Hollywood Road

"Diego Ross, scene one, act one."

After receiving Murphy's order, the recorder put the record card in front of the main camera lens and said loudly, "Start now!"

In a dimly lit room, Robert Downey Jr. and Margot Robbie sat opposite each other. The former had blurred eyes and seemed to be delirious; the latter was well-dressed like a courtesan.

"Damn it!" Margot Robbie glanced at Robert Downey Jr., and suddenly exploded, "The goods I gave you are for sale, not for you to suck!"

Robert Downey Jr. staggered, "I just smoked a little bit. Don't worry, I won't give you a penny less."

The camera pans to Margot Robbie, and Murphy, seeing Margot Robbie's face in close-up, immediately raises a hand and yells, "Stop!"

Seth Rogen, who was standing behind Murphy, took a step forward, adjusted his glasses, looked at the monitor screen, and didn't quite understand why Murphy called to stop.

What he shoots are all shit and fart comedies, and he doesn't have particularly high requirements for acting. Now that Murphy is calling to stop, he really can't see where the problem is.

Both Robert Downey Jr. and Margot Robbie looked at Murphy, and Murphy beckoned to Margot Robbie, "Maggie, come here."

He thought for a while, and then said, "Donnie, come here too."

Margot Robbie walked over first and asked, "My question?"

"Well, your expression." Murphy called up the close-up shot just now, fixed it on the monitor, pointed to the corner of Margot Robbie's mouth inside and said, "At this time you are furious, and furious is not an exaggerated expression."

"This..." Margot Robbie couldn't help scratching her head, "I'll pay attention next time."

Murphy turned to Robert Downey Jr. and said, "Downie, move away from the table, you are guilty now."

Robert Downey Jr. didn't seem to be completely out of his role, just nodded and said nothing.

"You guys go get ready." Murphy waved his hands to the two actors, and then said to the assistant behind him, "Call Philip over here."

Soon, Philip Raschel also came over.

Still in that scene, Murphy pointed to Margot Robbie's face and said, "She has become too thin recently, her eye sockets are completely sunken, and her face is too thin. Make some appropriate adjustments when shooting the camera."

"Okay." Philip Raschel immediately thought of a solution, "I'll go back and deal with it."

Murphy nodded and didn't say anything else. Using camera skills to make up for the physical and appearance shortcomings of actors is just the most basic skill of a film cameraman.

After Phil Raschel made adjustments to the camera, the shooting started again. This time the shooting went smoothly, especially the minor facial problems that Murphy mentioned about Margot Robbie because of excessive weight loss. get a better solution.

When shooting people, the physiological defects of individual characters can be compensated by using different lighting and shooting angles.

That's exactly what Philip Lascher did.

For example, a person with a fat face is not suitable for frontal close-ups, the face can be slightly sideways, and the position of the camera lens should be raised appropriately, and the angle of depression should be used for shooting. It looks thinner, and the thin face shape can be made up in the opposite way.

For people with different eye sizes and deep-set eye sockets, you can also shoot from a slightly side angle according to the perspective principle of the lens's near-large and far-small, and make the smaller side of the eyes close to the camera lens, so that the smaller eyes can be captured. Make it slightly larger so that the two eyes appear to be close in size.

It can also be processed with lighting. Philip Lascher also used this method, and asked David Robbie to adjust the lighting, arrange Margot Robbie's deep-set eye sockets in the dark part, and put the key light The lights were lowered and the film was shot in softer light to compensate for her excessive weight loss.

Robert Downey Jr. and Margot Robbie adjusted their status,

The camera lens and lighting were fully in place, and the filming was very smooth. Margot Robbie finished the conversation with Robert Downey Jr., stood up and left, and the camera was frozen for a long time on Robert Downey Jr., who was in a daze after taking drugs on the role.

It was a freeze-frame shot, and Murphy took a look and shouted, "Stop! This one is over."

But before the crew could breathe a sigh of relief, Murphy said loudly, "Jack, touch up the makeup of Donnie and Maggie, and come back in fifteen minutes."

Then, he beckoned to the main camera, and Philip Lascher walked over again.

When Fili Raschel came over, Murphy played it again, pointing to the last freeze-frame shot of Robert Downey Jr. and said, "It's not appropriate to use the freeze-frame shot here to express the character's trance after taking drugs."

