Hollywood Road

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"This way!"

A staff member led the way and led Murphy and Philip Raschel to the open-air platform on the top floor of the Death Star Building. A helicopter had already started, and the huge propeller was slowly accelerating. The roaring engine and The whistling wind made people's ears buzz.

The sky was gloomy and the sun could hardly be seen. With a video camera on his back, Murphy beckoned to Philip Raschel and a camera assistant behind him. The three got into the helicopter, and someone came over to assist them immediately. Fasten seat belts and install equipment.

"We have three hours!"

The man shouted to Murphy and Philip Lascher, "ATC only gave us three hours of authorization."

"Enough!" Murphy also increased his voice, "Let's take off now."

The helicopter lifted off slowly, and quickly accelerated to fly out of Beverly Hills, heading all the way to downtown Los Angeles due east.

Murphy's target is near the old Chinatown in the urban area, and he is going to shoot a part of the panoramic shot for the beginning of the film.

The plane gradually approached the urban area. It was not the first time for the pilot to provide services for Hollywood crews. He had rich experience in this field and quickly adjusted to a suitable height for shooting. Murphy gestured to Philip Raschel, and the two operated the equipment separately. , from the doors on both sides of the helicopter, shooting down the buildings in the urban area.

Compared with the Century City when we came here, the houses here are low, showing a slightly dilapidated blue-gray and dark brown.

Of course, although the urban area is far less prosperous than Beverly Hills, there is no shortage of reinforced concrete buildings.

Murphy first used an ordinary film camera to shoot with a wide-angle lens. After the helicopter circled the old Chinatown, he switched to a Sony Electronics digital camera.

It's also the only place Murphy will shoot digitally.

The reason is simple, Sony's electronic digital camera is not comparable to film cameras in its ability to shoot buildings and cities from above.

When shooting cities or buildings, the first choice of all directors or photographers is almost wide-angle lenses. Wide-angle lenses do have natural advantages in this regard.

Just like Murphy's shooting on the first lap, the wide-angle is indeed the hardware equipment for architectural shooting.

But is it not the only way to record buildings or cities with wide-angle lenses? If Murphy is to choose, the answer is obviously no. The advancement of technology has given the camera more powerful functions and uses the camera head in a more complete way. Capture the city.

Murphy is quite familiar with this area, but taking pictures from above is a different feeling, a strange feeling.

This seemingly quiet place hides many crimes, drug trafficking, arms, gangsters...

As long as you live in it for a while, you will definitely see the other side of the so-called paradise that America shows.

In this film, or any film since he entered Hollywood, Murphy has never photographed the good side of America. The films he has studied and the deeply influenced thoughts have made the scenes in his shots even more beautiful. Most of them are the dark side of this country and society, even the superman movies of the proud son of heaven are no exception.

Therefore, Murphy deliberately chose such a gloomy and bad weather to shoot.

With the desired light conditions, there must be enough excellent shooting equipment, and the panorama scanning function of the latest Sony electronic digital technology camera in Murphy's hand can draw far beyond what ordinary wide-angle lenses can bring us. wide field of vision.

The helicopter quickly completed its second lap.

Murphy pressed the intercom and said to the pilot, "Fly one more time!"

Then he informed Philip Lascher, "Shoot in black and white mode!"

This camera has built-in black and white shooting function, compared with the film camera that has to replace the black and white film, it is really easier to use and saves a lot of trouble.

Frankly speaking, digital shooting technology has replaced film as the mainstream of the Hollywood film industry,

It has its inevitable development trend.

The helicopter flew around again, and Murphy simply looked at the black and white footage and informed the pilot that it was time to return.

Although the black and white lens does not convey as much information as the color lens, it can make the colorful picture simple and unified, and at the same time, it can also purify the complex background and make it harmonious, making it look more comfortable and tasteful, full of nostalgia Symbolic scenes can often bring people a more profound artistic conception.

According to Murphy's idea, the beginning of the film will use a black-and-white and color mixed cut of panoramic shots of downtown Los Angeles, especially buildings near the old Chinatown.

As for whether black-and-white lenses are used more or color lenses are used more, this has to be evaluated in post-editing.

On the second day after shooting this part of the scene, the crew officially announced the start of shooting at the warehouse studio in the outskirts of the small city of Venice.

