Hollywood Road

I told Philip Raschel what he should pay attention to when shooting, and exchanged opinions with Franco Miller. Murphy walked into the green-screened set, and three photography assistants were setting up the camera, Helena Aye. Spozela took the assistant to make a final check on the green screen.

This green screen shooting, which relies more on post-production special effects, undoubtedly greatly reduces the workload of preparation and shooting.

Retracting his gaze from Helena, Murphy looked to the left and suddenly saw a familiar girl approaching.

Her golden hair is simply combed into a ponytail behind her head. She is wearing a small denim suit, some of which is gray and old, plus a pair of brown leather boots on her feet, and her face is tall and tall. The raised eyebrows show a unique wildness.

This is... Murphy thought for a while, and finally remembered. Compared with the impression she had, she had grown taller and her wildness was heavier.

"Hi, Murphy," the girl stretched out her hand to greet him politely before coming over, "It's been a long time, do you remember me?"

"You are..." Murphy watched her getting closer, "Are you Margaret? Maggie?"

Margaret walked four feet away from Murphy, tilted her head and looked at him, "I was on the phone with you yesterday."

"Oh, I remember." Murphy smiled apologetically, "I have been so busy these days, I always forget some things."

Seeing the **** the opposite side nodded gently, he asked politely, "Why are you here in Los Angeles?"

"I'm on summer vacation." Margaret looked curiously at the surrounding green screen, "Come here to travel, and I heard that you are making a movie, so let David bring it to see you, I haven't seen making a movie yet. It's."

She stretched out her hand and pointed to the large green screen behind Murphy. "What are these for?"

"Used to replace the shooting background," Murphy simply said a few words and asked, "Do you want me to let people take you around."

When he was in Australia, the other party had entertained him, and now he has come to his site, of course, he can't wait too long.

Margaret thought for a while and nodded slightly, "Okay."

Murphy beckoned to Paul Wilson and asked him to find a female assistant to take Margaret around.

As soon as the little girl left, Murphy heard footsteps behind her. James Franco, who was not filming today, walked over in plain clothes.

He stood next to Murphy, looked in the direction Margaret was leaving, and asked, "Who is this?"

"Don't think too much, Jim." Murphy warned. "She is David Robbie's sister."

"Hey, Murphy, you think too much!" James Franco opened his hands and said innocently, "I already have Lily and I am not interested in other people."

Murphy patted him **** the shoulder, he didn't want to see that his crew was in trouble.

Soon, the filming kicked off. Today, the filming is mainly about action scenes, about the scene of Maver attacking the police played by Seth Rogen.

The shooting takes the green screen as the background, and the special effects are also added in the later stage. Unlike ordinary green screen shooting, Murphy uses high-speed photography technology to shoot here.

In the early preparations, Philip Raschel did experiments, and the experimental shots he took were also approved by Frank Miller.

The style of the whole film will definitely match the comics. Murphy will not change this point. However, some individual scenes will also be adjusted appropriately. For example, the comics are completely fragmented action scenes and how they are shot and produced. More attractive, more like a comic style, can give people a different kind of excitement?

After all, there are still differences between movies and comics.

"Fran, the action scenes in comics are different from the action scenes in movies,"

Standing behind the director’s monitor, Murphy and Frank Miller, the named director, said, “In the background of thick ink and color like a black and white oil painting, the blood of **** and the windy corpse can bring a stronger vision in slow motion. The impact, you have also seen in these previous experimental shots, the effect is very good."

"I mean," Frank Miller raised the cowboy hat, "These shots should be properly controlled, after all, these are not the selling points of comics."

Murphy nodded, "I know, these will definitely be temperate."

Without restraint, the film will not be R-rated, but will become NC-17.

Frank Miller is so mature that he can see that the situation in the crew has exceeded his estimates. As long as the style and general direction of the film do not deviate from the track of the comics, he has rarely expressed his opinions recently, and regardless of any changes. , Murphy, the director, always consulted him the first time, and showed enough respect.

What's more, judging from the high-speed slow motion in the preparatory stage, the effect of the action scene is indeed excellent.

After the actors and other departments were ready, Murphy quickly shouted to start shooting. The shooting seemed quite boring, Seth Rogen, with ugly makeup, and a few stunt actors jumping around in front of the camera following the action-guided routine. , After taking a few minutes, you have to stop and readjust. Especially Seth Logan's makeup is quite troublesome, and you have to touch it up if you touch it.

