Let You Popularize Hypnosis, Do You Shoot Inception?

Chapter 58 The Weightless Fight At Cardington Rotary Hotel, Uk

Just as Qin Feng finished filming in Canada, good news came from the scenes in the other four countries ahead.

That is, all the props and facilities have been built according to Qin Feng's requirements, just waiting for Qin Feng to go to shoot!

Hearing this news, Qin Feng's whole body was also shaken.

This also means that he is expected to complete Inception within a month.

Although the crew was very tired in Canada, Qin Feng did not stop here too much.

But the next morning, I took the plane directly to Cardington, England, and filmed the scene there!

When Qin Feng arrived here with the entire crew, it was already night.

Qin Feng didn't hesitate to start construction!

After all, most of the scenes here were shot in the studio, and there was no requirement for sunlight.

The swinging action of the truck in the first-level dream made the characters in the bar of the high-end hotel in the next-level dream also perceive the change of gravity.

The hotel lobby and hotel bar scenes were filmed in a converted hangar in Cardington, UK.

The special effects team bound the tilting device below the hotel bar scene, using a hand-held video monitor, to show Qin Feng the tilting gravity effect.

The 80*60-foot tipping platform supports the entire team and another 35 people.

Lights and other equipment are tethered to an elevated platform, which rests slantingly on a mechanism.

Qin Feng binds a lot of hydraulic equipment under the device. In the middle is a fixed pivot, and the hydraulic equipment on one side can tilt 20 degrees in four seconds.

This movement is very subtle.

He wanted the audience to be aware of what was going on, because the water in the glass was tilting and the lamps were leaning to one side, but you had no idea what was going on.

When Cobb and his companions were sedated in the van and entered Fisher's dream, Dilip's car lost control, and the van tumbled toward the embankment.

The rolling of the truck caused many confusions in the direction of the hotel in the second-floor dreamland.

At this time, Joseph Gordon stood guard for his dreaming companion, repelling the security guards generated by Fisher's subconscious defense.

Joseph's first encounter with the security guard was in the fifth-floor hallway, and a scuffle ensued with him.

For the scene, Qin Feng built a 100-foot-long horizontal spinner.

Supported by rings 30 feet in diameter and 16 feet apart, special effects shop supervisor Paul monitors them.

This allows the special effects artist to perform unlimited, computer-controlled corridor rotations.

After a lot of rehearsals by Arthur's actor Joseph Gordon and the stunt coordinator, Qin Feng filmed a lot of hallway tumbling effects.

Qin Feng uses a computer to control the rotation of two large electric control devices. The actor puts on padding under the costume, rides on the device's rotating rod, and unfastens the safety chain.

In this case, the sense of direction becomes very blurred, and Qin Feng has the actor perform four maximum rotations before returning to a horizontal position.

Then shoot in segments—four spins, stops, recombines.

Four more rotations, stops, and four rotations at a time to complete the set of shots.

To minimize the risk of injury, the stunt team worked with the building and props departments to design soft surfaces and clothing, including padded walls and some rubber equipment.

When filming the tumbling hallway, the VFX team installed a camera rig with the camera pointed upwards on the hallway installation.

And using wire from behind the actors, hoisting them to move them towards the camera, which helps to use the computer to erase the wire in post.

Actors can hide the wire most of the time so that it is easy to remove the rope.

From a VFX standpoint, there's one more thing that's helpful,

The stuntmen and the special effects crew initially proposed opening the entire end of the installation for all of the stuntmen via.

Ready to separate them with a green screen, rotoscoping and replacing the entire background wall.

But Qin Feng found a way to put the steel wire into the device through the gap in the elevator door at the end.

The scene where the security finally falls off the device is done in just one shot.

There is also a zero-gravity room.

When the truck in the dream on the first floor fell vertically down the bridge, it caused temporary weightlessness for the occupants in the car, and the characters in the hotel in the dream on the second floor were also affected.

In the picture of Arthur and the security guard fighting in the corridor, the ceiling and floor of the hotel in the dream are all real.

No Wia removal, digitization, or scene extension is required.

The weightless scene, however, was quite different, requiring the removal of a large amount of Wia and the digital re-creation of the scene to complete the shot.

When Qin Feng filmed the zero-gravity hotel scene in Cardington, the actors were strapped to balance equipment, and the camera was either fixed to the device or slid freely on a gyroscope, so that the characters seemed to be unconstrained by gravity.

He liked what Kubrick did in "2001: A Space Odyssey" to express unnatural gravity, and some of the settings in the film were derived from this.

The success of a lot of zero-gravity setups is due to the collaboration of the Warners Prop Group, who made the most of these special setups.

Very few places need to be solved digitally, a lot of shots or 100% real shot, or just wipe the wire.

