Chapter 390

Back in the studio in Los Angeles, the shooting is entirely around the Superman played by Chris Evans. In all previous shooting, Superman does not have a red cape. Such a Cape will cause a lot of trouble in reality shooting. Murphy simply asked the special effects team to add it in the post production.

And the film will also explain why Superman needs such a big red cape, not to match, but to assist balance in flight.

Almost all the shooting in the studio is put in front of the green screen. Chris Evans can't understand the specific intention of Murphy's asking him to do some actions, but Murphy doesn't need him to understand, as long as his director and special effects engineers from working light and magic know which digital special effects these actions should correspond to.

The shot can be said to be a very rough initial product. The completion rate is not even 10%. The remaining 90% basically depends on the post production of special effects.

This is Murphy's most digital and CGI movie to date.

During the whole shooting in December, Murphy led the shooting of the crew in the morning and afternoon, and stayed with the special effects engineers of industrial light and magic before 12 pm. Although he did not understand the specific content of CGI special effects and digital technology, he could communicate in time so that he could make the desired results in the shortest time.

It's not easy to turn the shots in front of the green screen into the final effect of the movie.

In the action play, Murphy gave up shooting the scene of the fast and slow transition when he was dead, and took a fight at the speed of an hour. At the same time, he asked the team of industrial light and magic not to have the feeling of being unable to see clearly when adding special effects. Every action and cut should be able to see clearly.

This is by no means easy to do. Murphy and the action directing team have specially designed the action shooting.

In particular, the ending part of the film being shot in front of the green screen, after galgado joined, together with the former Chris Evans and the Russian actor of the action capture villain OSS, became a real fight.

Often in this kind of chaos, Hollywood will make the characters into different colors in order to let the audience distinguish each character. It sounds very retarded, but it's really useful. For example, Murphy has seen transformers and Avengers alliance many times.

The Autobots in the transformers are colorful, while the Decepticons are all dark metal. The same is true in the Avengers League. It's not so much about creating characters as it's about being lazy.

In the body of steel, although Superman's clothes are different from those of villains, the color is dark. In the fast fight, the audience can distinguish them at a glance without visual illusion. In the completed shots, there is no such situation. Murphy's follow-up shot is indispensable.

From the start-up to now, Murphy has hardly used aerial photography, hand-held photography and shoulder photography, which are the standard shooting methods for blockbusters. What he wants is a very smooth lens, rather than a shaking picture, so he mostly uses the guide rail and stannikon to follow the camera, which can not only cut the lens frequently in post production, but also bring stable close ups Photography choice.

Finally, we can use a large number of smooth shot information to form the macro perspective of the fighting scene, and start with small points to develop the whole level of the fighting scene.

Another major feature of Murphy's shooting is that Philip Raschel frequently uses the large zoom lens to auto zoom. The basic principle of this technique is that the large zoom lens can be easily switched before the full scene and close-up, which is used very much in news events and will have a sense of presence.

This shooting technique can significantly increase the realism of the film.

In Murphy's words, "the technique in the body of steel is a rigorous on-the-spot reporting mode of breaking news. To show the overall situation in a wide angle and quickly push the news protagonist to highlight the main points, the whole action scene must be full of such a way."

He came up with all kinds of ways to bring Superman, a seriously untrustworthy comic hero, down to the altar and let him land. It can be said that he had good intentions.

As the film is due to be released in the summer of next year, it's very tense for special effects production. After Murphy finished shooting the action play of the ending war, he suspended the shooting work. Instead, together with Jodie Griffith and the special effects team of industrial light and magic, he took the lead in adding special effects to this part of the play.

After adding special effects, the completion of these lenses can reach 60% to 70%, but it is still a long way from complete completion. As long as people who know a little about special effects production know that the top 80% of special effects production will only cost 20% of time and money, while the remaining 20% will use the remaining 80%

many small shots For movies with investment and five cent special effects, they usually complete the first 80% but ignore the remaining 20%. The audience seems to think the special effects are poor.

