Hollywood Road

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The warehouse was quiet, Murphy stared at the set, and the director of photography Philip Raschel was standing in the bathtub over the wall. The camera lens in his hand, through the muddy water in the bathtub, firmly locked Seth Logan. Silhouette.

The bathtub shook violently, and water splashed everywhere. Seth Logan suddenly sat up. He coughed violently, his mouth opened, and he spit out a sip of water without warning, just spraying it on Fili- On Raschel's body, the camera lens was not spared either.

"Stop!" Murphy shouted, "What's the matter?"

Seth Logan was still coughing violently. After a while, he stood up with the bathtub and looked at Philip Raschel apologetically, "Sorry, I got up a bit faster and accidentally opened it. I closed my mouth and water came in."

Philip Raschel waved his hand to indicate that it was okay, and Murphy shouted, "Jack, make up Seth. Philip, re-adjust the lens, and come back in ten minutes."

This opening scene will start in the dark, but it will not be shot in the dark. Not many of the dark scenes in Hollywood are actually shot in the dark. Light is an important factor that can never be ignored when shooting. In this scene shot by Murphy, the background will be adjusted to black through the Da Vinci color table in post-production, which is also very simple for today's filmmaking technology.

The first scene was choked by water. After Seth Rogen adjusted, the second time he played normally.

However, Murphy did not call for approval, and continued to let the fat man drill into the bathtub, and took three more shots before ending the shot.

Unlike the filming of "Fruit Candies", Murphy is now a bit more experienced, and he has fully considered the difficulties before, and let James Franco and Seth Rogen do a lot of rehearsals, plus this The people hired this time are no longer the ones with inadequate ability the previous time. The shooting of the several scenes in the morning was considered smooth, and he called for approval within five times.

Six scenes passed in the morning, which is definitely the most efficient half day in Murphy's short director career.

When the shooting started in the afternoon, the speed slowed down again. After James Franco came out, there were three people in the toilet. The doctor he played, Seth Logan's sneak shot, was already lying on the middle ground with a jigsaw.

Of course, because there is no need to move, the jigsaw here is an elaborate dummy made by Baker Klebert.

This was the first time that three people appeared in the same shot. After shooting twice, Murphy couldn't achieve the effect Murphy wanted. He simply called the whole crew to stop.

Murphy called the director of photography Philip Raschel over, "In this scene, we have to deliberately ignore the jigsaw in the lens."

In the scene where three people appear at the same time, the camera ignores the jigsaw, and the finished picture also ignores the jigsaw. The audience will naturally ignore the jigsaw, so as to bring the shock of the ending.

The ending of this film is very important. It can be said that the whole film has been sublimated and upgraded to a level. Otherwise, it is not much better than the traditional American plasma film.

Murphy walked into the set, carefully avoiding the blood on the ground, and said to Philip Raschel who followed, "In this three-person scene, we have to highlight two and ignore one."

"If the three actors on the stage deliberately emphasize two of them and try to avoid the participation of the third party, when only a single line of relationship is highlighted," Philip Raschel soon had an idea, "There are two kinds of Shooting processing method: partial highlighting and full highlighting."

He said in detail, "Partial prominence means that there are three actors in the first main shot, but there are only two leading actors in the second main shot; all the prominence is from the relationship between 3 and 3 to the relationship between 2 and 2. Only show two main actors.

Murphy thought for a while and said, "Try both methods."

The shots taken in two ways can also have more choices in post-production.

Philip Raschel went to prepare for the shooting, and Murphy found the lighting engineer David Robbie again, and confessed that he would give James Franco and Seth Rogen a look when he switched to the single close-up of his face for a while.

And unlike the gaze of Kerry Mulligan in the appearance of "Hard Candy", Murphy needs to be more cold, highlighting the alertness and panic of the character when he wakes up in an unfamiliar environment.

Just like Murphy's two shots, catch light is used in close-up shots of actors in almost all movies.

Generally, when the main light or auxiliary light is at the right angle to the camera, the main light or auxiliary light effect can also be produced while the catch light effect is achieved. At this time, it is not necessary to hit the catch light to avoid two bright spots and give people a kind of distraction. The feeling of God.

However, if the original main light and auxiliary light positions cannot produce the eye catch light effect, you can use a small light to supplement the catch light at a position close to the camera, or you can use a large area of ​​flexible light source to zoom out. The key is to not affect the main light relationship Layout under the circumstances.

Unless required by a specific plot, Murphy's eyes should not be too bright to avoid two bright spots in the eyeballs, which would destroy the charm of the characters and even cause morbid effects like cataracts.

In fact, this is also a way to shoot blind scenes. Generally, when shooting blind people, they avoid using catch light, which can help actors create the unique feeling of blindness in their eyes.

Since shooting "Fruit Hard Candies", Murphy has developed the habit of observing the light and angle, in order to quickly and easily find the deficiencies in the lens.

After shooting several shots that were partially and completely prominent in the game, the crew switched to filming the personal scenes of James Franco and Seth Rogen again. When the close-up shots were lit, Murphy understood that his money was useless. Baihua, the lighting engineer who can be signed by CAA, even if he is as unknown as him, has a good set.

The photographer Philip Raschel also has a unique method of verifying the light in his eyes.

His method is very simple. Standing on the set, make a fist, press a marble under the index finger, and through it, you can observe the reflective effect similar to the human eye. You only need to turn the direction of the hand to observe the marble. With the change of light, you can find the position and angle you need.

At the same time, the curves and lines of the hand can also show contrast and backlight effects.

After a busy day, Murphy announced that the work was over, but he himself did not leave. Instead, he sat behind the camera and checked the shots taken today with the director of photography Philip Raschel and the editor Jody Griffith.

James Franco also wanted to get in, but was driven away by Murphy.

Like most directors, unless the actors make big mistakes and need to look at the shots to correct them, Murphy will not let them watch the shots casually.