Chapter 429

After getting out of the car, Montreal showed his identification and, under the leadership of a staff member of the cast of "shameless bastards", walked towards the outdoor studio in the studio. However, it was impossible to bring in such equipment as cameras and cameras. They had to stay in the deposit room for the time being and take them away when they came out.

This is the rule of studios all over the world, and most media reporters will tacitly abide by it. Before becoming a reporter, Montreal was also a graduate of the film school of the University of Southern California. He served as an assistant director in a production group. Later, he couldn't find a way out, so he had to change his career. Unexpectedly, he became a movie in Entertainment Weekly Chief reporter of the page.

Interview Murphy, a leading Hollywood director, and watch the shooting of his new project on the spot. Of course, a reporter with equal status in the industry is also required.

In the open-air studio, a large area of temporary grass was laid. In front of the grass, Murphy met the reporter contacted by Fox in the 20th century.

This kind of interview can not ask too much, Montreal only asked a few simple questions.

"Director Stanton..." He handed a recorder to Murphy and asked, "is the shooting going well?"

"In the first two to four days, we were close to crazy because everything happened so fast."

Due to the need of publicity, Murphy specially said a few more words, "I'm fighting with jet lag almost day and night, including staff deployment and accounting problems, which I'm dealing with. Because we all know that we are fighting for a special day project, what we need to focus on is the attention of all the people involved. If we can't assemble a good team, we can't finish the production of the film on time, and what we really have is an extraordinary and unusual behind the scenes team. "

Montreal asked again, "how do you evaluate the work of an actor? And your job? "

"I think up to now, the work of an actor is instinctive." Murphy said in detail, "the more instinctive it is, the better the result will be. The director's job is more rational. When directing, you have to think about it, explain it to the technicians and actors, and then it will happen. "

Gail gado came up from behind and said to Murphy. Murphy said sorry to Montreal and went back to the set to discuss the setting with Helena espora.

Murphy went to the camera lens for long-range shooting, looked at the set, shook his head, and said to his art director, "Helen, the scene needs to be adjusted."

In front of the building, there is a green field, the farmer's field is not finished, and there is an outdoor scene in the distance

Murphy frowned, thought for a moment, and said to Gail gado, who was following, "call David Robbie."

In the crew, Gail gado does not have any preferential treatment, and she never takes herself as a special member. As an intern, she participates in every link of film shooting and production.

A qualified producer may not be as proficient in professional technology as Murphy and Philip Raschel, but he must have an understanding of all aspects of the industry.

Gail gado is almost the fastest way to find David Robbie.

"Helen, position the cow thirty feet to the left."

Time doesn't wait, Murphy said as simply as possible, "David, I need you to use low intensity light to enhance the texture of the grass. Philip, increase the contrast when shooting, so that houses and cows leave slender shadows in the lens. "

Then Murphy pointed to the uneven grass in front and said to Helena espora, "I need a lot of open foreground to show the vastness and provide a sense of space, especially when the grass in the foreground is almost level with the farmer."

"And," he pointed to the back of the house, "I remember the scenery of the distant mountains? I'll set it up later. "

Helena espora nodded, and the mountains in the background helped a lot.

These preparations started immediately, and an hour later, Murphy's shooting started on time amid the shouts of the recording.

Accompanied by two crew members, Montreal stood in the observation space specially reserved for the film set to watch the shooting process carefully.

Due to his professional study, he was once a deputy director of a production group. Maybe his practical ability is not strong, but his professional quality is beyond doubt. This is also the biggest capital that he can get the film chief reporter of entertainment weekly.

Compared with the layman of media reporters, Montreal can be regarded as a movie expert in the field of journalists.

Standing in this relatively high observation position, the location used for shooting is clear at a glance. After only one look, Montreal nodded with approval. The house, cows, distant mountains and trees on the set have reached a good balance, which also makes the actors smaller.

