Chapter 663

In the early morning of August 1, the Venice warehouse set was noisy. Nearly 100 shooting teams came out from the back door of the set and gathered more than a dozen shooting cars around the huge warehouse set. Under the command of Murphy, they began to work in an orderly way to prepare for the next shooting.

Behind the warehouse set, there used to be an abandoned open-air material stacking area. At the beginning of this preparation, Murphy asked Gail gado to contact the original owner of the land, bought this place from him, and transformed it into a very flat open-air shooting area as soon as possible for shooting some action plays.

Several huge green screens were quickly set up. Although Murphy advocated the live shooting as much as possible, the traffic in New York was heavy, especially in Manhattan, which is the main location. It was very difficult to clear a whole road for shooting the hot car chase scenes. After many discussions, Murphy decided to set up green screens for some of the big scenes It was shot on set and later replaced with Manhattan.

Today's shooting is basically Chris Dann riding an upgraded version of the super motorcycle crazy forward. Murphy went to the stuntman to see it. This kind of scene will definitely not let Henry Carville go on the stage in person. If he is injured, the crew can't afford it. The crew has already hired three stunt doubles whose body shape is very similar to Henry Carville.

Chris Dann was masked all the way, and there was no close-up super close-up, so there was no need to use actors.

Then Murphy came to the group, and Felipe Raschel was standing on top of a giant Ford pickup truck refitted with an embedded camera car, debugging the bulky IMAX camera.

"How are you getting ready?" Murphy asked.

Hearing Murphy's voice, he made an "OK" gesture. "No problem!"

It wasn't until after debugging that Felipe Raschel looked up at Murphy and said, "another micro camera, which I had installed on the motorcycle yesterday, has been debugged."

Originally, Murphy wanted to use the forward impact of the plane when it took off to shoot Chris Dann's first view forward lens when riding a motorcycle, so as to increase the impact of the lens. But after all, the plane is a super expensive luxury. If you want to install a huge and bulky IMAX camera, you have to carry out a huge transformation of the plane. No one is willing to do so. Even Gulfstream declined to do so The Philippines is restructuring the leased aircraft.

Murphy's own plane will be delivered in January next year at the earliest. He can't afford to wait for the time, so he still adopts some methods when shooting "city of chaos". The camera is installed on Chris Dann's motorcycle for shooting, and some other shots are taken by professional racing drivers who set up the camera on the super sports car for shooting.

Although the impact of the first view lens obtained in this way is not as good as the original idea, it can barely meet the requirements of Murphy.

Shooting is like this, there are always some unexpected situations, the director must find a solution.

All departments quickly completed the preparation. After the stunt driver rode on the motorcycle, Murphy also got on the platform of the camera car, and then the shooting officially began.

The motorcycle looks like a black ghost. Under the driving of the stuntman, it rushes forward like lightning. The camera car is located on the right side of the motorcycle. The speed is not slow at all. It almost always runs parallel to the motorcycle at the same speed, so as to facilitate the photography of Murphy and Philip Raschel on the vehicle photography platform.

As the motorcycle ran nearly 2500 feet, Murphy's eyes left the IMAX camera and yelled at Mike, "very good! This one is over. The camera car changes to the left. Continue shooting! "

With that, he patted down the roof of the black pickup truck. When the driver stopped the car and looked back, he gave the driver a thumbs up.

Frankly speaking, the test of the shooting of this play is not the stuntman, but the driver of the camera car.

It is not so easy to keep pace with the motorcycle at a very fast speed on the basis of the smooth driving of the car. It requires excellent driving skills.

In fact, from high-speed car chases like this to all kinds of luxury car advertisements, it's not hard for interested people to find that drivers of camera cars often have higher driving skills than stuntmen.

Of course, Murphy's specially modified camera car with excellent performance is also a great contribution.

There will be a lot of car chasing scenes in this shooting, so Murphy specially hired a professional company and team to transform nearly ten kinds of camera cars according to some of his ideas.

Camera cars have different models and sizes according to their different shooting needs, so as to install and set up cameras on the car body. However, all of them are painted in matte black, because in this way, they do not reflect light and are more conducive to shooting.