Many media reporters came to the scene, and 20th Century Fox also wanted to use this to promote a publicity offensive, and this film was naturally topical and controversial.

"Director Stanton, why did you make such a film?"

Although most of the media reporters are from 20th Century Fox or the media under the News Corporation, there are other reporters. Even the News Corporation cannot completely control the voice of the media. Just when Murphy was about to leave the press conference At that moment, a reporter suddenly popped up and asked loudly, "Such a film that the audience is destined not to like, was shot by you, does it mean that your film is really related to drug cartels?"

Murphy was too lazy to answer the last question. It was useless to explain it, and he couldn't explain it clearly. He simply said, "I create for myself. You can't decide the audience's aesthetics. You know that you may not cater to the audience's aesthetics." "If you cater to the audience's aesthetics, you may not be better than others, you can only wait for your aesthetics to coincide with the current audience; of course, you can also lead the aesthetics through advanced awareness."

After throwing down a bunch of words, Murphy strode away and entered the studio, ready to start shooting the planned interior shots.

When he came to the studio, before the official shooting began, Murphy made a formal confirmation work for the second time, so as not to be negligent and cause problems in the follow-up work.

For example, confirm that all shooting scenes can be carried out according to the announced time, confirm that each shooting prop meets his requirements, confirm that the styling design of each actor has met the requirements, and ask the stylist to take a photo of the fixed makeup and paste it on the shooting In the script, confirm that the director of photography has understood the lighting effects he wants for each scene, confirm that the recording knows that he has understood the special sound effects he wants, and confirm that there are enough auxiliary equipment for the day's shooting...

Making a movie is a process of constantly solving difficulties. The start of each film is the beginning of a director's career and destiny, and every mistake may cause a devastating blow to a crew.

After everything was fine, Murphy picked up his work log and looked at it again. The director's desk work determines everything. Shooting alone can take years.

After completing these tasks, Murphy walked around the constructed room scene and said to David Robbie, "The lighting is too soft! Harder! Darker!"

At the same time, he pointed to a graffiti version of the sun and sunflowers on the background wall and said, "Helen, change this, and don't have anything related to sunlight in the room."

"Okay." Without further ado, Helena Espora quickly asked her subordinates to check the shooting background again.

Seth Rogen, the assistant director, walked up to Murphy at this time, "Is there anything you are not satisfied with?"

"The construction of the scene must not be sloppy." Murphy glanced at Seth Rogen and said specifically, "It depends on the story that happened before the shooting, the on-site shooting and post-production."

Hearing Murphy's words, Seth Rogen immediately cheered up. He knew that Murphy was talking about some experience, which was very rare for him.

"Lighting, color, music, and camera movement are the key factors in getting the right mood for a scene or an entire film." Murphy in the front, Seth Rogen in the back, came to the lighting team together, he continued, "We To enhance or change the tone, there are some simple ways to help you achieve the desired effect, the most important thing is lighting, adjusting the lighting of the picture through post-production is far inferior to correct lighting on the spot.”

He shouted again, "Music and ambient sound can also change the tone of the film under certain circumstances."

Seth Rogen nodded seriously.

"Since everyone has different tastes, there is no right or wrong when you choose a particular look, it's your job as a director to find the right tone and look."

The two came to a camera, and Murphy looked at the busy camera assistant, and said to Seth Rogen, "When shooting a scene, check the monitor and make sure it is shot according to the expected effect, and then go through the post-production process. Adjusting things that you can’t control on set. Filming isn’t just about a single aspect, it’s about dealing with different aspects, and creating the best experience through careful consideration.”

Compared with Jonah Hill, a good friend who is always unscrupulous, Seth Rogen has been working very hard, especially in terms of directing. When he found that there were still many things he didn't understand, some basic techniques and When you don’t understand the professional knowledge, what you do is often very simple. If you don’t hesitate to ask more questions, learn more after the filming, and summarize the experience and lessons, the next time will always be better.

That's why he came to this crew to continue his learning journey.

Seeing Robert Downey Jr. and Margot Robbie, who had put on makeup, come to the shooting location, Murphy stopped talking, called the two actors over and told them that they had worked with each other not once. We are friends, communication and understanding are extremely smooth.

After everything was ready, the crew began filming the rivalry between Robert Downey Jr. and Margot Robbie.

Chapter 594 The Dark Side: