Chapter 595

"Diego Ross, scene one, act one."

After getting Murphy's order, Chang Ji put the Chang Ji card in front of the main camera and said aloud, "start now!"

In the dark room, Robert Downey Jr. and Margaret Robbie sit opposite each other. The former looks confused and seems to be delirious, while the latter looks like a social flower.

"Damn it Margot Robbie looked at little Robert Downey and suddenly burst out, "the goods I give you are for sale, not for you to suck!"

Robert Downey, Jr. "I just sucked a little. Don't worry, you won't get a cent less for the payment. "

The camera turns to Margot Robbie. Murphy sees Margot Robbie's face in the close-up and immediately raises a hand and yells, "stop!"

Seth Logan, standing behind Murphy, steps forward slightly, holds his glasses and looks at the monitor. He doesn't quite understand why Murphy stops.

He's shooting all kinds of shit comedy, and he doesn't have a high demand for performance. Now Murphy calls for a stop, so he can't see what the problem is.

Robert Downey Jr. and Margaret Robbie both look to Murphy. Murphy waves to Margaret Robbie. "Maggie, come here."

He thought for a moment and said, "Donny, come here, too."

Margot Robbie came over first and asked, "my question?"

"Well, your face." Murphy pulled up the close-up shot, fixed it on the monitor, pointed to the corner of Margot Robbie's mouth and said, "you're furious at this time. Anger is not exaggeration."

"This..." Margot Robbie scratched his head. "I'll pay attention next time."

Murphy turned to little Robert Downey and said, "Downey, you're a little bit away from the table. Now you're guilty."

Little Robert Downey didn't seem to get out of the role completely. He just nodded and said nothing.

"Get ready." Murphy waved to the two actors and said to the assistant in the back, "ask Philip to come here."

Soon, Felipe Raschel came along.

In the same scene, Murphy pointed to Margot Robbie's face and said, "she's too thin recently. Her eyes are completely sunken. Her face is too thin. Make some adjustments when shooting."

"Good." Philip Raschel immediately thought of a way, "I'll go back to deal with it."

Murphy nodded and said nothing more. Using camera skills to make up for the actor's physical and physical defects is just the most basic skill of film cameramen.

After Felipe Raschel adjusted the camera, the shooting started again. The shooting was relatively smooth, especially the small problems of Margot Robbie's face caused by excessive weight loss mentioned by Murphy, which could be well solved.

When shooting people, we can use different lighting and different shooting angles to make up for the physiological defects of individual people.

That's the way Philly Raschel used it.

For example, it is not suitable to take a close-up of a person with a fat face. The face can be slightly sideways, and the position of the camera lens should be appropriately raised. The angle of the main light should be slightly higher and slightly sideways, so as to produce a projection on the face, which can make the face look thinner. The thin face can be made up by the opposite method.

For people with different eye sizes and deep socket, you can also take pictures from a slightly lateral angle according to the perspective principle of close large far small lens, and make the smaller side of the eye close to the camera lens, so that the smaller eyes can be shot slightly larger, so that the size of the two eyes appears close.

You can also use light to deal with it. Felipe Raschel also used this method. He asked David Robbie to adjust the light, arranged Margot Robbie's deep socket in the dark, and lowered the main light to shoot with softer light, so as to make up for the defect caused by her excessive weight loss.

Robert Downey Jr. and Margaret Robbie Jr. have adjusted their state. The camera lens and lighting are all in place. This shooting is very smooth. Margaret Robbie ends the dialogue with Robert Downey Jr. and stands up to leave. The camera is fixed on the role of Robert Downey Jr. after taking drugs for a long time.

It's a freeze frame, and Murphy takes a look and yells, "stop! This one has passed. "

But before the rest of the crew could breathe a sigh of relief, Murphy yelled, "Jack, make up for Donnie and Maggie, and do it again in 15 minutes."

Then he waved to the main camera, and Philip Raschel came over again.

When Felipe Raschel comes over, Murphy plays it again, points to the last freeze frame of little Robert Downey and says, "it's not appropriate to use the freeze frame to show the characters' trance after taking drugs."

Philip Raschel replays the shot again and says, "the freeze frame doesn't have continuity here. It's really bad."

Murphy thought for a moment and said, "well, let's try the push track zoom."The camera slide in the field has been laid for a long time, as long as it is adjusted properly.

