Hollywood Road

Ask for a monthly pass~ Ask for a recommended ticket!

No matter how busy the work is, you must ensure a certain rest time to complete all the filming work. Murphy gave the crew a three-day vacation. After receiving part of the compensation, most of the crew will also withdraw from the crew, except for a few that need dubbing. Apart from the actors, there are not many people who are eligible to participate in post-production.

For the past three days, Murphy basically hid at home, first to relax the nervousness after busy work, and second, not to be disturbed.

After several months of noisiness, some things can no longer be turned back, and when things have developed to this point, Murphy himself doesn't want to look back.

After hiding for two days of cleansing, Murphy felt that the depressed mood during this period of time had slightly improved.

Then, Bill Rossis came over.

"I just talked to Miramax and Harvey Weinstein yesterday,"

By the swimming pool in the backyard, Bill Rossis sat under a parasol and received a bottle of juice from Murphy. "The world premiere of the film will be held in Cannes."

He looked at the opposite side, Murphy's face was hidden under a pair of oversized sunglasses, no emotional changes could be seen.

Although the filming was successfully completed, Bill Rossis knew very well that some things had affected Murphy's work.

There was nothing before, after seeing Kerry Mulligan's rebellious side thoroughly, he really didn't want her to disturb Murphy and affect his future.

He first looked at the problem from the perspective of Murphy's agent, not Kerry Mulligan's agent.

Murphy grabbed the cold drink on the small table in front of him and took a big sip. "Have you confirmed the schedule and the people going to Cannes?"

"It's confirmed," Bill Rossis nodded to Murphy. "You and the producer Erica Steinberg are going to Cannes before the start of the film festival to go through some screening procedures. Harvey and I It will pass before the premiere."

"What about the staff?" Murphy asked again.

Since the crew is holding the world premiere in Cannes, the main cast and crew must rush over.

"The cost is limited, and the staff will not be particularly large." Bill Rossis thought for a while, and said, "It's mainly the people in front of the scene. Downey, Jim, Seth, Jonah, and Jessica Chastain ."

Murphy closed his eyes under the sunglasses and opened them again. Then he took off the sunglasses, looked at the swimming pool next to him, and shook his head vigorously, seeming to have thrown away a lot of things.

Bill Rossis looked at Murphy and deliberately added, "This is the list given by Miramax."

The film from investment to production to distribution, all from Miramax, they have the real decision-making power of this film.

Murphy nodded, "You can deal with it."

He stood up, "Also, Bill. In the last two months I will devote everything to post-production, and you will handle the tedious tasks for me."

"No problem, leave it to me." Bill Rossis also stood up, "I want to go back to the Death Star Building and call me if I have something to do."

Sending off Bill Rossis, Murphy went back upstairs and sat in the study for an entire afternoon. The three-day vacation ended there, and he resumed work.

Busy work can also make him forget some unhappy things.

With the strong support of Miramax, this post-production is completely different from the previous two. There is no need to rent the post-production room. Miramax has a related studio in Burbank, and it is fully equipped and fully satisfying. The production needs of "Horror Planet".

However, Murphy does not have the final editing rights.

This is also a natural thing. The investment in the first two films all came from Stanton Studios. Murphy, the director and producer, has full decision-making power, but this time is different, even if the director’s opinions and weight are heavier in independent films. Still centered on the producer.

To put it bluntly, Murphy can put forward various ideas and suggestions in post-production, and deeply participate in it, but the final decision of the film is in the hands of Harvey Weinstein.

Similarly, the editor is no longer Jody Griffith, whom Murphy worked with in the first two times, but Lars Beynte hired by Miramax.

"Be cautious in the selection of editing points!"

In the studio, before the initial editing work began, Murphy communicated with Ras Beint, “When I was shooting, I set aside enough editing points. I think I will edit according to these editing points, and the final result will be presented. The effect will be smoother."

The two had seen all the footage before, and Lars Beint also had a general impression, and nodded slightly to Harvey Weinstein on the other side.

In fact, the editing points Murphy mentioned are mainly used in scene switching between different characters.

For example, the doctor played by James Franco opened the door, and the moment the door was opened, the camera was switched and changed to Jonah Hill in another scene opening the door.

