In the studio of Warner Studios, the Vientiane ring was slowly turning, and the centrifugal force produced was a little dizzying, Matthew hung the tightrope, tried to control his body, and flew up and kicked at the stuntman, his foot landed on the stuntman's chest, and the stuntman flew backwards as if he had been hit by a mountain.

It's a fight in a dream, and it seems a bit pompous, but it's specifically requested by Christopher Nolan.

In order to avoid the film being too obscure and allowing the audience to distinguish between dreams and reality at a glance, Christopher Nolan, as the director, designed many special scenes and backgrounds that can be easily distinguished.

Matthew kicked an enemy away, kicked his feet the ceiling where the Vientiane Ring turned, dodged the other stuntman's sideways, and punched him in the face, and the stuntman flew upside down, just like the other one before.

Flying two enemies, Matthew propped his hands on the floor that had turned, flipped over, and stood on the ceiling.

"Stop!" Christopher Nolan, who was also in the Vientiane Ring, shouted to stop filming, "This one is over, Matthew will rest for half an hour, and another group will be on the field to shoot!"

The Vientiane Ring stopped turning, but the ceiling on the ground and the floor overhead became the floor, and two stuntmen ran in to help Matthew remove the wire and remove the protective device that was hidden under his clothes.

Matthew moved his hands and feet, especially his waist and abdomen, and then he got out of the Vientiane Ring and jumped to the ground.

Christopher Nolan then came out as well, calling out to Matthew and asking, "How do you feel?

"No problem. Matthew cocked a thumbs up to Christopher Nolan, "I've done a lot of practice and I can do these scenes." ”

Although there is still a certain degree of difficulty and danger in this action scene, with his skills, it is not that difficult.

He will do most of the scenes here himself, just some action scenes that are more difficult than the stunt double.

Christopher Nolan didn't ask again, the danger is not too big a scene, and if the actors can do it themselves, there will be a lot less trouble in post-production.

Although the action scene just filmed did not last long, Matthew still went to the rest area to rest for a while, who knows who is tired of filming this kind of scene, hanging a tightrope in mid-air and even fighting on his head and feet, the difficulty and physical strength consumed, far more than normal action scenes.

Matthew went into a short break, and the filming didn't stop as James McAvoy entered the Vientiane Ring and began filming the action scene where Arthur flew off the wall.

The action scenes here, including the action scenes he just filmed, were disturbed by the upper dream in the script, and the gravity changed several times in the second dream, causing people to fly in the air, and the scene was constantly rotating.

These are all created by the laws of real physics when shooting.

He and James McAvoy were able to fly through the corridors of the hotel because the entire corridor set was built on a giant rotatable "Ring-of-Everything" installation.

As the corridor began to rotate and tilt, the actors hanging from the coercion simply adjusted their balance, while the fixed camera made it look like the direction of gravity was changing, and many of the props, including the walls, were made of soft materials to keep the actors safe in the rotating set.

It's hard to complete the action scenes, and the danger is actually not high.

This is also the main reason why Matthew Ken personally went to shoot.

Half an hour passed quickly, James McAvoy was out of breath, and Matthew was once again in the Vientiane Ring for shooting.

"Why am I so tired. The two met in front of the entrance to the Vientiane Ring, and James McAvoy seemed to be very mentally unbalanced, "You finished filming like no one?"

Matthew patted his arm lightly and said earnestly, "Brother, you lack enough exercise." ”

Watching Matthew enter the Vientiane Ring, James McAvoy frowned and pondered, and glanced at Matthew, he has also been working out for a long time, why is there such a big gap in physical strength and physical strength?

Lack of adequate exercise?Thinking back on this, James McAvoy suddenly realized, where is the biggest gap between him and Matthew?

Matthew was cutting down in the dense forest for exercise, and he had to pluck some small saplings......

Sure enough, it's a lack of enough exercise, so I'll have to work harder in the future.

The shooting begins again, with Matthew hanging from the tightrope and continuing to spin and fight in the Vientiane Ring's set, his body levitating from time to time, as if he were in space.

This is also the most special action scene he has filmed.

And the shooting here is also the most typical scene of the combination of traditional location and digital technology.

In this scenario, it's not enough to have gravity to change direction, Christopher Nolan also uses the "zero gravity" trick.

At the end of the morning's shooting, Matthew saw that Christopher Nolan did not go to dinner immediately, but continued to stay in the director's seat to deal with the footage of the morning's shooting, and also walked over.

