In the early morning of August 1, the Venice warehouse set was in a hustle and bustle, and the shooting team of nearly 100 people came out of the back door of the set, gathered more than a dozen shooting vehicles that came around the huge warehouse set, and began to rush their preparations in an orderly manner under the command of Murphy, making the final sprint for the next shooting. Pen, fun, pavilion www. biquge。 info

Behind the warehouse set, there was originally an abandoned open-air material storage area, and as soon as the preparations began, Murphy asked Gal Gadot to contact the original owner of the land, buy the land from him, and transform it into a very flat open-air shooting area as quickly as possible for the filming of some action scenes.

Several huge green screens were quickly erected, although Murphy advocated this time as much as possible live-action shooting, but the traffic in New York is heavy, especially Manhattan, which is the main location, and it is not ordinarily difficult to clear an entire road for filming the hot car chase scenes.

Today's filming is basically a shot of Chris Dann riding an upgraded superbike and rushing forward wildly, Murphy went to the stuntman to take a look, this kind of scene will definitely not let Henry Cavill himself play, his injured crew can't afford it, the special forces have already hired three stunt doubles who are very similar to Henry Cavill.

Chris Dane is masked the whole time, and there are no super large close-ups of close-ups, so there is no need to use actors at all.

Murphy then arrives at the camera crew, where Philip Raschel is standing on top of a huge Ford pickup truck converted into a recessed camera and debugging a bulky IMAX camera.

"How's the preparation going?" Murphy asked.

Hearing Murphy's voice, he made an 'OK' gesture, "No problem! ”

It wasn't until the commissioning was complete that Philip Raschel looked up, looked at Murphy and said, "Another miniature camera, which I had installed on the motorcycle yesterday, has already been commissioned." ”

Originally, Murphy wanted to use the forward shot of the plane when it took off to shoot the first-person shot of Chris Dann riding a motorcycle to increase the impact of the shot, but the plane is a super expensive luxury after all, and if you want to install a huge and bulky IMAX camera, you have to make a huge modification of the plane, and no one wants to do this, even Gulfstream refuses to make Murphy restructure the leased plane.

Murphy's own plane would not be delivered until January next year at the earliest, so he took some of the same approach as he did with "City of Chaos", shooting the camera on Chris Dane's motorcycle, and hiring a professional race car driver to set the camera on the supercar.

The impact of the first-person view shot obtained in this way, although not as good as the original idea, can barely meet Murphy's requirements.

Filming is like this, there are always some unexpected situations that arise and the director has to find a solution.

The departments quickly prepared, and when the stunt driver rode on the motorcycle, Murphy also got on the camera platform, and then gave an order, and the shooting officially began.

The bike, which looks like a black ghost, is driven by a stuntman and rushes forward like lightning, and the camera car is located on the right side of the motorcycle, and it is not slow at all, almost always driving at the same speed, parallel to the motorcycle, so that Murphy and Philip Raschel can shoot on the on-board camera platform.

The motorcycle rushed nearly 2,500 feet, and Murphy's eyes took off the lens of the IMAX camera and shouted at Mike, "Very good!" After this one, the camera car is changed to the left and continues shooting! ”

After saying that, he also slapped the roof of the black pickup truck vigorously, and when the driver parked the car and looked back, he gave the driver a thumbs up.

Frankly speaking, the filming of this scene is not the stuntman at all, but the driver of the camera car.

It is not so easy to keep up with the movement of the motorcycle at a very high speed on the basis of a smooth car ride, and it requires quite good driving skills.

In fact, from high-speed car chase scenes like this to various luxury car commercials, it is not difficult for those who are interested to find that the driver who drives the camera car often has higher driving skills than the stuntman.

Of course, Murphy's ability to get a high-performance camera car modified is also a big part of that.

There will be a lot of car chase scenes in this shooting, so Murphy specially hired a professional company and team to transform nearly ten various shooting vehicles according to some of his ideas.

Camera cars come in a variety of models and sizes to fit and set up cameras on the body, but they are all painted matte black because they don't reflect light and are more conducive to shooting.