Then, he looked at several camera positions not far away, and quickly judged that Murphy Stanton used triangular composition shooting technology. There was a large reflection source to reflect sunlight on the actor's face. The farthest camera was obviously shooting in a wide angle, which easily highlighted the remoteness and loneliness of the scene.Shooting one by one, the whole crew and set are completely under the control of Murphy Stanton. This young director shows super professional ability, no worse than those big Hollywood directors with professional background, and even more active thinking. Some adjustments made on the scene have finally proved to be some masterpieces.

For example, he temporarily used a reflector to fill the light. When the shooting was finished, the large depth of field effect of the relevant lens in Montreal was quite outstanding.

Yes, at the end of the morning, he saw Murphy Stanton's partially completed shot.

Montreal originally held a try attitude and asked the crew if they could see part of the scenes after shooting. After all, his background and professional ability are quite famous in the circle. When he is interviewed by many crew members, he can often achieve this goal.

Stan and Murphy agreed to make no exception to the content of the video, and they did not want to see it directly.

In doing so, the crew also wants to use the pen of Montreal to better carry out early publicity.

The lens without post-processing is actually very rough, but standing in front of a monitor, the first lens I saw left a deep impression on Montreal.

Montreal knows it's a rare opportunity to see Murphy Stanton's film scenes before others, so it's very serious.

In the lens, a girl is drying the bed sheets. Whether it is the girl herself or the light colored bed sheets hanging on the clothesline, they do not exist as separate individuals, but all actually participate in the expression of the plot.

The sheets are cleverly used as revealing elements and eventually pulled back to show the soldiers in the distance are approaching. The dark chocolate brown clothing and the white sheets create a lovely contrast, which temporarily distracts people from the background and what is about to be revealed. Simple items like baskets can help balance the composition, or they may be cleverly placed here, Cover the bottom of the drying pole.

The clothes are brown, white or gray, consistent with the overall tone of the lens.

Then, it's time to reveal! The effect is really good. The soldiers' remote location lets people know how long it will take for them to arrive. The beautiful S-shaped lines lead the direction of vision, which is reflected in the winding roads and fields.

The second shot is a panoramic picture of the house. As soon as it is shown on the monitor, Montreal sees the farmer walking towards the house.

"Murphy Stanton's composition is so clever!"

Even if it is well-informed, Montreal also issued a sigh.

In the monitor picture, the stump in the foreground helps to balance the picture. Its size contrasts with that of the house and the actors, adding depth of field. The handle of the axe standing on the stump leads to the house.

The whole composition is also based on the triangle, which perfectly reflects the stereoscopic sense of the lens.

Then, several girls appeared near the house. The color of the girl's clothes matched perfectly with the blue stone and the purple red plants? Set off their skin color is also very beautiful, the girls look very healthy.

I don't know if special processing technology is used. The sky in all the pictures is a little dark, which is in line with Murphy Stanton's consistent picture style. However, if the sky is blue, there should not be such a sharp color contrast.

If you decompose the lens into a depth of field plane, you will find the composition is exquisite. The distant mountains and the position of the camera relative to the house make the composition better.

If this shot was shot by other directors, it would not look so beautiful.

Montreal can see these two scenes, but after watching these two scenes, he thought about them carefully, and then watched them again. Maybe he was afraid of forgetting them for a long time. He pressed the button of the recorder and said in a low voice, "the pace of these two scenes is so perfect that the tension of Murphy Stanton's lens construction is almost overflowing! The performance of the actors is also very good, outstanding completion of Murphy Stanton almost genius like lines. I hope he doesn't mind if I share something in the media: well done, Murphy

He will submit this recording to the public relations review of the crew, and then publish it in Entertainment Weekly. I believe there will be no problem.

In the shooting of shameless bastard, although Murphy still maintains the consistent style of the picture, he also appropriately balances the colors, and pays more attention to the depth of field and details than ever before.

In his spare time, Murphy went back to Los Angeles to attend the upcoming 80th Academy Awards. (to be continued). )