Hollywood Road

"A Song of Ice and Fire: Game of Thrones" Scene 15, Act One, now begins!"

With the sound of the scene note, the filming officially began. This is also the first time a major role has appeared on the scene since the filming began ten days ago.

Murphy stood behind the director's monitor, looking at the monitor screen, staring at the digital high-definition picture from the camera lens.

"Your uncle is far from being a night watchman!"

The camera turned to under a low arch, and what was passed in front of Murphy was an empty camera first, and then the camera moved down, and Peter Dinglarki dressed up as the little demon Tyrion Lannister appeared on the monitor screen.

Peter Dinklage walked towards Hahn Choate, who played Jon Snow, and Hahn Choate also changed direction and walked towards him.

"What are you doing here?" Jon Hart asked.

"Prepare to have a night party with your family." Peter Dinklage walked around Jon Hart.

A camera moved slowly on the slide, taking pictures of Peter Dinklage, and taking close-ups of him from time to time.

Peter Dingraki leaned on a wooden pillar, took a sip from the bottle in his hand, and said, "I wanted to see the Great Wall a long time ago."

The main camera lens is aimed at Peter Dinglucky, and Jon Snow has only one back. This is a very simple lens conversion. The POV angle of view has fallen on the little demon Tyrion Lannister.

"Are you the Tyrion Lannister?" asked Hahn Choate, who turned his back to the camera. "The queen's brother?"

Peter Dinklaki lowered his head and laughed at himself, "That seems to be my highest achievement."

The camera zoomed in again and gave Peter Dinglucky a close-up of his face. Peter Dinglucky looked up and said, "Are you the illegitimate son of Ned Stark?"

Hahn Choate took an angry look at Peter Dinklaki, then turned and left. Peter Dinklaki said behind him, "Did I offend you? I'm very sorry."

He walked slowly towards Hahn Choot, "But you are indeed an illegitimate child."

"It's not wrong that Master Ned Stark is my father." Hahn Chot said.

Peter Dinklage said, "And Mrs. Stark is not your mother, so you are an illegitimate child."

"My bastard, let me give you some advice." This sounds like there is no malicious intent. "Never forget your identity, because the world will never forget. If you use it to arm yourself, no one can use it. hurt you."

After speaking, Peter Dinglarki turned to leave, and the camera slowly backed away in front of him.

Hahn Choate frowned, "How can you understand the feeling of being an illegitimate child."

Peter Dingla stayed at the base station, leaving the last sentence, "All the dwarfs in the world are illegitimate children in the eyes of their father."

The two left separately.

The two cameras erected on the slide rails quickly returned to their positions. Murphy raised his hands and said loudly, "Fifteen minutes of rest, try again, this time with Jon Snow as the POV perspective."

Murphy has very strict requirements for shooting. Although there are many differences between TV series and movies, and the production of TV series is generally inferior to movies, he still takes the attitude of shooting movies to demand the entire crew.

Sometimes the shooting will be NG due to mistakes, and sometimes it will be retaken out of Murphy's personal request, and the angle of view will be changed to shoot so that there are more materials to choose from in post-production.

Due to the style of the whole series, most of the shots, especially the related scenes and scenes in the North, are dark in color and light, and there are a lot of night scenes.

As mentioned before, most of the night scenes are shot in the daytime by Murphy, and the Da Vinci color palette and computer technology are used for post-production adjustments. However, there are also a small number of night scenes that have special requirements. It needs to be shot at night or other special time.

In the subsequent audition, Murphy took the night scene in the real scene and mainly used three processing methods: night scene at night, night scene at dusk, and night scene during the day.

When shooting some night scenes at night, it is difficult to place the lights due to the limitations of the real scene space, and it is not allowed to use more lighting equipment. Therefore, the most convenient way is to use a high-sensitivity lens and low illumination. Murphy is making full use of the existing light of the ambient light source. On the basis of this, a small amount of artificial light treatment is carried out.

He asked David Robbie to increase the intensity of the existing light sources in the environment, such as replacing the 60W incandescent lamp with 300W-500W, thickening the wick of the oil lamp for shooting, or using "multi-wick" lamps, sometimes with small electric light sources. Instead of the oil lamp wick, increase the intensity of the light source so that the light from the light source can be directly used as the main light of the environment and characters.

In a few night shots, Murphy also used artificial light to illuminate the wall near the camera, imitating the reflected light of the environment as a secondary light for the environment and people.

This method is convenient, saves equipment, is practical and has real light effects.

Some special night scenes need to be shot at dusk in order to achieve the best results through post-production.