In Hollywood, there is a long history of using camera cars to shoot.

If the camera car can be traced back to the first use, a camera was mounted on the car during the shooting of the 1925 film Ben-Hur: The Story of Christ, which can be said to be the earliest origin of this tool.

Today, the camera cart has been adapted and is still used today, as Murphy shoots today, and is now mostly used with green screens.

Murphy now uses a specially modified recessed camera vehicle, and the entire platform is based on a Ford Raptor to accommodate bulky IMAX cameras.

It allows for a range of different cameras and lights, such as flatbed or crane shots, because of the mounts in the car, which also have the power generation to drive any cameras and lighting fixtures, so that Murphy can sit in the cab and watch the monitors while the camera operator does the actual shooting on the stand platform if he is not filming himself.

The crew quickly reset, and the only difference from the previous shoot was that the camera car was moved to the left side of the motorcycle.

As long as the camera car is kept stable and synchronized with the motorcycle, there is basically no too much difficulty, and the second shot will also pass.

Murphy then had the crew move to a purpose-built corner to shoot Chris Dane almost touching the ground as the motorcycle made a high-speed turn.

Here, Murphy switched to another camera vehicle - a composite trailer!

With this type of composite trailer, it is usually close to the ground in order to capture a picture that is at or below the horizontal height of the driver in the car, but the horizontal width allows the camera to shoot wider.

This type of trailer is more restrictive, and North America is good to say, if filming in Australia, this equipment must be accompanied by a police officer when used and requires a professional license to operate.

However, Murphy did not use an ordinary synthetic trailer, in order to shoot Chris Dane, a motorcycle that can move laterally, the rear wheel of the trailer was specially modified, and the "smart rear wheel" that can drive the trailer to do small lateral movements was deliberately added.

When shooting the lateral movement of the motorcycle, in a true traverse, all four wheels of the trailer can be switched to traversing mode. An additional feature of this movement is called rotation, which allows the camera to rotate 360 degrees around its center when the wheel angle is set.

Correspondingly, the smoothness of the composite trailer is a bit worse, and although the shooting is a moving shot, Murphy has always disliked the constant shaking of the camera in the film, and the picture still looks stable when the action shot is finally completed.

In order to meet this requirement, the ground of this curve is also specially made, and in the early preparation, Murphy asked people to pave an additional layer of what is commonly known as a dancing board in the industry.

The only way to make the cart move smoothly and without wobble was on a smooth floor, and if there was no place for the tracks, or if the tracks were not straight or curved, the crew had to build a special board that would allow the cart to move freely, made of high-quality plywood or birch boards that were three to four inches thick and covered with a layer of smooth Mason Knight fiberboard.

Most importantly, the joints must be carefully aligned and taped so that the cart has a perfect surface to move smoothly.

In Murphy's opinion, a good camera car can move sideways or forward, and the combination of various movements can be very complex, and the only certainty is that he wants to avoid photographing the dancing board.

When a lens other than a wide-angle lens is fitted with a camera, a smooth board or dance board becomes crucial, as a certain protrusion on the floor can cause the long lens to shake.

Therefore, Murphy will not use any long shots in such action scenes.

However, there were some difficulties when shooting, Murphy found that motorcycles and stuntmen could use the inertia of turning to stick very close to the floor, and the camera was difficult to shoot at a horizontal angle at this time due to the camera position.

Standing on the set and watching, Murphy quickly came up with a way to add an extension arm to the platform that was large enough to bear the weight of an IMAX camera.

Murphy came up with two solutions, the other was that the mounting arm needed to be readjusted so that the camera could reach a height of only a few inches above the ground, but the camera could not be modified on set, and it was quite cumbersome to go back to the factory for installation.

It's relatively easy to add an extension arm to the cart, but to put it bluntly, you can add a high-strength alloy tube to the camera that can be lowered to extend out, so that the IMAX camera lens is as close to the floor as possible.

Because of the installation of extension arms, Murphy only filmed two scenes in the morning, but in the afternoon, the filming progress accelerated, and it only took three days to basically complete the filming here.

Subsequently, a group of main actors also entered the crew.