Hollywood Road

"Scene 15 of "A Song of Ice and Fire: Game of Thrones", Act 1, begins now!"

With the sound of the scene record, the filming officially started. This is also the first time since the filming started ten days ago that the main characters appeared in the scene. [Fights Break the Sphere]

Murphy stood behind the director's monitor, looked at the monitor screen, and stared at the digital high-definition images transmitted by the camera lens.

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

The camera turned to the bottom of a low arch, and what was passed to Murphy was first an empty shot, and then the camera moved down, and Pete Dinklage dressed up as the little devil Tyrion Lannister appeared on the monitor screen.

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

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

"Get ready to party all night with your family." Peter Dinklage walked around Jon Hart.

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

Peter Dinklage leaned on a wooden pillar, took a sip from the wine bottle in his hand, and said, "I've wanted to see Cai for a long time."

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

"Are you the one who mentioned 1010, x. Leon Lannister?" Hahn Joat asked with his back to the camera, "The Queen's brother?"

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

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

Hahn Joat glanced at Peter Dinklage angrily, turned around and left, Peter Dinklage said from behind, "Did I offend you? I'm very sorry. [Fights Break Sphere]"

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

"It's not wrong that Lord Ned Stark is my father," said Harnjotte.

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

"My illegitimate son, let me give you some advice." The words sounded harmless, "Never forget your identity, because the world will never forget it. Arm yourself with it, and no one can use it to fight against you." hurt you."

After speaking, Peter Dinklage turned and left, and the camera slowly backed away in front of him.

Hahnjot frowned, "How can you understand the feeling of being an illegitimate child?"

Peter Dinklage stood still and left the last sentence, "Dwarfs in the world are illegitimate children in the eyes of their fathers."

The two parted ways and left.

The two cameras mounted on the sliding rail quickly returned to their positions. Murphy raised his hand and said loudly, "Take a fifteen-minute break and do it again, this time with Jon Snow as the POV perspective."

Murphy's requirements for filming are very strict. Although there are many differences between TV series and movies, and the production of TV series is generally not as good as that of movies, he still has the attitude of shooting movies to demand the entire crew.

Shooting was sometimes interrupted due to mistakes, and sometimes reshoots were made at Murphy's personal request, and the angle of view was changed so that there were 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 northern border, are dark in color and light, and there are a lot of night scenes.

As I said before, Murphy shoots most of the night scenes during the day, and adjusts them with Da Vinci color palette and computer technology in post-production, but there are also a few night scenes with special requirements. It needs to be shot at night or in other special time periods. [Fights Break the Sphere]

In the subsequent audition, Murphy shot night scenes in real scenes, mainly using three processing methods: shooting night scenes at night, shooting night scenes at dusk, and shooting night scenes during the day.

When taking some night scenes at night,

Due to the limitation of the real scene space, it is difficult to place lights, and it is not allowed to use more lighting equipment. Therefore, the most convenient method is to use high-sensitivity lenses and low illumination. Minor artificial light treatment.

He asked David Robbie to strengthen the intensity of the existing light source in the environment, such as replacing the 60w incandescent lamp with 300w500w, thickening the wick of the oil lamp for shooting, or using "multi-wick" lamps, and sometimes replacing the wick of the oil lamp with a small electric light source , increase the intensity of the light source so that the light from the light source can be directly used as the main light for 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 secondary light for the environment and characters.

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

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

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

If the outdoor space is small, such as courtyards, houses, walls, doors, trees, flower beds, etc., you can use lighting to shoot at night; but if the outdoor space is large, such as distant mountains, fields, castles, distant views, etc., you cannot use lighting. Fei had to use the afterglow of the sky to illuminate the scene at dusk for shooting.

Shooting night scenes at dusk in real scenes is similar to shooting night scenes at dusk in outdoor locations. First arrange the indoor night scene lighting effects, and then wait for the scattered light in the sky to darken to a certain extent before rushing to shoot.

Of course, among all the night scene scenes, the most are shot during the day, accounting for 85% of all night scene scenes.

Although Murphy and the crew have rich experience in this area, they also encountered a little difficulty. 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 so that they can meet the brightness requirements of night scenes.

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

Able to realize these night scene shooting, high-definition digital film camera has played an important role.

Even if Murphy is not a technocrat, and many films are shot on film, he has to admit that film production not only requires art, but also technology, such as advanced technology such as high-definition digital cameras, which can effectively solve the problem. Many difficulties encountered in filming.

Compared with Murphy, whichever technology is beneficial to his project, he can use whichever technology, regardless of the famous director of the dispute between film and digital, there are quite a few people in Hollywood who stubbornly believe that digital photography technology It will ruin the art of cinema.

These people feel that as the equipment improves, people who shoot and make movies will become lazier.

But Murphy never thinks so. Even if he is not a technologist, he also 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 once dreamed of being a director, is technological progress really bad?

The answer must be 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 photography or filming, there were too many industrial thresholds. Now the whole trend is to gradually let everyone An ordinary person can master these video equipment proficiently after simple learning, and the so-called "video life" can start from this.

When Murphy was a child, he always felt that the person who took the photo was very mysterious. Now it is easier to operate on the computer, but it does not mean the decline of creation, but the freedom of creation.

Also in this era, there are very exciting video works shot by some non-professionals every year, which may have some impact on traditional practitioners, but now the threshold is lowered, which enriches the visual vision of the video.

Of course, no matter how simple the equipment is, it also needs professional requirements. It is impossible for Murphy to ignore the aesthetic quality requirements of the image just because the equipment is getting easier to operate.

In the past, when video shooting became easy, 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 unlimitedly, which liberates users technically. But as time goes by, you will gradually find that what is important is not the equipment, but the professionalism of the equipment users.

If the user has a strong professionalism, he can provide better artistic support, such as some areas where the operating environment is more complicated, and some places where large teams cannot enter, or in the filming of "Ice and Fire" When it comes to complex and large-scale projects such as Song of Thrones: Game of Thrones, digital high-definition cameras can play a very efficient role.

For more and more advanced equipment, professionalism will make it be used rather than abused.

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

In this era, equipment is getting better and better, changing faster and faster, and it also saves creators more and more effort, but the most important thing is to learn to use these equipment and know how to use equipment to express your thoughts. thought.

In short, no matter any equipment and technology, it is used to serve the film production. As long as the desired effect can be achieved, there is no need to care whether it is an old technology or a new technology.

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

After 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 film in and around the British Isles. Paul Wilson and Seth Rogen each took one The group went to Malta and Croatia separately to shoot some side scenes.

The location shooting began, and Murphy's crew also welcomed a group of special actors. Six huskies were brought into the crew by a professional organization. (To be continued.)

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