Murphy shoots some night scenes where the outdoor scenery can be seen through the doors and windows. It is very necessary to shoot at dusk.

If the outdoor space is small, such as courtyards, houses, wall doors, trees, flower beds, etc., you can use light to illuminate and shoot at night; but if the outdoor space is vast, such as distant mountains, wilderness, castles, and distant scenes, you cannot use light to illuminate. The Philippines must use the afterglow of the sky to illuminate the scene at dusk.

Real night shooting at dusk is similar to shooting night scenes at dusk. First, arrange the lighting effects of the indoor night scene, and then wait for the scattered light of the sky to darken to a certain degree, and then start shooting.

Of course, of all the night scenes, the most are shot during the day, and the number can account for 85 percent of all night scenes.

Although Murphy and the crew have rich experience in this area, they also encountered some difficulties. It is more difficult to shoot night scenes with scenes outside the windows. The key is to reduce the brightness of the outdoor scenes through the doors and windows to meet the brightness requirements of the night scenes.

The method Murphy uses is to use a large gray filter to cover the doors and windows to block the brightness of the dark outdoor scene, and the indoor lighting can be easily achieved by shooting night scenes at night.

To achieve these night scene shooting, high-definition digital film dedicated cameras played an important role.

Even if Murphy is not a technology-only person, many films are shot on film, but they have to admit that film production requires not only art, but also technology. For example, advanced technologies such as high-definition digital cameras can effectively solve the problem. Many problems encountered in shooting.

Compared with Murphy’s technology which is beneficial to his own project, whichever technology is used, regardless of the film and digital dispute director, there are quite a number of people in Hollywood who insist on digital photography technology. It would ruin the art of film.

These people think that the equipment is getting better and better, and the people who shoot and make movies will become more and more lazy.

But Murphy never thinks this way. Even if he is not a technologist, he knows that digital technology is the inevitable result of the development of the times, just like silent movies to sound movies, black and white movies to color movies.

And from the perspective of an ordinary director or someone who has dreamed of becoming a director, is technological progress really bad?

The answer is definitely no. The convenience provided by digital technology is definitely a good thing. In the past, this industry had a high industrial threshold. Whether it was taking photos or filming, the industry had too many thresholds. Now the whole trend is to gradually let everyone After a simple study, an ordinary person can master these video equipment proficiently, and the so-called "video life" can begin from this.

When Murphy was a child, I always felt that the person taking pictures was very mysterious. Now the operation on the computer is getting easier and simpler, but it does not mean the decline of creation, but the freedom of creation.

Also in this era, every year, there are wonderful video works that are photographed by some unprofessional people, which may have some impact on traditional practitioners, but now the threshold is lowering, and it enriches the vision of the video.

Of course, no matter how simple the equipment is used, professional requirements must be met. Murphy cannot ignore the requirements for the aesthetics of the image because the equipment is getting easier to operate.

In the past, when image shooting became easier, it did bring a lot of randomness in shooting. Products like the Sony F35 were already very mature when they came out. This kind of digital recording can be shot without restrictions, which frees users technically. But as time goes by, you will gradually discover that what is important is not the equipment, but the professionalism of the equipment users.

If users have a strong professional spirit, they can provide better artistic support, such as some areas with more complicated operating and working environments, and some places where large teams cannot enter, or when shooting like "Ice and Fire" In the case of “Song of Thrones: Game of Thrones,” digital high-definition camcorders can play a very efficient role.

For more and more advanced equipment, professionalism will make it better to use instead of abuse.

Of all the shots that the crew has taken with digital high-definition cameras, Murphy and the crew have maintained sufficient aesthetic judgment and creativity. They will never shoot casually just because it is relatively easy, which will only become a tragedy in the end.

In this era, the equipment is getting better and better, and the changes are getting faster and faster. It also makes creators more and more labor-saving, but the most important thing is to learn to use these equipment and how to use the equipment to express their thoughts. Think.

In short, no matter any equipment and technology are used for filming and production services, as long as it can achieve the desired effect, why bother to care about whether it is old technology or new technology.

Digital equipment is not just a consumer product or device, it can also be used to solidify classics like film.

The filming in the studio of the Titanic Museum came to an end. The crew was divided into three. Murphy led the largest group and continued to shoot in and around the British Isles, with Paul Wilson and Seth Rogen each. Take a team and rush to Malta and Croatia to shoot some side scenes.

The location shooting began, Murphy's crew also ushered in a group of special actors, and six huskies were brought into the crew by a professional organization.