The end of the war completed 60% to 70% of the shots, which also did not look very good, and some people at Warner Brothers complained that the action design did not conform to the action mode developed based on Kung Fu in North America and Hollywood, and would be divorced from the basic aesthetic of the audience.

in their eyes, the end of the war eliminated the wonder woman Share, it's just bumping around. Maybe it is.But Murphy is in power, and with the support of Warner Brothers' board of directors, he insists on his own approach.

Just as in the original design, for a character like Superman to play those fancy fights would be insulting to the audience's intelligence. In addition, Murphy would add some appropriate patterns to the paragraphs that emphasize the destructive power.

The action scenes set by Murphy, the places criticized by Warner people, and the destructive power of Superman and wonder woman.

Although the completion of this shot is still relatively low, the amazing destructive power has been demonstrated. This is not only very serious in sense and vision, but also in fact.

For example, Wayne group's mansion in metropolis will collapse like paper in the fight between Superman and villain, and a large number of buildings will be destroyed by three amazing characters.

This is the effect that Murphy deliberately pursues. He wants to make the action scene of the body of steel break the "moral bottom line" of Hollywood heroic movies.

In the studio, several people sit together and drink coffee during the break time. Gail gado, who is barely in Hollywood, asks curiously, "is it true that there is a moral bottom line in the action scenes of mainstream commercial films in Hollywood?"

"yes," replied the quirky looking Nicolas Cage, "I can responsibly tell you that it's true, even if I've ever been there Those R-rated action movies that I shot also have the moral bottom line of action scenes. "

Chris Evans knew that Nicholas Cage knew much more about this circle than they did. He asked, "can you tell me more about it?"

"for example," Nicholas Cage thought about it, gestured and said, "you can recall a lot of destructive scenes in mainstream movies. Although they are full of momentum, there are few scenes about innocent people directly victimized, such as bombing." The ground must be sea or wasteland, the people in distress will be rescued, and the objects of destruction must not indicate the existence of people. "

Galgado has seen a limited number of films and is still remembering. Chris Evans has already begun to nod his head.

Nicholas Cage continued, "these can be called the moral bottom line of action scenes, but our film"

at this point, he shook his head, "murphyry broke all these."

In the script, a large number of innocent people are implicated.

Gail gado sighed in a low voice. As soon as he wanted to say something, an assistant director suddenly came to inform him that due to the latest problems encountered by Murphy when he went to the special effects department to communicate with industrial light and magic, today's shooting is over, and they can get off work.

When going to the make-up trailer to change clothes, Gail gado sent a text message to Murphy, and the reply was to ask her not to wait at night. He didn't know when he would be able to go back.

Galgado had to leave Warner studios first. She knew that if Murphy went to the special effects department, she would be very busy at night.

When Murphy went to communicate with the special effects department, he came up with a new problem. There are a lot of special effects lenses in the body of steel, but the production and use should be restrained to a certain extent. It can't be turned into Michael Bay's naked dazzle.

It's not that this kind of dazzling technique is not good, but that the dazzling technique is not consistent with the theme and atmosphere of the film.

Most of the commercial film directors in Hollywood have the habit of showing off their skills. Murphy thinks that many directors are like this. Showing off their skills has a growing process. It's like expecting to have money when they have no money. When they are really rich, they should have a good time. Well, it's the upstart mentality.

When it comes to special effects, it's about making special effects "visible" to the audience or the boss of the film company. I really spend my money on the place. When they have almost finished playing, they will begin to learn how to make good use of special effects.

But those dandies who are "rich" at the beginning do not have this process, such as a few directors such as Spielberg.

The special effects of body of steel can be divided into biological special effects for vitality and non biological special effects as background props.

In terms of abiotic effects, Murphy doesn't plan to use any breakthrough technology. Basically, they are general rigid body collision, particle system, synthesis and so on.

But in all high-speed action scenes, there is little space for these special effects. Whether superman or wonder woman, the speed is too fast. In addition, Murphy doesn't plan to use high-speed slow lens, so the picture will run at high speed with Superman.

This is a huge difference from the previous action movie special effects. It's not finished yet.