Murphy reserved a lot of editing points like this during the shooting. For example, Seth Logan turned on the faucet, and the water just came out, just in time to switch to the shot of Robert Downey Jr.

This is also a very common way of editing in Hollywood, so neither Lars Beint nor Harvey Weinstein objected.

Especially Lars Beint, as an editor, he participated in the entire filming process and had enough exchanges with Murphy.

He knew very well that Murphy Stanton, the young director, was not just talking about it. The shooting of the film really did enough preparatory work for the editing.

The shooting process is basically shooting for editing. The ultimate goal of shooting is not to take a good shot, but ultimately to serve the film narrative. Therefore, the director must shoot the shots required for post-editing and be able to stitch these shots together. Complete the entire scene and plot, complete a logically coherent and touching product, and achieve the ultimate goal.

This is a very simple filming principle, but not many directors have done it. Many directors like to shoot nonchalantly.

Russ Beint saw it very clearly that this director named Murphy Stanton had a clear idea, an orderly filming, and a good implementation of this principle.

Such a director is the editor's favorite director, and he is also the favorite director of the production company.

He glanced at Harvey Weinstein. The other party's ability to support a young director like Murphy Stanton is not blind trust, but the director has won for himself with practical actions.

Harvey Weinstein and Erica Steinberg sat aside, never talking, just watching Murphy dominate the post-editing.

Just like Lars Beint, they have seen Murphy Stanton ready for post-production during the filming process.

Movies can only shoot one scene at a time, and each scene can only shoot one shot at a time. No matter how complicated the production scale of the entire movie is, you can still only shoot one shot at a time. Phoebe Stanton kept in mind the overall goal of the shooting, so that this shot must be consistent with other shots, so that the entire scene can be stitched together.

Continuity is a big problem in film production. It is a problem that the director must always be vigilant. Errors in continuity can easily turn several hours of shooting into nothing, or cause many problems during editing.

Murphy Stanton successfully avoided these.

In addition to the strict requirements when shooting, Murphy and Russ-Beint also paid great attention to the issue of continuity when they were first cut.

The first is the continuity of the content. The continuity of the content is related to anything visible in the scene: costumes, hairstyles, props, actors, cars in the background, time on clocks, Murphy and Russ-Binte must guarantee everything Keep continuity in different shots, and cut out those shots that may cause errors in shooting as much as possible.

This type of problem is so obvious that Jessica Chastain wore a red tight-fitting T-shirt in the main shot, but changed it to gold and red in the close-up shot.

There are also some small to extremely subtle shots. For example, there is a scene where James Franco enters the camera with a cigarette that is almost finished, but the camera switches into a just-lit cigarette.

During the filming, although script supervisors, on-site costume and props technicians, and Murphy, the director, are preventing these errors from occurring, humans are not machines with precise calculations. Just like other Hollywood movies, this situation cannot be completely eliminated.

Therefore, Murphy and Russ-Beint must try to avoid using these wrong lenses in editing. If there are continuity errors during shooting, they must be used, and the wrong images should be cut as much as possible. There is really no way. , You can also use post-production technology for modification.

There is also the continuity of action, which is more important than the continuity of the content for films like Planet Horror.

Any object that moves in the shot must also move in the next shot. This is a seamless connection of movement, whether it is opening a door, picking up a book or parking a car, the front and back shots The movement must be without gaps, and Murphy must be very clear about how the two shots should be edited together, which is crucial.

During the shooting, Murphy made careful plans, safe and effective shooting of various types of sports shots, in order to avoid the situation of being stretched in the post-editing, the most important of which is to overlap all the actions.

For example, in a scene where Jessica Chastain opened the door on the set in Venice, the scene described in the script ended before she fully opened the door, but Murphy still let the camera take a few more seconds during the shooting. Until the whole action is completed.

Murphy is very clear, don't get stuck in the shooting at the beginning of the action-give a little advance and delay time, and take the complete action into the lens.

These are very important for the shooting and post-editing of a film, and can even affect the success or failure of a film. Everyone knows that shooting is only a part of the film, and post-production is more important.

Excellent post-production can sometimes even turn bad shots into magic.

However, these principles of continuity are not the core concept of Murphy's post-production studio, and his core concept has never been publicized.