Hollywood Hunter

Remember in one second [End of the God Station] Mobile phone user input address: m.xinwanben.com

The staff heard Brian de Palma's instructions, and randomly picked out a copy of the "Lola Run" samples from the copied boxes, put it into the video player, pressed play, and everyone looked at the wall together. of the big screen.

On the screen, after playing the board, the first thing that appeared on the screen was an empty shot.

In the fixed-point upside-down shot, the bright golden sunlight is projected from the window with two strings of half-opened bamboo curtains.

Under the strong light, the pattern on the bamboo curtain, the Barbie doll in the corner, the withered bouquet on the window sill, all elements give a quiet and perfect harmony.

The pros and cons of a movie lens are basically judged by the quality of several elements such as composition, color, and mirror movement.

The shot in front of me has clearly reached an impeccable level in composition, color, and use of light.

There is no outsider who doesn't understand movies in the studio. Therefore, although I didn't see the actor's performance for the first time, it was just such a simple empty scene.

The fixed-point empty mirror with a length of about 5 seconds lasted three times.

Immediately after, the second shot is still empty.

However, this time, it is no longer a fixed point, but a slowly moving forward shot.

In the picture, a photo of Lola and her boyfriend, with a red card in the shape of a radial heart, and scattered sundries on the table, the light and composition are also very good.

Then, the third shot, although it was still empty, the picture began to move.

Lola's green plaid trousers are on the left, the black beer bottle is on the right, and in the middle is a small turtle crawling slowly. Compared with the first two empty shots, this shot is more interesting, and it conveys a sense of restlessness.

Everyone also realized at this time that this should be a group of consecutive empty shots.

However, the three shots and three completely different compositions are all full of imagination, showing the creator's profound aesthetic skills.

After a set of empty shots, Lola herself finally appeared in the picture.

Seeing the strong color style of Lola's combination of fire red hair, blue vest and green trousers, people in the studio who were exposed to the film for the first time were slightly surprised. Rarely seen in Hollywood movies. However, because of the set of perfect empty shots just now, these people can't help but regard this alternative as innovation.

The samples printed from the original negatives are naturally soundless.

The silent picture continued to play for more than two minutes, and everyone in the viewing room also reacted differently.

Ron MacMillan, the producer of "Lola Run", was completely relieved at this time. After being in Hollywood for so many years, Ron can still easily judge the quality of the samples in front of him. Simon's shots are countless times stronger than the best situation he ever imagined.

So, obviously, Simon's directing style, which is different from other directors in the past few days, is not a mystery at all. This is a young man with a very high talent for filmmaking.

Catherine Bigelow has seen Simon's extraordinary talents more than once, so she had enough confidence in Simon from the beginning, and at this time, she just enjoyed the samples with everyone.

David Giller just had a thought in his mind, and he really did not see the little guy wrong.

As for Brian De Palma.

In the whole room, he should be the one with the highest professionalism.

Robert Redford and Kathryn Bigelow have some prior directing experience, but both have little experience in this area.

Because of the professional, Brian de Palma was also increasingly surprised as the dailies played.

After Simon gave up his cooperation with Orion, Brian de Palma did not withdraw his promise to serve as the executive producer of "Lola Run". He really appreciated Simon as a young man.

However, Brian de Palma was not without worries.

In the film and television industry, the phenomenon of screenwriters turning into directors is very common, but this is often a gradual process.

Simon's talent as a screenwriter has only just caught the attention of Hollywood, and he can't wait to switch to director, which Brian de Palma thinks is definitely a ill-advised choice.

So, despite the promises made, Brian de Palma would not have allowed his name to appear in the subtitles list for the film if the future of "Lola Run" was too horrible to watch. .

But now, Brian de Palma has completely let go of his original worries.

The first empty shot that appeared on the screen made Brian de Palma give a very high evaluation.

From a purely technical point of view, if a strong backlight scene is not handled well, there will be defects such as glare and fog in the picture, but Simon's lens has not found these problems at all.

If only this one shot is perfect, it's nothing. Then a series of backlit shots of Lola standing in front of the window and making a phone call are impeccable in all technical aspects, which is very rare.

Moreover, Brian de Palma is also very sure about the warm yellow tone of the film determined by Simon. Warm yellow can be said to be the most relaxed and comfortable tone, and this color scheme also looks more cinematic. .