Philip Lascher replayed the shot he had just shot and said, "The freeze-frame shot has no continuity here, it really doesn't work."

Murphy thought for a moment, and said, "Well, let's try to push the track to zoom."

The camera slide rails in the field have already been laid, and it only needs to be adjusted properly.

The most direct lens effect of dolly zoom is the vertigo effect. This kind of lens combines dolly and zoom. When the camera is dolly close to the subject, the zoom lens will zoom out; as soon as the camera moves away from the subject, the zoom lens will zoom in.

As long as it is executed properly, the size of the subject in the frame can remain unchanged, while the perspective of the background will change drastically, as if it is constantly approaching or flying away from the subject. The effect is extremely strong and blurred, so it is only suitable for important moments in the plot, track zooming Often used in shots of people surprised by what they see, or in a daze, and also used to express strong emotions such as anger, obsession, love, paranoia, fear, and post-drug situations.

In addition, the speed of zooming will affect the audience's interpretation of the plot and the emotions conveyed by the lens. When expressing strong emotions, the speed is usually very fast, so that the audience can easily detect the change of perspective.

In other cases, the speed is slowed down so that the changes in perspective appear subtle and sometimes hard to see, and the effect is not so blurry, but conveys that something meaningful is happening if it is not drastic.

The on-site shooting began soon. Murphy stood behind the director's monitor and carefully observed the changes in the camera. When Margot Robbie left on the set and the camera turned to Robert Downey Jr., it was no longer a freeze-frame picture. Philip Lascher switched to a close-up wide-angle lens, and the camera was also very close to Robert Downey Jr. During the shooting, when the lens zoomed to the long-range view, the camera quickly backed away along the slide rail and immediately moved away from Robert Downey Jr. Robert Downey, in this way, Robert Downey Jr. remains the same size in the frame, but the background looks closer to him.

After the shot was shot, Murphy played back immediately. This scene of track-tracking and zooming effectively conveys how confused and helpless the protagonist is at a critical moment. It also demonstrates that when the size of the character remains unchanged, the change of focal length does not affect the depth of field. , because the distance from the camera to the subject cancels out the drop, the background is completely out of focus, regardless of whether the lens is wide-angle or telephoto.

After watching it, Murphy nodded slightly, which was exactly the effect he wanted the camera to achieve.

"It's much better than the effect just now." Seth Rogen had been watching from behind, and then he walked over and said, "It just reflects the situation of Diego Ross at this stage where he needs to choose."

"This is track zoom, and it can actually be used in another shooting situation." Murphy said simply, "Track zoom is also used in a rare situation, that is, to highlight the background of the composition rather than the foreground This is usually used to show that the characters in the play feel that the scenery around them is distorted due to psychological state or supernatural force, which is the favorite method of horror movies.

This interesting camera technique is also called "Hithokzo" or "Vertigoeet" because of the film master Hitchcock's use in the film.

In fact, the principle is not complicated, that is, while turning the zoom lens to change the viewing angle, move the camera towards or away from the object so that the object remains the same size in the picture.

Therefore, while the camera is moving away from the object, the lens moves forward, or vice versa, so that the picture will produce a continuous perspective deformation during zooming. The most intuitive feature is that the background changes in size while the subject remains unchanged.

The shooting of the film has just started, and it is impossible for everything to go smoothly. It is not the first time for Murphy to shoot a film. He can be regarded as an experienced director. He knows the actual situation and effect of the filming. The director needs to make timely adjustments.

After the first shot was shot five times, Murphy declared that it was completely approved. In addition to making adjustments to the plan, he also used this method to convey the strict shooting concept.

This is how shooting is, and no one can guarantee a smooth ride, but some things can be done in advance to reduce the chance of making mistakes.

Later, Murphy filmed Robert Downey Jr.'s one-man show.

He plays Diego Rose, Murphy and his friends, and he also understands that this film is not for profit, but more for commitment and friendship. is also pretty good.

During the morning, Murphy shot a total of four shots. During the lunch break, the producer Gal Gadot came over.

"These two documents need your signature." Gal Gadot laid the two documents flat in front of Murphy, and handed over a signature pen, "This is the site lease agreement between the crew and Stanton Studio..."

Murphy glanced roughly, took the signature pen and wrote his name.

Gal Gadot put away the file and said, "Bill just called and received an invitation. Britney Spears invited you to a party."