According to Murphy's request, Philip Raschel of the film crew and two camera assistants operated three of the latest Sony digital video cameras to shoot every shot at the end of the scene at a high frame rate.

In fact, it's not complicated. Murphy just wanted to integrate the high-speed slow motion shooting action scenes in "Spartan Three Hundred Warriors" into the fighting scenes of "Sin City".

Although "Three Hundred Warriors of Spartan" is more colorful than "Sin City", the background pictures of the two works are similar to a certain extent, and Murphy is far more restrained than Zach Schneider, just action This method of shooting is used in the scene.

Action drama is not the key to the success of a film, but it can become a highlight to attract the audience.

Of course, shooting action scenes with high-speed slow motion is also a cumbersome task.

The slow motion in the film is not a simple slow motion, it is the most low-level way to create a slow motion effect. Murphy uses a high-definition digital camera to shoot at high speed and then play it in slow motion.

The normal camera shooting is 24 frames per second, and the movie is also 24 frames per second, but when shooting Seth Logan's action scenes, the shooting speed of the two digital cameras is 90 per second. At six frames, it is changed to twelve frames per second during the screening, so that you can easily get excellent slow motion.

Such a setting is of course not obtained out of thin air, but is directly related to the recognition of the human eye.

At this stage of film shooting and screening, the frame rate is basically adjusted to twenty-four frames per second. This parameter is consistent with the time resolution of the human eye. Therefore, although the film is not shown continuously, it is seen by the human eye. It has formed a coherent image.

It is also because of such a limitation of the human eye that the human eye cannot fully capture some of the higher-speed motion. At this time, external force is needed to slow down the motion to ensure that it can be viewed completely-high-speed photography technology, that is The product that came into being for this.

High-speed photography is a kind of photography method with very fast shooting speed and short exposure time. Relying on the technology of "fast shooting and slow playback", it will finally slow down the fast-changing movement process to the degree of time resolution of human vision. Enable people to observe. This also means that in high-speed photography, the shooting frequency (frame seconds) must be synchronized with the rate of change of the object's movement. The faster the movement, the higher the shooting frequency.

This technology has a wide range of applications in Hollywood. There is a high-speed slow motion opening funeral in Michael Bay’s "Break in the Dead Island", and the bullet time in "The Matrix" is more recent. It is the finishing touch in the film.

After two consecutive hours of filming ended, Murphy called to stop the crew and let everyone rest for half an hour, and he checked with Frank Miller and the editor Lars Beint, who was assigned to the crew by Miramax, to check that the filming had been completed. Of the lens.

For Frank Miller, these backgrounds are all green screen, slow motion without special effects. There is really nothing to look at. It is far inferior to the scene where Murphy showed him the knife through the human body and brought blood during the preparations.

But even for a layman, Frank Miller knows that to achieve that kind of effect, they have to go through more complicated post-production.

In fact, Murphy and Russ-Beinte are taking a serious look. The two people mainly discuss the editing points of action shots.

All action shots will use multiple cameras to shoot, adding different angles of editing materials, the editing points of action shots must be able to reflect and strengthen the emotional power of the action scene, which is also one of the basic principles of action shot editing.

"The role's reaction and action guidance will inevitably lead the plot to develop in different directions."

Sitting behind the director’s monitor, Murphy watched the dozens of scenes where Muffle, who was repeatedly playing on the monitor because of the murder of his parole officer, opened up a massacre. He said to Russ-Beinte, “I must be able to help The bridging position and continuity of the fault make the slow motion part alive, skipping the part you don’t want to move. Ideally, it’s best to capture the important people in the scene, including the reaction shots from participants to onlookers Clip into the sequence."

Lars-Being nodded his head, "I feel that the shots taken by pushing, pulling and panning cannot move at the same rate. If they are edited together, it will lead to a worryingly wrong scene."

"Hmm..." Murphy fully agreed with Lars Beint's statement. "Pay attention to this aspect."

What else did he want to say, when he suddenly saw Paul Wilson walk over in a hurry, as if there was something urgent.

"Murphy," Paul Wilson tried his best to keep his tone calm, "There are two people outside, claiming to be from the directors' union, and saying that our crew violated the rules of the directors' union!"

Murphy stood up immediately, glanced at Frank Miller on the other side, frowned and said, "Paul, you go and inform Bill and Erica."