Chapter 204

The biggest difference between the post production of this film and Murphy's first two films is not that there are a lot of special effects shots, but that there are special sounders to tailor the right soundtrack for sin city.

Murphy doesn't know much about music and won't participate in the creation of score, but if all the score wants to be added to the film, he must nod his head.

Although Harvey Weinstein is the final decision maker of post production, this Jewish fat man is currently fully operating the Oscar public relations of "Chicago" and is only responsible for the final audit. The specific work still needs to be completed by Murphy and Erica Steinberg.

Of course, there is Frank Miller. After several months of working together, Murphy has gradually formed a tacit understanding with him.

Murphy keeps the lens of the film comic style, and Frank Miller turns a blind eye to what Murphy puts into the market.

Although the old man is a bit stubborn and suspicious, he is not completely ignorant of flexibility. His cartoons can sell well in the United States, and he certainly knows that what is suitable for the market is the truth that can really spread.

He and Frank Miller in shooting and production, there are contradictions, but always controlled in a certain range, there has been no fierce conflict.

What's more, Murphy agrees with the style of pictures Frank Miller cares about most.

The initial images of all shots are color. At Murphy's request, the first thing the producers should do is remove the color and turn it into a pure black-and-white image, but the color can return to the picture at any time.

Murphy uses color as a weapon, which makes it a powerful narrative tool. For example, Gotty in the film has real skin color and blonde hair, and the mustard skin of the Yellow hybrid is particularly striking.

If Murphy wants to highlight the pain of a character, he will make the blood return to bright red, just like a color close-up.

Three special effects companies in Venice are responsible for making special effects backgrounds for the film. Each company is responsible for a story. The studio in the digital field is responsible for crime city. The other two companies are responsible for sniping and yellow hybrid respectively. Each story requires more than 600 special effects shots, and all the special effects shots add up to more than 2000.

In the actual shooting, it didn't cost too much. Most of the budget of production cost is actually for the post production of special effects.

"Mitchell, the red is not bright enough!"

In the special effects studio, Murphy stands in front of the big screen, holding his chest in one hand and his chin in the other. He looks at the clip that has just been sent to complete the adjustment of the special effects. This is the scene where muffle and Gordy get along with each other, and it will also be the scene with the most intense color contrast in the film. But the red rendering of the special effects does not satisfy Murphy.

William said, "here's the rich black-and-white background. He needs a black-and-white background."

Murphy pointed to muffle and Gerty on the screen and said, "for a man as rude as a killing machine and ugly as muffle, he didn't know what love was, but after his intimate relationship with Gerty, a prostitute, he fell in love with her deeply and regarded her as his goddess. Here, Gerty must use dazzling colors to highlight her golden hair, Snow white skin and red silk skirt, and the black background to form a strong contrast

"I'll take it back," Mitchell Williams said hastily, "and readjust it."

Murphy took a look at him and said, word for word, fast

Mitchell Williams vowed, "I promise!"

The play of Gerty and muffle is the scene with the biggest color difference in the whole film. The lens is the language of the film, and color is one of the ways of expression.

During the shooting, the bed where Gerty and muffle have a fish and water love affair is a huge red peach heart. At that time, Murphy took the opportunity to shoot from above, making the peach heart, a symbol of love, seem like a boat in a black ocean.

In this way, after muffle wakes up, Gerty has been killed. Since then, muffle is wanted by both the police and prostitutes. Muffle, who has lost his beloved, is determined to take revenge. He goes out everywhere, not for his own safety, but to find the murderer who killed Gerty.

In addition to color, Murphy is also strict with the light and shadow design of each lens post production. Murphy almost gave up color in the use of color, and used extreme black and white to show scenes of violence and crime.

In this case, the role of light and shadow is highlighted, because there is no color as a distinction, the audience's dependence on light and shade increases.

In comics, painting techniques can be used to create shadows for characters and objects, but movies facing real people are different from comics after all. In shooting, Murphy gives up the real scene and does not hesitate to use high-definition cameras combined with special effects departments to make backgrounds and process pictures, which shows that he attaches great importance to light effects.

Take the light and shadow design in the bar as an example.