In Hollywood, the use of camera cars has a long history.

If the camera car can be traced back to its first use, a camera was set up on the car when Ben Hur: the story of Christ was shot in 1925, which can be said to be the earliest origin of this tool.Today, the camera car technology has been adjusted and still used today. Just like Murphy's shooting today, it is now used with the green screen.

Murphy is now using a specially modified embedded camera car, and the entire photography platform is modified by Ford Raptor, so that the bulky IMAX camera can be set up.

Because of the bracket embedded in the car, it allows a series of different cameras and lights to be set up, such as flat-panel shooting or crane shooting. This embedded camera car also has the power generation function to drive any camera and lighting equipment. If you don't go on the stage to shoot in person, Murphy can sit in the cab and watch the monitor, while the camera operator can watch the camera in the cab The actual shooting was carried out on the support platform.

The crew quickly reset, and the only difference from the previous shooting is that the camera car changed to the left side of the motorcycle.

This kind of shooting, as long as you keep the camera car stable and synchronized with the motorcycle, basically there is not too much difficulty, the second shooting also passed.

Then Murphy asked the crew to change the scene and come to a specially built corner to shoot Chris Dann almost touching the ground when the motorcycle turned at high speed.

Here, Murphy changed to another camera car - the synthetic Trailer!

In order to capture a picture with the same or lower horizontal height as the driver in the car, the synthetic trailer is close to the ground, but the horizontal width allows the camera to achieve wider shooting.

There are many restrictions on this kind of trailer. If shooting in Australia, this kind of equipment must be accompanied by the police and require a professional license to operate.

However, Murphy doesn't use a general synthetic Trailer. In order to photograph Chris Dann, a motorcycle that can move laterally, the rear wheel of the trailer has been specially modified, specially adding a "smart rear wheel" that can drive the trailer to move laterally in a small range.

When shooting the lateral movement of the motorcycle, in a real lateral movement, all four wheels of the trailer can switch to the lateral movement mode. This motion also has an additional function, called rotation. After setting the wheel angle, the camera can rotate 360 degrees around its center.

Correspondingly, the stability of the synthetic trailer is worse. Although it's a motion shot, Murphy doesn't like the constantly shaking shot in the film. When the motion shot is finished, the picture still looks stable.

In order to meet this requirement, the ground of this bend is also specially made. In the early preparation, Murphy asked people to lay an additional layer of the dance board commonly known in the industry.

If there is no place to place the track, or the moving track is not straight or curve, then the crew must build a dance board to allow the camera car to move freely. This kind of special dance board is made of plywood or birch board with a thickness of three to four inches and high quality, and then covered with a board It's made of smooth layers of Mason Knight fiberboard.

Most importantly, the joints must be carefully aligned and taped to form a perfect surface on which the camera car can move smoothly.

In Murphy's opinion, a good camera car can move horizontally or forward to any place, and the combination of various movements can be very complex. The only sure thing is that he should avoid shooting the dance board.

When a camera is installed on a lens other than a wide-angle lens, a skateboard or a dance board becomes crucial, because a certain protuberance on the floor causes the long lens to shake.

So Murphy doesn't use any long shots in an action play like this.

However, when shooting, there are still some difficulties. Murphy found that motorcycles and stuntmen can use the inertia of turning to stick very close to the floor. Because of the position of the camera, it is difficult to shoot at a horizontal angle at this time.

After standing on the set for a while, Murphy quickly came up with a solution, adding a long arm on the platform that can bear the weight of IMAX camera.

Murphy came up with two solutions. The other one needs to readjust the mounting arm so that the camera can reach a height of only a few inches above the ground. However, the camera car can not be reconstructed on site, so it needs to be installed in the factory, which is quite troublesome.

It's relatively easy to add an extension arm. To put it bluntly, a high-strength alloy tube can be installed on the camera car and extended when it is lowered, so that the lens of IMAX camera can be as close to the floor as possible.

Because of the extension arm, Murphy only shot two scenes in the morning, but in the afternoon, the shooting progress accelerated, and it took only three days to complete the shooting here. There were not many scenes here, and some of them had to be shot in New York.

Subsequently, a group of leading actors also entered the cast.