Chapter 351

"Song of ice and fire: game of power, scene 15, Act 1, now on!"

With the sound of the recording, the shooting officially began. This is the first time that the crew has played a major role in the film for 10 days.

Murphy stood behind the director's monitor, looking at the monitor screen, staring at the digital high-definition images coming from the camera lens.

"Your uncle is a night watchman far away!"

The camera turns to a low arch, and the first empty camera comes to Murphy. Then the camera moves down, and the little devil Tyrion Lannister's Peter dinlaki appears in the monitor screen.

Peter dinlaki walks towards Hahn CHOT, who plays Jon Snow, and Hahn CHOT changes direction and walks towards him.

"What are you doing here?" Jon Hart asked.

"Get ready to spend the night with your family." Peter dinlaki walked around Jon Hart.

A camera moves slowly on the slide, following Peter dinlaki and occasionally taking close ups of him.

Peter dinlaki leaned against a wooden post, took a sip from his bottle and said, "I've wanted to see the Great Wall for a long time."

The main camera is aimed at Peter dinlaki. Jon Snow has only one back image. This is a very simple lens conversion. The POV perspective has fallen on the little devil Tyrion Lannister.

"Are you the Tyrion Lannister?" Hahn chott, with his back to the camera, asked, "the Queen's brother?"

Peter dinlaki looked down at himself and said, "that seems to be my highest achievement."

The camera zooms in again to give a close-up of Peter dinlaki's face. Peter dinlaki looks up and says, "are you ned Stark's illegitimate son?"

Hahn - jot looked at Peter - dinglaki angrily, turned and left, Peter - dinglaki said behind, "did I offend you? I'm very sorry. "

He walked slowly toward Hahn Choate. "But you are a bastard."

"It's not wrong that Lord ned Stark is my father." Said Hahn chott.

Peter dinlaki said, "and Mrs. Stark is not your mother, so you are an illegitimate child."

"Illegitimate son, let me give you some advice." It doesn't sound like any malice, "never forget your identity, because the world will never forget that if you use it to arm yourself, no one can use it to hurt you."

With that, Peter dinlaki turned and walked away, the camera slowly retreating in front of him.

Hahn jotter frowned. "How can you understand the feeling of being an illegitimate child?"

Peter dinlaki stopped, leaving one last sentence: "dwarfs all over the world are illegitimate children in their father's eyes."

They left separately.

The two cameras on the slide quickly returned to their positions. Murphy raised his hand and said in a loud voice, "take a 15 minute break and do it again, this time from Jon Snow's POV perspective."

Murphy is very strict about shooting. Although there are many differences between TV series and movies, and the shooting and production of TV series are generally not as good as movies, he still takes out the attitude of shooting movies to ask the whole crew.

Sometimes the shooting will be delayed because of mistakes, sometimes it will be remade because of Murphy's personal request, and it will also change the perspective of shooting, so that there are more materials to choose from in post production.

Due to the style of the whole drama, most of the shots, especially the relevant scenes and scenes in Beijing, are dark in color and light, and there are a lot of night scenes.

As I said before, most of the night plays are shot in the daytime. During post production, they are adjusted by Da Vinci palette and computer technology. However, a small number of night plays require special shooting at night or other special time.

In the following audition, Murphy shot night scenes in real scenes, mainly using three processing methods: night scene, evening scene and day scene.

When shooting some night scenes at night, due to the limitation of real scene space, it is difficult to set up lights, and it is not allowed to use more lighting equipment. Therefore, the most convenient method is to use high sensitivity lens and low illumination. Murphy makes full use of the existing light of environmental light source, and then carries out a small amount of artificial light processing.

He asked David Robbie to enhance the intensity of the existing light sources in the environment, such as replacing the 60W incandescent lamp with 300w-500w, thickening the oil lamp wick for shooting, or using "multi wick" lamps, sometimes replacing the oil lamp wick with a small electric light source to increase the intensity of the light source, so as to directly use the light source as the main light for the environment and people.

In a few night shooting, Murphy also uses artificial light to illuminate the wall near the camera, imitating the reflected light of the environment to use as the auxiliary light of the environment and characters.

This method is not only convenient, but also saving equipment, practical and realistic.

Some special night scenes need to be shot at dusk in order to achieve the best effect through post production.