In the whole plot, the bar is an extremely important place, which is the intersection of three independent stories.At the same time, in this dark city, the bar is also a place of mixed and ambiguous. There are police, gangsters, drug dealers and prostitutes in and out of the bar. Most of the people are lusters who come to Nancy's beauty, and positive people are also looking for the people they are looking for in the bar.

Therefore, in the bar, the light is ambiguous. Under the smoke, the light of the whole bar is filled with a sense of depression.

In post production, Murphy has been making a unique visual effect through the mutual penetration and influence of film language and cartoon language.

Although the picture styles of film and cartoon come down in one continuous line, it is well known that cartoon and film are two different forms of artistic expression after all. Although Murphy relies on the original comic book and is extremely faithful to the original book in the picture, it does not mean that the color and light and shadow design of the film can be in an absent position.

As an art director, Helena espora also played an important role in it.

While improving the lens effects, Murphy also called all the main actors to dub in the post production studio. There was no live recording during the shooting. All the dialogues and narrations would be re recorded and added to the film.

This is not animation dubbing, all actors have experienced the role of the performance, dubbing work is relatively easy to do.

"Why do you think I write all the time?"

In the studio, Jessica Alba looks at Nancy on the screen and says to the microphone, "I've always loved you, Hardy, for so many years. I've tried to fall in love with other boys, too! But I can't Sleep with me, hardy! Have sex with me! I fell in love with you long ago... "

Like all the cast, most of these recordings are made by one actor independently, even for dialogues. Jessica Alba is the only actor in the studio. She reads the dialogues like a monologue.

Compared with shooting, recording goes much more smoothly.

Towards the end of the day, Murphy comes out of the special effects studio and walks into the studio. All the dialogues Jessica Alba needs to record have been completed.

Of course, she didn't have many plays and her lines were relatively limited.

"Hi, Murphy!"

Seeing Murphy come in, Jessica Alba immediately smiles sweetly and raises her arm to wave to him.

"Hello, Jesse."

Instead of nodding to Jessica Alba, Murphy went up to the recorder and asked, "how's it going?"

The voice recorder whispered, "it's OK. I'm much better at lines than acting."

After that, he handed Murphy a headset. Murphy took it and put it on. After listening for a while, he nodded approvingly and said, "OK, that's it. Here we are today."

After finishing the recording of Jessica Alba, there are only a few minor actors left. After nearly two months of busy work, the post production is coming to an end.

Murphy raised his voice and said to everyone in the studio, "that's all for today. Let's get off work."

He left the studio, went to his temporary office, took a briefcase, walked out of Miramax's office building and came to his car.

Open the door, Murphy is ready to get on the car, in front of a burst of high-heeled shoes suddenly fell to the ground, accompanied by the landing sound, there is a crisp and sweet voice of a woman.

"Wait, Murphy."

Hearing the sound, Murphy turned to see jessica alba in tight pants coming quickly, waving her hand as she walked, as if afraid that he would leave.

Murphy closed the door, waited for Jessica Alba to step in a little, looked at her and asked, "what's up, Jessie?"

"The car I called didn't have time to come," Jessica Alba said as she came closer and closer, finally stopped near the front of Cadillac's car and said, "can you take me to North Hollywood?"

Back to Santa Monica, it's a good way to go from there. Murphy nodded her head and pointed to the co pilot, "get in the car."

"Thank you Jessica Alba went over and opened the door.

Murphy also got on the car, started the car and drove onto the road. The speed was not fast. He drove steadily. He could no longer see that he had driven crazy after the murderer and the police.

Like all successful people, he can't see any craziness in accumulating original capital.

"Murphy," Jessica Alba broke the silence as the car was about to enter North Hollywood, "what do you usually do after work?"

"Go home, have a rest, and think about what you didn't do today." Murphy looked ahead and said, "plan what you're going to do tomorrow That's about it. "

Jessica Alba looks at him. Isn't that boring?

Cadillac suddenly stopped by an apartment building. Murphy looked at it and asked, "is this it?"

"Yes, this is it." Jessica Alba smiles. "Thank you."She pushed the door open and got out of the car. Just as she was about to close the door, she turned around and asked, "would you like to have a cup of coffee with me?"

Murphy turned to look at Jessica Alba. She had a sweet smile on her face and the invitation sounded sincere. (to be continued). ）For mobile phone users, please browse and read for better reading experience.