Just after the New Year, under Sid's order, the production department, which had already rested and was about to rust, immediately started running. www.biquge.info After reading Sid's short film script, he was amazed by Sid's script talent on the one hand, and on the other hand, he also strongly agreed with Sid's practice of making short films first.

"Boss, he's coming. Sid's assistant knocked on the door, and the probe came in.

Sid and Henry were discussing something at their desks, and Sid looked up, "Then please let him in." ”

After a while, a short-haired man with small eyes walked in with the assistant. The young man's beard was sloppy and rather unkempt, and he looked to be in his early thirties.

"Hello, Mr. Arcod. Sid put down the sketch in his hand and walked over to greet him with a smile.

"Oh, hello...... Mr. Leon?" Lance Arcod was amazed at Sid's age.

At the age of 16, Lance Arcade, the talented writer of The Da Vinci Code, realized that Ali Emmanuel was not joking with him.

Lance Arcord is a professional photographer who originally worked as a fashion photographer. After a few years in the fashion industry, I still couldn't resist the desire in my heart, left the fashion magazine where I worked, and transformed into the Hollywood film industry.

Despite his rocky beginnings, Lance Arcod quickly landed several full-fledged feature film contracts with his experience as a fashion photographer and his ability to learn quickly. Of course, they are all independently produced art films.

And he just finished filming Vincent Gallo's film "Buffalo 66" last year, and the impatient and irritable director Vincent Gallo made the whole filming work long and tiring. This made Lance Arcod not want to work on any feature films for the time being.

Just after the New Year, he received a personal call from Ali Emmanuel, which startled him.

After last year's blockbuster $180 million deal to publish a novel in the United States, Ali Emmanuel's name is once again unparalleled in Hollywood.

Although some people secretly ridicule him, Ali Emmanuel has almost become a pseudo-agent who does not work in movies and does not do business. But anyone with a discerning eye knows that it's just the jealousy of the guy who can't eat grapes and says that grapes are sour.

After receiving a call from Ali Emmanuel, Lance Arcord was still very excited, although it was strange that the other party would throw an invitation from an inconspicuous short film photographer, but it was also in line with his idea of staying away from feature films for the time being.

So he quickly agreed.

As a photographer, Lance Arcod's fame and status in later generations are not as good as those who have won Oscars.

For example, Nolan's royal cinematographer - Valey Pfister ("Fragments of Memory", "Batman Prequel Trilogy", "Inception", "Moneyball"), and Alfonso Cuarón's royal cinematographer who won the Oscar for Best Director - Emmanuel Lubezki ("Gravity", "Birdman", "The Revenant").

But Lance Arcord, with his mastery of colour, light and shape, presents a psychedelic and colourful dark world to all audiences in his masterpiece Lost in Translation. The whole world becomes both bizarre and wonderful under his lens. The images are shockingly beautiful, and every frame is heartbreakingly beautiful.

And his style of photography is exactly in line with the needs of Sid's next series of films, so Sid recruited him through Ali (Emmanuel).

"This is Henry, my production manager. Sid introduced the crowd and beckoned directly to Lance Arcod, "Here, look at the concept art I made." ”

Lance Arcod walked over to the table, which was full of lens blueprints drawn with wax sticks.

He picked up a drawing of a half-naked man answering a phone in a filthy bathtub, his right hand holding the microphone covered in blood and a blade between his fingers.

The red blood and the crimson microphone corresponded to each other, and the man's eyes stared up at the sky with blank eyes, showing the charm of a suicide. The strong color impact and sense of composition in the picture resonated with Lance Arcord, a fashion photographer turned-turned.

He flipped through a few more blueprints, and there were concept blueprints for two other short films on the table. A scene of a bald young man standing on a train, holding a gun in both hands, and shooting at the policemen outside the train window. An office worker with a greedy face is reaching into a round black hole in the safe and pulling out a large stack of bills.

This is exactly the British humorous "Pistol with Six Bullets" and the short and concise "Black Hole".

Lance Arcord flipped to the last one. In the middle of the night, a man and a little girl stand opposite each other, and the night and neon lights behind them are like magical sparks, giving people a sense of reality.

"This picture is different from ordinary realist movies. He asked.

