second part.

Just like the first pass, the filming was successfully completed, but Murphy did not shout pass as everyone expected. Instead, he sat behind the director's monitor and kept looking back at the scene where Henry Cavill left at the end. It doesn't seem very good to let the hero fade away and end immediately. There are always some unspeakable flaws. I can't help but press the pause button, fold my arms and look at the screen and think.

Darkness is the temperament that this film spreads from inside to outside, why not give a close-up of darkness at the end?

"Philip! David! Helen!"

Murphy immediately called his three most important assistants over, and said directly, "I want to give Darkness a final shot!"

Philip Lascher thought for a while and said, "Okay, I'll arrange it right away."

Afterwards, Murphy explained a few words to David Robbie and Helena Espora, and the two also rushed to make arrangements. It was not until nearly an hour later that the filming started again.

Perhaps it was due to the long time interval, Henry Cavill's performance state fluctuated, and after three consecutive NGs, Murphy got the desired freeze-frame shot, and the shooting ended.

After announcing the end of the filming, Murphy ignored the rest of the crew and replayed it again, watching the shot over and over again. The shot was finally frozen in the darkness with a bit of weird light shining through.

The freeze-frame lens used by Murphy can freeze the moving picture in an instant, freeze the picture in a certain place, and "condense" the moment of action, showing the static beauty like a sculpture, and it is used to highlight or render a certain scene or a certain scene. A look, a detail.

This kind of technique is not uncommon in Hollywood film production, because the freeze-frame shot is usually in a certain narrative context, and what the freeze-frame shot expresses is the self-referential of a certain scene, which will invisibly increase the viewer's perception of a certain picture. The impression, from dynamic to static transition, using this topic to give the audience more room for reverie.

This kind of stop-frame shot can be realized with post-production editing software, but the effect is not as good as direct shooting, especially the IMAX camera that Murphy used to shoot just now, and the stop-frame shot on film is the best way to get The way is to present it by shooting.

Just like what Murphy did, the stop-frame lens is usually used at the beginning or end of the film. The reason why he thought of using the stop-frame lens to complete the shooting of the last shot was because he had just thought of the "Thelma and Louise" he had seen. He was very impressed by the final freeze-frame shot of the film.

The ending shot of "Thelma \u0026 Louise" can be described as a very classic stop-frame shot. At the end of the film, the two female protagonists drive to the Grand Canyon to commit suicide. With this ending, the moving shots of the car are processed as still frames, leaving it to the audience The final impression is that the car is driving in the air. Although it does not conform to the universal laws of physics, it can avoid watching the horrific death ending. Instead, it leaves the audience with room for romance and reverie, signaling their path to freedom, and counteracting it with women's emancipation. A patriarchal world.

Such freeze-frame shots are used in many classic films. Another typical example that Murphy remembers is "Tiger and Leopard Cub".

It is also at the end of the film that the two male protagonists decide to escape their imprisoned situation, face their fate fearlessly in the face of the bullets behind them, and in some ways this is used to prevent the audience from watching the horrific death ending , hoping to leave only the image of their fearless characters.

For the shots here, Murphy will definitely be placed at the end of the film. The screen is condensed and can create an open ending, allowing the audience to think and imagine what the hero does.

Since it is the first part of the series, it is naturally impossible to leave the audience with a completely closed ending.

Although this film may not be successful, Murphy will not neglect to pave the way for the second part because of this, but this kind of foreshadowing is also very limited. The lesson of the fiasco of "Batman v Superman" is in front of him, and he can't put too much foreshadowing In fact, it's just the ending and the glimpse of James Franco, which is still shown through the eyes of Margot Robbie.

At some point, Gal Gadot came over.

Murphy turned to look at her, and said directly, "Gail, all the IMAX films are temporarily sent to the bank safe for storage, and the digital footage is excluded from the one kept by 20th Century Fox, and the other one is kept by you personally."

Leaks from Hollywood crews are not common, but Murphy will not take it lightly. His crew has always had the strictest security measures in this regard.

Gal Gadot turned to leave to deal with the preservation of film and digital footage, and Murphy said to Michelle Williams next to him, "Misha, you go to contact Twentieth Century Fox and Kara Firth, let They have the post-production room ready and I'll start post-production next week."

"I'll do it now." Michelle Williams picked up the phone and went to contact 20th Century Fox.

Murphy picked up the cold coffee on the table, poured it into his stomach in one gulp, leaned back on the chair, and breathed a long sigh of relief. The heavy shooting work was finally over.

It took a whole year from the preparations at the beginning of the year to the completion of the filming now. Even though he is a very energetic person, he will inevitably feel tired.

But Murphy knows that it is not time to relax. The film will be released on the first weekend of May at the beginning of the summer. The time left for post-production is not too long. That is really a big trouble.

From the next day, Murphy took a few days off for himself. During these few days, he completely hid in the Wave Manor to rest, and did not care about anything outside. When he regained his energy, he immediately cast in the film in post-production. (To be continued.)

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