In addition, in front of the sample from a box of quarter-and-a-half-length motion picture film,

The use of various shooting techniques also shows Simon's excellent shot scheduling ability. Especially in the last shot of the dailies, when Lola rushed out of the room, she turned all the way to her mother's bedroom and then turned to the TV screen again.

However.

Of all this, it wasn't that Brian de Palma was most surprised.

As soon as a quarter and a half of the dailies were aired, Brian De Palma asked Ron Macmillan, who was sitting on the other side, with some uncertainty: "Ron, is this dailies ready? Overcolored?"

In the film era, the samples printed from the original negatives, due to the differences in lighting, scenery and even the quality of the film itself during the shooting process, each lens presents different effects in terms of color exposure and so on. Therefore, after a film is edited, the samples must be graded one by one by a professional colorist for each shot, set up a special color scheme for each shot, and then hand it over to the laboratory staff to process one by one according to the corresponding scheme.

Moreover, most movies generally have to go through at least three color matching in order to achieve the final screen effect that the audience sees.

It's not hard to imagine how complicated the color matching process would be for a movie with thousands of shots at every turn. However, even in the digital age, many years from now, no film can escape the complex color matching process.

but.

Just now.

However, Brian de Palma found that in the four-and-a-half-minute sample shots of "Lola Run", there were not many obvious differences in exposure, color tone, etc. between different shots.

You must know that although they belong to the same scene, the color and lighting of each shot in the sample are completely different. Therefore, counting repetitions, it is a miracle that this color and exposure uniformity can be achieved without any color matching between a total of more than 20 shots.

Ron Macmillan was stunned when he heard Brian De Palma's sudden question, and said with some doubts: "Mr. Palma, shouldn't color matching be done after editing is complete?"

Hearing the conversation between the two, David Giller, who was discussing with Robert Redford about the last follow-up camera movement in the sample just now, also suddenly reacted, glanced at the screen that had darkened, and immediately turned to The staff next to the viewing machine: "Quick, play the sample just now again."

The screen in the room soon turned on again.

Everyone who had basically realized what was going on turned their attention to the big screen on the wall.

Due to the diversion of attention, after playing it again, everyone also found that there are still some color differences between the different shots of the sample.

However, everyone has to admit that this difference is actually very small.

If it weren't for the beginning of each shot, the entire dailies would feel basically the same as watching a finished film.

It is conceivable that if all the future shots of the film can reach the current level, this means that after the editing is completed in the future, the film may only need to go through a very simple color matching to achieve the perfect final film effect.

Has there ever been such a situation in a formal Hollywood commercial film that only one color matching is needed to achieve a finished film?

That's right.

appeared.

The name of that movie was The Godfather.

However, it was Gordon Willis, a top Hollywood photographer who was also proficient in lighting and sets, who was in charge of the "Godfather" shooting. Moreover, the reason why "The Godfather" only has one color matching, in addition to the excellent quality of the lens itself, is actually due to the forced deadline.

Now, a new film with a production cost of only a few hundred thousand dollars, just by virtue of the quality of the sample footage, it can make people feel that this film is likely to only need a simple color matching to achieve the finished film.

How can this not be called a miracle?

After a quarter and a half of the dailies were finished, David Giller immediately ordered the staff to play another box of dailies.

Twenty minutes later.

As the screen in the viewing room darkened again, everyone was silent for a moment.

Then, Robert Redford turned directly to Ron Macmillan, with a bit of obvious eagerness in his tone, and said, "Ron, this film, the photographer, lighting engineer, set designer, all introduced to me, I definitely want to invite them to my next movie."

Hearing Robert Redford's words, David Giller and Brian De Palma looked at Ron Macmillan at the same time.

Such outstanding behind-the-scenes talent, they also do not want to miss. The two have been busy with "Butterfly Effect" during this time, and they are not very clear about some matters of the "Lola Run" crew.

Ron McMillan was stared at by the three bosses, but the corners of his mouth couldn't help twitching.

this requirement.

It's a bit difficult.

The photographer is the director himself.

The set seems to have been made by the director himself.

As for the lighting engineer.

Um.

this.

Who is the lighting engineer?

Support (end this site) and share this site with those who need it! Can't find the book, please leave a message!