The most direct lens effect of track pushing zoom is Vertigo effect. This kind of lens combines track pushing and zoom. When the camera track is close to the main body, the zoom lens will be pulled away; as soon as the camera is far away from the main body, the zoom lens will be pushed closer.

As long as it is properly executed, the size of the subject in the picture can remain unchanged, while the background perspective will change dramatically, and it seems to keep approaching or flying away from the subject. The effect is extremely strong and blurred, so it is only applicable to the important moments of the plot. Track zooming is often used for people in the lens to be surprised at what they see or know, or in a dazed state. In addition, it is also used to express strong emotions Such as anger, obsession, infatuation, paranoia, fear, and after medication.

In addition, the speed of zoom will affect the audience's interpretation of the plot and the emotion conveyed by the camera. When strong emotions are expressed, the speed is usually very fast, so that the audience can easily detect the change of perspective.

In other cases, the speed will be very slow, making the change of perspective seem subtle. Sometimes it is difficult to see that the effect is not so blurred, but it conveys that something meaningful, though not fierce, is happening.

Field shooting soon began. Murphy stood behind the director's monitor and carefully observed the changes of the camera. When Margot Robbie left the set and the camera turned to little Robert Downey, it was no longer a freeze frame picture. Philip Raschel switched to a close-up wide-angle lens, and the camera was also very close to little Robert Downey. In the process of shooting, when the lens zoomed to the When looking at the distance, the camera quickly retreats along the slide and immediately moves away from Robert Downey Jr. in this way, the size of Robert Downey Jr. in the picture remains the same, but the background looks closer to him.

After the shooting, Murphy replays it immediately. This scene of track zoom effectively conveys how confused and helpless the protagonist is at the critical moment. At the same time, it also demonstrates that when the size of the character remains unchanged, the change of focal length does not affect the depth of field, because the distance from the camera to the main body offsets the gap, and the background is out of focus from beginning to end, regardless of the wide-angle end of the lens Or long distance.

After seeing it, Murphy nodded his head slightly, which was exactly what he wanted the lens to achieve.

"Much better than just now." Seth Logan has been looking behind, when he came over and said, "it just reflects the situation of Diego rose in this stage of choice."

"It's push track zoom, and it can actually be used in another situation." Murphy simply said, "push track zoom is also used in a rare situation, that is, to highlight the background of the composition rather than the foreground of the main body, so that the main body is out of focus. This is usually used to show the characters' mental state or supernatural forces and feel that the scenery around them is distorted. This is the favorite technique of horror movies."

This interesting technique is also known as "Hitchcock zoom" or "Vertigo effect" because of the use of Hitchcock in movies.

In fact, the principle is not complicated, that is, when the zoom lens is rotated to change the viewing angle, the camera is moved to or away from the object, so that the object keeps the same size in the picture.

Therefore, when the camera is far away from the object, the lens moves forward, or vice versa. In this way, the picture will produce a continuous perspective deformation in zoom. The most intuitive feature is that the background changes in size while the main body remains unchanged.

Since the shooting of the film has just started, it is impossible for everything to go smoothly. Murphy is not the first time to shoot a film. He can be regarded as an experienced director. He knows clearly the actual situation and effect of the shooting, which may be different from what he expected. At this time, the director needs to make adjustments in time.

After the first shot was shot five times, Murphy announced that it was completely passed. In addition to making adjustments to the plan, he also passed the strict shooting concept in this way.

Shooting is like this, no one can guarantee a smooth, but some things do in the front, can reduce the probability of making mistakes.

Later, Murphy filmed a one-man show of little Robert Downey.

He plays Diego Roth, Murphy and his friends. He also understands that this film is not for profit, but for commitment and friendship. He has invested a lot of time and energy to study the role before, and his state adjustment is also excellent.

In the morning, Murphy shot a total of four shots. During the lunch break, Gail gado, the producer, came to see him.

"These two documents need your signature." Gail gado laid the two documents flat in front of Murphy and handed him a pen. "This is the rental agreement between the crew and Stanton studio..."

Murphy took a glance, took the pen and wrote his name.

Gail gado put away the papers and said, "bill just called and got an invitation. Britney Spears invited you to a party." (to be continued). )