Chapter 548

The studio has already been set up. There are no tall buildings here. Except for the green screen as the background, other places have been set up as dark and gloomy alleys, just like the theme that Murphy thinks this film should express. Even if you don't use the lens but just look at it with the naked eye, it will bring a heavy sense of oppression to people, who can't breathe.

In fact, what Murphy wants to express through the background is very simple. The protagonist and the people who help the protagonist think that their behavior is just, but they also know that they can't see it.

Therefore, like all the creatures who can't see light, they can only meet in the darkest corner.

This is the last scene of the film shooting. At the end of the film, the crew will inevitably feel relaxed. Murphy watched it next to each department, asked David Robbie and Helena espora to adjust the lighting and background, then went over to Henry Carver and Christopher Waltz for a brief explanation, and then informed the shooting to start.

"The city of chaos" is a panoramic shot, which is bound to shoot people from head to toe. These shots show the audience the content and space of the film. They can show a sense of scale, distance and space.

When the bulky IMAX camera is set up and debugged, shooting starts immediately.

The lens captured by IMAX camera is also transmitted to the director's monitor in front of Murphy for the first time. In the dark picture, the characters stand against the light, and it seems that they can't see the specific image clearly, but they can also express the character of the characters, which is exactly what Murphy wants.

In post production, he can blur the character's face by silhouette, so that the audience can focus more on the character's action and dialogue, instead of paying attention to the character's face based on instinct, so as to highlight the tragic and complex side of the character, and make enough prediction for the second part.

As in the first time, the shooting was completed smoothly, but Murphy didn't pass as everyone expected. Instead, he sat behind the director's monitor and kept looking back at the scene where Henry Carvel left last. The more he looked at it, the more he felt that it was not good to let the hero disappear and tie up immediately. There were always some unspeakable defects. He could not help pressing the pause button and holding his hands He looked at the picture and thought.

Darkness is the temperament of this film from inside to outside. Why not give darkness a close-up at last?

"Philip! David! Helen

Murphy immediately called his three most important assistants over and said directly, "I'm going to give the darkness a final freeze frame!"

Philip Raschel thought about it and said, "yes, I'll set it up right now."

After that, Murphy talked to David Robbie and Helena espora again. They also went to set up urgently. The shooting didn't start again until nearly an hour later.

Maybe it's a long time ago. Henry Carvel's performance state fluctuated. After three times in a row, Murphy got the frame shot he wanted, and the shooting ended.

After announcing the end of shooting, Murphy did not take charge of the rest of the crew. He replayed it again and watched the shot again and again. The final frame of the shot was in the dark with some strange light.

The freeze frame lens used by Murphy can stop the moving picture in an instant, freeze the picture in a certain moment, and "condense" in the moment of action, showing the static beauty of sculpture, so as to highlight or render a certain scene, a certain manner and a certain detail.

This technique is not rare in Hollywood film production, because the freeze frame lens is usually in a certain narrative context. What the freeze frame lens expresses is the self reference of a certain scene, which will virtually increase the audience's impression of a certain picture, changing from dynamic to static, so as to give the audience more space for reverie.

For example, this kind of freeze frame lens can be realized by post editing software, but the effect is not as good as direct shooting. Especially, the IMAX camera that Murphy just used for shooting is still using film. The best way to obtain the freeze frame lens of film is to present it by shooting.

As Murphy did, the freeze frame is usually used at the beginning or the end of a film. The reason why he thought of using the freeze frame to complete the last shot was that he just thought of the last movie he had seen. The last freeze frame of the film impressed him deeply.

At the end of the movie, two female protagonists drive to the Grand Canyon to commit suicide. With this ending, the action scenes of the car driving are processed in static frame, so that the audience's final impression is that the car is driving in the air. Although it does not conform to the general physical laws, it can avoid watching the terrible scenes The ending of death, on the contrary, leaves the audience room for romance and reverie, indicating their way to freedom and using women's Liberation to fight against a male dominated world.

This kind of freeze frame is used in many classic films. Another typical example that Murphy remembers is "tiger and leopard".

This film is also in the last two male protagonists decided to escape from the plight, fearless ground to the gunfire behind them, face their fate, in some ways, this use is also to avoid the audience watching the terrible death ending, hoping to leave only their fearless characters.The lens here, Murphy will definitely be put at the end of the film, the picture condenses, can create an open ending, let the audience think and imagine for the actor's behavior.

Since it is the first part of the series, it is impossible to leave the audience a completely closed ending.

Although this film may not be successful, Murphy will not neglect to pave the way for the second film, but this kind of bedding is also very limited. The lesson of Batman's defeat is just around the corner. He can't put too much bedding into it. In fact, it's just the ending and James Franco's startling glance, which is just through Margot Robbie's eyes It's obvious.

I don't know when Gail gado came over.

Murphy looked at her and said, "Gail, all the IMAX films will be sent to the safe of the bank for the time being. Except for the one kept by 20th century fox, the other one will be kept by you."

Divulging secrets from Hollywood crew is not very common, but Murphy will not take it lightly. His crew's security measures in this regard have always been the most stringent.

Gail gado turned away to deal with the preservation of film and digital lens, and Murphy said to Michelle Williams next to him, "Misha, you go to contact 20th Century Fox and Kara Firth and get them ready for the post production room. I'll start post production next week."

"I'll do it now." Michelle Williams picked up the phone and went to contact 20th century fox.

Murphy picked up the cold coffee on the table, poured it into his stomach, and sat back on the chair with a long sigh of relief. Finally, the heavy shooting work came to an end.

It took a whole year from the preparation at the beginning of the year to the completion of the shooting. Even if he is a very energetic person, he will inevitably feel tired.

But Murphy knows that it's not the time to relax. The film will be released in the first weekend of may at the beginning of the summer season. The time left for his post production is not too long. We must hurry up. Otherwise, if we change the schedule again, it will be a big trouble.

From the next day, Murphy took a few days off for herself. During these days, she completely hid in the wave manor to have a rest and didn't care about anything outside. When her energy recovered a little, she immediately threw herself into the post production of the film. (to be continued). )