Chapter 1613

Studio 18 is the largest studio in Burbank shooting base, covering an area equivalent to two medium-sized studios. It is specially used for shooting large scenes in the studio. With enough time and funds, the crew can build a city and even a world here!

This studio belongs to Warner Brothers. When other film companies need to, they will also apply for leasing, almost all year round. Here, countless top commercial blockbusters were born. It can be said that it is the leader of Burbank shooting base and has a great reputation.

Even the staff of the photography base often take the new recruits to studio 18 for a visit, as a rookie's training day, and then make fun of it in a joking way: only when they have worked in studio 18, can they really have a walk in Hollywood.

"Star Trek" shooting base in Los Angeles chose studio 18.

At this moment, the studio looks like a huge physics laboratory. All kinds of models, props, equipment and appliances fill every corner of the line of sight. They are dazzling, intricate, and even more gorgeous than a kaleidoscope, so that the line of sight does not know where to fall.

At this time, the studio is divided into three parts. The areas are separated by baffles. On the one hand, it is convenient to build the shooting scene; On the other hand, it is to prevent the overlapping of work responsibilities in the process of shooting, which affects each other's work.

On the left side, it should look like a laboratory. Model props are placed on the ground and on the table. There are semi-finished products, finished products and incomplete failure products. It can be seen that the props group and the visual effects group are experimenting here, trying to create the scene model that is closest to the director's requirements, but it's really not an easy thing.

Because "interstellar crossing" is a work that strictly follows the theory of reality, Christopher Nolan keeps improving on the black holes, wormholes and other details in the film. He always asks astrophysicist gene Thorne for his opinions. From visual effects to models and props, he must be as close to the reality as possible and make adjustments and modifications at any time.

Therefore, while shooting on site, the data parameters of the actual model and computer special effects still need to be adjusted to ensure that the film can present the most realistic picture texture.

On the right hand side, there is a spaceship - a real spaceship. The scale of the model is built according to the actual situation. The vivid details are completely displayed in the field of vision, and the busy staff can be seen in the cabin, which makes the sense of reality more and more prominent, as if you are in NASA headquarters.

More importantly, the three sides of the spaceship are surrounded by an integrated projection curtain wall. Now the field staff are debugging the projection brightness. They communicate with each other inside and outside the cabin through walkie talkies, constantly adjusting the brightness and light to ensure that they can truly simulate the environmental texture of black holes and wormhole tunnels.

In fact, this is similar to gravity. Among the crew, it's obvious that they can't really go into space to complete the shooting; Christopher Nolan and Alfonso Caron are both directors who pursue realism. They must create a real texture through scenes, lighting and composition.

The problem is that the director can not achieve the part of the computer effects can be completed after all; But in the process of shooting, if we use the green screen shooting, the actors lack of real reference, the emptiness of vision and limbs will inevitably bring a dislocation of the viewing effect, and then affect the integrity of the whole scene.

Christopher and Alfonso used the same method: by building the actual scene, so that the actors can easily enter the scene.

Objectively speaking, the scenes on the left and right are still in a reasonable range, which can be constructed with imagination, and it is also common in other commercial film groups; But in the middle of the scene, people were stunned, completely unable to imagine what it was used for.

Right in the middle is a super weird cube.

Imagine a cube shaped room hanging in the middle of the venue. The cube has six three-dimensional surfaces. Now, in addition to the one facing the gate of the studio, the other five sides are separately suspended and extended to form a cube space. It looks like a variant robot, On the square head grew different square pimples.

That's not all.

The connecting wall between the five extended cubes and the middle cubes is not an ordinary wall, but a line. The uneven thick and thin lines are closely and loosely pieced together, just like the side panel of plywood. You can clearly see the laminated section of a piece of wood glued together, It looks like... A cross-section of a bookshelf full of books in a library.

Color changes can also be seen clearly on the linear wall. Light gray, dark gray, off white, pure white and other cold colors of wood are overlapped layer by layer. Through color contrast and connection, the visual sense of space is further created. It is clear that it is only a plane, but it has a three-dimensional effect, and the depth and thickness of the field of vision are improved, The whole space becomes endless.

The six cubes are so strangely combined to form a huge cube, which fills the whole studio from the ground to the ceiling——

You know, the Big Mac of No.18 studio is not only reflected in the length and width, but also in the height. The whole studio is nearly five stories high, which is superior to others in the whole Burbank photography base. Even the office buildings of film companies around the base are not inferior.

Now, the cube touches the ceiling.

Lanli stepped back a little, trying to look at the top of the cube, but the proportion of the whole height was too big to see, even some gaps in the corners.

"There are camera tracks directly above, as well as working tracks. If necessary, photographers can go on the scene with safety measures to complete the shooting." Behind him came the voice of explanation, looking back to see the figure of Christopher Nolan and Emma Thomas.

"It's like climbing," he said? What about the perspective penetration right above? "

"No problem. All the walls and boards can be moved and adjusted according to the actual situation. When we really put in the shooting, we will put cameras in key positions, you just need to hang Weiya to complete the performance Christopher, however, has taken all the situations into consideration. "We build scenes to create a sense of reality."

Emma Thomas stood beside and shook her head helplessly: as soon as she arrived at the cast, Christopher couldn't wait to start working. She didn't even say hello to the staff or ask about the preparation of the scene, but... This is Christopher's usual style. What else can she do?

Emma and Langley nodded, then went straight ahead and got busy as producers.

Christopher didn't notice it at all. He pointed to the scene on the right. "We're going to take the lead in filming the spaceship scene in the next few days. It's here. Double negative has already produced the black hole visual effects. Now it's still a rough version. Of course, when it's officially released, we will replace the further refined version. "

Double negation company is the visual effects production work, which is Christopher's only visual effects team for a long time. All the visual effects of "Batman" trilogy and "Inception" are completed by them, and this time is no exception.

"When shooting, you go into the spaceship model, and the space scene is outside the window, keeping pace with the plot presented in the film, so as to ensure that you can really feel the image change of interstellar crossing." Christopher's explanation immediately made the role of that curtain wall more vivid. "Later, we used the same method when shooting wormhole crossing. Now the computer special effects have been produced, and the preliminary rough version of the time tunnel has been completed. You can put yourself in the real scene to complete the performance."

Jessica and Timothy were still standing by, both of them showing an unexpected look.

Although I've heard of Christopher's style before, the cornfield in Alberta is the best proof; But they obviously underestimated Christopher's persistence. Now they are in the studio, and the scene and the subsequent shooting plan are still speechless and shocking.

Langley is no exception, but he was surprised that Christopher's fantastic ideas, seemingly impossible tasks, eventually evolved into reality. This is also the reason why people always regard Hollywood as a "DreamWorks". In addition to creating top stars, they can also turn countless fantasies and dreams into reality.

"Right in the middle is the hypercube." Christopher went on to explain, "remember in the second half of the play, Cooper's space-time dialogue with Murphy as a child?"

"Of course." Lan Li nodded in affirmation. This is almost the most important part of the whole play. How can he not remember it?

"We're going to finish that scene here. The box in the center is where you are, and the other boxes are different dimensions of time and space Christopher said simply.

Then Timothy exclaimed, "so... All the models and props in the center are for that scene?"

It's just a play.