There are also some beautiful 3D objects added, but Qin Feng is still a little constrained because the real shot is so good.

For a close-up of the actor floating in mid-air, Qin Feng made a U-shaped yoke that clips the seat belt tied to the actor's waist.

In this way, when the technician uses the dolly to shoot, the actor can use the body's gravity to tilt and rotate.

Arthur then returned to another room where the members of Cobb's team were levitating, in zero gravity, and he gathered them together without interrupting their dreams.

Qin Feng used steel wires, arms and supports, while providing realistic imitations of the actors, to shoot the suspended body.

All the actors' heads and hands were sculpted, as well as Alan Page's legs and arms, and then articulated bodies were made for easy placement.

Then I paint and add the silicone skin and poke the hair into the head so the character looks like he's asleep.

Qin Feng sometimes uses real actors, and sometimes uses dummies that we made, and the two are mixed very well.

The representation of the dreamer in the room, which uses the camera to track the surreal scene, turned out to be one of the most prop-removed shots in Warners history.

Actors climb onto body-shaped chairs supported at the bottom by columns.

Some of the props were hung from the ceiling with monofilament, some of which were very close to the camera.

Then as the camera went 180 degrees around the room, the tubes in the suitcase had to wrap them all around.

It takes a lot of lens tracking, patching and painting to clear it out.

Qin Feng spent two days at this point alone.

In the film, in order to remove the bodies of the five sleeping companions, Arthur binds them with ropes.

Using the vertical orientation of the installation, the stunt team supported the actor's levitating doubles with intricately crossed wire ropes, used a computer to remove Wia, and recreated most of the environment.

The body is all feet up, the door is on the ceiling, the Wia equipment is lowered and attached to the device, and the molding is a rope forest.

Wia removal is quite a lot of work!

Warner's team, under the guidance of Qin Feng, has done an excellent job and tenaciously completed this difficult job.

There were also cords on the faces of the mouldings, in the creases of the clothes, and to remove these cording devices, large pieces of the picture were removed, so they had to replace the wall behind.

The final editing took a long time to modify the faces of these bundled dreamer doubles.

It was obvious they were not actors, so a CG head replacement was done, and the head of the replacement avatar was scanned.

In addition, the 3D production team also created some tiny air bubbles for the zero-gravity cosmetics floating around the floating utility vehicle.

In the film, the thrill of the truck crashing into the water in the first-level dream will wake Cobb's team members from their pre-determined slumber.

At the same time, Arthur plans to "stimulate" the second floor of the dream in the zero-gravity hotel. He hides the dreamer in the elevator and puts explosives in the elevator shaft below.

Qin Feng built a full-scale elevator shaft as a backdrop behind the horizontal installation.

Turning the scene sideways can disguise Arthur's body movements when he is suspended in the elevator shaft.

Qin Feng used several methods to try to disguise the gravity exerted on Arthur.

Arthur was supported with a boom attached to a suspension yoke, and a special crane was used to suspend the actor with a Wea.

In the end either remove Wia with a computer, or put the ropes in a dark environment, and then add digital scene extensions to cover the shot.

When Arthur climbed back into the elevator, he tied himself up before the explosives exploded and sent the elevator flying down the ventilation shaft.

The props set bound the elevator and used high-performance nitrogen cannons to fire the elevator along its tracks.

Behind it is a series of actually photographed explosions with pyrotechnics inside the horizontal device, simulating the effect of a fireball expanding upwards.

The orientation set by the elevator created another challenge for the scene where A Arthur detonated the explosives.

Qin Feng created a real explosion and smashed the elevator up.

Of course, when making an explosion, especially one with flames, the heat rises and the elevator is actually level.

Qin Feng didn't want the fire to look sideways in the shot.

So he devised a way to use a high-pressure nitrogen cannon to ignite an elevator along a horizontal trajectory that looks like a missile.

A series of explosions were then added, making it look like flames were rising from an elevator shaft.

Reuse of fluid dynamics to enhance the effect of on-site explosions and accelerate the elevator to make it rise to the highest point.

Finally, rotate the image 90 degrees and fill the edges of the frame with a CG environment.

Filming the scenes in the UK was a big challenge for Qin Feng.

But fortunately everything went smoothly.

After Qin Feng watched the finished film, the effect was very good, it was very close to "Inception" in the Earth period, it could even be said to be exactly the same!

But it also took him a week in Cardington, England.

When he finished filming, it was mid-April.

And his original plan to end "Inception" within a month, there is only half a month left,

This also means that he has to speed up the shooting process in the next three countries.

Because Qin Feng wants to end the filming of "Inception" at the end of April.

A month of publicity in May.

It will be released strongly in the global summer vacation file in June!

(ps: The data is full, and the author is even more explosive! Brothers, I beg for data support!)

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