"Not bad. Sid nodded, "This is 'The Curfew', the longest of the three short films, and this short film is essentially a grim adult fairy tale. Therefore, its picture should have a slight orange background, and the light and color should highlight the psychedelic and cold texture. At the same time, with the development of the film, the two protagonists accept each other, and the cold transparent texture will gradually be replaced by warm tones, giving the audience the most intuitive change from a visual perspective. ”

"In that case, we can achieve this effect with low-light photography. Lance Arcord immediately began to analyze it with joy.

The so-called low-light photography refers to the shooting without conventional lighting and fill-in light, and completely capturing the light in the real environment. This kind of shooting is extremely difficult, because when the actor is corrected without artificial lighting, it is easy to have a dark or overexposed character's face.

This is a great deal of skill for photographers. "Historically" Lance Arcord's later "Lost in Translation" used low-light photography almost entirely to create a beautiful visual spectacle in the film.

As the conversation deepened, Lance Arcod became more and more amazed by Sid's talent, and Sid felt that Lance Arcod, like himself, was not willing to be mediocre and hated boring things. After a few subsequent meetings, the two decided on the cinematography and art specifications for the three short films.

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So after completing the technical preparations, Sid's first official film was finally ready to start shooting at a studio in Burbank.

"Oh my God, my God!!" screamed none other than Sid's new royal photographer, Lance Arcod. The boxes were unloaded from the trucks and printed with German and square patterns.

When the workers had moved their belongings to the studio, Lance Arcord couldn't wait to open a box and a new black rectangular machine was taken out.

"ARRI Arley's film camera !! so beautiful!" exclaimed Lance Arcord excitedly, holding up the camera in his hand excitedly.

"Alright, Lance, if you make such a Bian sound again, I'm going to put you in the bathroom. Sid complained speechlessly, and everyone in the studio laughed.

"OK, the camera crew took out all the cameras and assembled the film. Sid clapped his hands and said.

The ARRI film camera in Germany is one of the best film cameras in the world.

When Sid was preparing to shoot a few short films, according to his original "old habit", he wanted to build a few high-definition digital cameras to shoot. But when Lance Arcord asked, "What is a high-definition digital camera?" with a puzzled face, Sid realized that it was still the world of film cameras!

Unlike when Sid entered the industry in his previous life, digital systems were already the global standard. But now, the so-called digital camera is just the DV camera that Sid used to shoot "Ghost Shadow".

Anyone who has ever used an early DV camera knows that before the advent of true 2K to 4K Blu-ray digital cameras. DV cameras are very different from film cameras in terms of resolution and light sensitivity.

The world's first high-definition digital camera was Sony's F900, which later became George Lucas's royal camera for "Star Wars Episode II: The Clone Strikes Back". This is also the first commercial feature film in film history to be shot with a digital camera.

So even if Sid had a heart, at this point in time in '98, he had no choice but to start learning again from the film camera.

Luckily, Lance Arcord is a very solid photographer and he always guides Sid to shoot in an easy-to-understand way. That's when Sid realized the huge difference between film and digital shooting.

In later generations, as long as they talked about the controversy between film shooting and digital shooting, they liked to talk about the expensive cost and excellent image quality of film, as well as the low convenience and inferior picture of digital shooting.

But when Sid found out, he wasn't concerned about these things at all. In his opinion, the biggest shortcoming of film cameras compared to digital shooting is the film itself.

Anyone who has ever used an old-fashioned film camera knows that there are only about 30 sheets of film in a roll, so every time you take a good picture, the film runs out, and then people have to stop and change the film.

In the same way, when it comes to a film camera, you need to plug in a film box before you can shoot it.

The large film cartridges, on the other hand, actually provide very short shooting time. Although the length of each box of film is enough to shoot for more than 10 minutes, the actual shooting time is only about 9 minutes, minus the cutting before the start of shooting and the cutting at the end.

Imagine a scene of Jack and Ruth soaking in the icy waters, their lines intermittently spoke, just as Jack closed his eyes and Ruth's tears were about to fall.

"Cut!" What's the matter? Someone doesn't play well?

"Change the film!"

The actor's emotions that had been brewing were interrupted like this, and thinking about watching a movie can be as short as 90 minutes or as long as three hours, and most of the films are actually shot for a much longer than the edited version.