From the moment the crew first filmed, he got permission from Christopher Nolan to watch the finished footage.

In fact, Christopher Nolan also knows that in addition to being an actor, Matthew is now also developing towards the path of producer, and the position of producer does not require being proficient in all the professional skills of the crew, but it also requires a general understanding.

Therefore, when Matthew asks for advice, he will answer what he can answer.

Matthew greeted Christopher Nolan and stood behind him to see the finished footage.

I don't feel like I'm in the Vientiane Ring, but now from the perspective of a bystander, this zero-gravity shot is really imaginative.

"In shooting, the change in gravity is created by rotating the set. Matthew knew that his ability in filming and production was very average, and when he encountered a problem that he didn't understand, he wasn't embarrassed to say it, what did he ask, "Chris, how did the weightlessness here come about?"

He personally felt it in the Vientiane Ring, and the Vientiane Ring did produce some weightlessness, although it was not too strong, but it could be clearly perceived by the people in it.

Christopher Nolan glanced at Matthew, didn't answer, instead pointed to the action shot that was playing and asked, "You're asking how to make the camera feel weightless?"

Matthew's question just now was a bit of a blur, and he smiled and said, "yes." ”

Christopher Nolan thought for a moment and then said, "There are two ways to shoot similar scenes in Hollywood. The traditional approach is to build a high-speed rotary centrifugal system for the actors to perform in real weightlessness, while the digital technology approach is that it is too cumbersome, just hang the actors in front of a green screen to shoot, and then composite them with the background can easily do it. ”

Matthew nodded lightly and waited for Christopher Nolan to continue.

"However, I think both approaches have their drawbacks. Christopher Nolan is unreserved, and says directly, "I rely on the perfect combination of traditional set construction and digital technology, which is the result of superb artistic direction imagination and advanced digital technology." ”

He pressed the pause button, pointed to the background of the shot, and said, "First of all, the whole gravity-free scene was done on a real set, and the actors, including you and James, were suspended in the set to create the effect of weightlessness. ”

Matthew answered, "This kind of suspension is not as simple as just hanging a few Wia, right?"

Christopher Nolan nodded, "Shooting the usual way would be a disaster for post-production, because it would mean a lot of WIA removal work, so I thought of a better way to shoot the set that was originally horizontal, and shoot the camera vertically up!"

Pointing to the camera, he continues, "The walls on either side of the corridor become ceiling and floor in a real sense, and the vertical relationship of the shooting scene becomes the relationship of depth and vice versa. The depth plane in the shooting scene is actually a physical vertical plane, so that Weiya hanging vertically can be seen according to the spatial relationship of the shooting scene. It extends from the sides of the hallway, rather than hanging from the ceiling. ”

Matthew is not stupid, hearing this, coupled with the camera in front of him, he was aware of it, and said, "Isn't this a great increase in the chance of using actors to block the suspension device, so that the post-production special effects can eliminate the coercion and do a lot less work." ”

"Yes, exactly. Christopher Nolan sighed, "In this respect, traditional shooting techniques have helped digital technology a lot, but digital has also helped traditional special effects." ”

Matthew said tentatively, "Digital technology is not useless. ”

Christopher Nolan couldn't help but laugh, "Where can there be good-for-nothing film technology if there is only a good-for-nothing film director?" ”

Next, he replaced a shot with a finished special effects, which showed Ken Watanabe and Cillian Murphy.

Christopher Nolan looked at the camera and said, "Matthew, not everyone can do these action scenes as easily as you do. For some actors, especially those facing the camera, it means that they are facing down during the shooting, such as Ken Watanabe and Cirian here, and they can't bear to hang for a long time, so they can only use stuntmen, but don't forget that they have to show their faces in front of the camera......"

"In this way, face replacement is indispensable. Of course, this can only be done by digital special effects technology, where the digital special effects artist scans the actor's face, makes a digital model, and then attaches it to the body of the stuntman, almost indistinguishable from himself. ”

Matthew understood what he was trying to convey and said, "Traditional filming and special effects techniques are seamlessly combined. ”

"That's true. Christopher Nolan agrees with his words.

This conversation with Christopher Nolan also made Matthew understand that traditional special effects and digital special effects do not have to be dead or alive, and digital special effects represent the future development direction. And traditional special effects are not useless, the two can complement each other.

The production of Hollywood's first-line commercial films is not a game between tradition and digital, but a comprehensive application of the entire film process.