It's necessary for Murphy to shoot at dusk when he can see outdoor scenes through doors and windows.If the outdoor space is small, such as courtyards, houses, walls, doors, trees, flower beds and so on, you can use lighting to shoot at night; but if the outdoor space is wide, such as mountains, fields, castles, distant views and so on, you can't use lighting. Murphy must use the afterglow of the sky at dusk to shoot.

Shooting night scene in real scene dusk is similar to shooting night scene in outdoor scene dusk. First, the lighting effect of indoor night scene should be arranged, and then the sky scattered light should be dark to a certain extent.

Of course, among all night scenes, the number of daytime scenes is the most, accounting for 85% of all night scenes.

Although Murphy and the crew have rich experience in this field, they also encounter some difficulties. It is difficult to shoot the night scene with the scenery outside the window. The key is to reduce the brightness of the outdoor scenery through the doors and windows to meet the requirements of the night scene brightness.

Murphy's method is to use a large gray filter, cover the doors and windows to block the brightness of the outdoor scene in the dark room, and the indoor lighting can be easily realized by taking the night scene at night.

To achieve these night scenes shooting, high-definition digital movie camera plays an important role.

Even if Murphy is not a technologist, many films use film shooting, but also have to admit that film shooting and production need not only art, but also technology, such as high-definition digital camera, which can effectively solve many problems encountered in shooting.

In contrast to Murphy's technology, which is good for his own project, he uses which technology, regardless of the directors in the film and digital dispute. A considerable number of people in Hollywood stubbornly believe that digital photography will destroy the art of film.

These people feel that the equipment is more and more advanced, and the people who shoot and make movies will be more and more lazy.

However, Murphy never thinks so. Even if he is not a technologist, he also knows that digital technology is the inevitable result of the development of the times, just like silent movies to audio movies, black-and-white movies to color movies.

And from the perspective of an ordinary director or someone who once dreamed of becoming a director, is technological progress really bad?

The answer must be No. the convenience provided by digital technology is definitely a good thing. In the past, there was a high industrial threshold in this industry. Whether it was taking photos or making movies, there were too many industrial thresholds. Now, the whole trend is to gradually let every ordinary person master these imaging equipment through simple learning. Only in this way can the so-called "image life" come true This is the beginning.

For example, when Murphy was a child, he always thought that the photographer was very mysterious. Now the operation on the computer is more and more simple, but it doesn't mean the decline of creation, on the contrary, it means the freedom of creation.

Also in this era, every year, some wonderful video works are shot by some people who are not very professional, which may have some impact on the traditional practitioners, but now the threshold is lowering, which enriches the image vision.

Of course, no matter how simple the equipment is, it also needs professional requirements. Murphy can't ignore the aesthetic quality requirements of the image because the equipment is more and more easy to operate.

In the past, when it was easy to shoot images, it did bring a lot of randomness. When Sony F35 came out, it was very mature. This kind of digital recording can be shot unlimited, which liberates users technically. However, as time goes on, it will gradually be found that what matters is not the equipment, but the professionalism of the equipment users.

If users have strong professionalism, they can provide better art support. For example, in some areas with complex operation and working environment, there are also places where large teams can't get in, or when shooting complex super large projects such as "song of ice and fire: game of power", digital high-definition cameras can play a very efficient role.

For more and more advanced equipment, professionalism will make it good use rather than abuse.

In all the shots taken by the crew using the digital high-definition camera, Murphy and the crew maintain sufficient aesthetic judgment and creativity. They will never shoot casually because it is relatively easy, which will only become a tragedy in the end.

In this era, equipment is getting better and better, changing faster and faster, which also makes creators more and more labor-saving. But the most important thing is to learn how to use these equipment and how to use them to express what they think in their minds.

In a word, no matter what equipment and technology are used to serve for film shooting and production, as long as they can achieve the desired effect, why care whether they are old technology or new technology.

Digital equipment is not only a consumer goods or equipment, but also can be used to solidify classics like film.

In the Titanic Museum studio, the shooting fell behind. The crew was divided into three groups. Murphy led the largest group to continue shooting in and around the three British Islands. Paul Wilson and Seth Logan each led a group to go to Malta and Croatia to shoot some feeder scenes.

The location shooting started, Murphy's crew also ushered in a group of special actors, six huskies were brought into the crew by a professional organization. (to be continued). )