"A Song of Ice and Fire: Game of Thrones Scene Fifteen, Act I, Start Now!"

With the sound of the scene notes, the filming officially began, which was also the first time that the crew had a major character appear in the scene since the crew started filming for ten days. Pen × fun × Pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

Murphy stood behind the director's monitor, looking at the monitor screen, staring at the digital high-definition footage coming from the camera's lens.

"Your uncle is far from a night watchman!"

The camera pans to a low arch and is presented to Murphy with an empty shot, then the camera pans down, and Peter Dinklage appears in the monitor frame as Tyrion Lannister.

Peter Dinklage walks towards Hahn Jot, who plays Jon Snow, and Hahn Jot also changes direction and walks towards him.

"What are you doing here?" Jon Hart asked.

"Get ready to party all night with your family." Pete Dinklage walks around Jon Hart.

A camera moves slowly on the slide, following Peter Dinklage and giving him close-ups from time to time.

Leaning against a wooden pillar, Peter Dinklage raised the bottle in his hand and took a sip, saying, "I've wanted to see the Great Wall for a long time. ”

The main camera lens is focused on Peter Dinklage, Jon Snow has only one back, which is a very simple lens switch, and the POV perspective has fallen on the little demon Tyrion Lannister.

"You're that Tyrion Lannister?" With his back to the camera, Jaén Jot asked, "The Queen's brother?" ”

Peter Dinklage looked down and laughed at himself, "That seems like my highest achievement." ”

The camera zooms in again, giving a close-up of Pet Dinklage's face, and Peter Dinklage looks up and says, "You're Ned Stark's bastard, right?" ”

Haan Jot gave him an angry look at Peter Dinklage and turned to leave, and Peter Dinklage said in the back, "Did I offend you?" I'm sorry. ”

He walked slowly towards Haan-Jot, "But you're really an illegitimate child. ”

"There's nothing wrong with Lord Ned-Stark being my father." Hahn Jot said:

Peter-Dinklage interface, "And Mrs. Stark is not your mother, so you are an illegitimate child." ”

"Bastard, let me give you some advice." This may sound like nothing malicious, "Never forget who you are, because the world will not forget, arm yourself with it, and no one can use it to hurt you." ”

With that, Peter Dinklage turned to leave, the camera slowly backing away in front of him.

Hahn-Jot frowned, "How can you understand what it's like to be an illegitimate child. ”

Peter Dinklaki stood still, leaving for the last words, "All the dwarfs of the world are illegitimate children in the eyes of their fathers." ”

The two parted ways.

The two cameras mounted on the slide quickly returned to their positions, and Murphy raised his hand and said loudly, "Take a fifteen-minute break and do it all over again, this time with Jon Snow as the POV perspective." ”

Murphy has very strict requirements for filming, although there are many differences between TV series and movies, and TV series are generally inferior to movies in terms of shooting and production, but he still took out the attitude of shooting movies to require the entire crew.

Shoots are sometimes made by mistakes, sometimes reshot at Murphy's personal request, and shot from a different perspective so that there is more material to choose from in post-production.

Due to the style of the whole series, most of the shots filmed, especially the relevant scenes and scenes in the north, are dark in color and light, and there are a lot of night scenes.

As I said before, for most of the night scenes, Murphy is filmed during the day, and then adjusted with a da Vinci palette and computer technology in post-production, but there are also a small number of night scenes that require special requirements and need to be filmed at night or other special time periods.

In a subsequent audition, Murphy shot night scenes in real life, using three main methods: night scenes, night scenes at dusk, and night scenes during the day.

When shooting some night scenes at night, because of the limitation of the real space, it is difficult to set up lights, and it is not allowed to use more lighting equipment, so the most convenient method is to use a high-sensitivity lens and low illumination.

He asked David Robbie to strengthen the intensity of the existing light source in the environment, such as replacing the 60W incandescent lamp with a 300W-500W lamp, thickening the wick of the oil lamp for shooting, or using a "multi-wick" lamp, and sometimes replacing the oil lamp wick with a small electric light source, increasing the intensity of the light source, so as to directly use the light source as the main light of the environment and the characters.

In a few night shoots, Murphy also uses artificial light to illuminate the wall near the camera, mimicking ambient reflections as a secondary light for the environment and people.

This method is convenient, cost-effective, practical and realistic.

Some special night scenes need to be shot at dusk in order to achieve the best effect through post-production.

Murphy shot some night scenes with a view of the outside through the doors and windows, and it was very necessary to shoot at dusk.

If the outdoor scenery space is small, such as courtyards, houses, wall doors, trees, flower beds, etc., you can use lights to shoot at night; However, outdoor spaces such as distant mountains, fields, castles, and vistas cannot be illuminated by light, and Murphy had to use the afterglow of the sky to light the scene at dusk.

Shooting night scenes at dusk is similar to shooting night scenes at dusk in outdoor scenes, first arrange the lighting effect of indoor night scenes, and then wait for the sky to scatter light to dim to a certain extent, and then snap the shot.

Of course, among all night scenes, the most are shot during the day, accounting for 85% of all night scenes.

Although Murphy and the crew were experienced in this area, they also encountered a bit of difficulty, and it was difficult to shoot night scenes with scenes outside the window, and the key was to reduce the brightness of outdoor scenes through doors and windows to meet the requirements of night scene brightness.

Murphy's method is to use a large gray filter to cover the doors and windows to block the brightness of the dark outdoor scene, and the indoor lighting method can easily achieve this by shooting the night scene lighting method.

High-definition digital cinema cameras play an important role in enabling these night scenes.

Even though Murphy is not a technologist, and many films are shot on film, he has to admit that film production requires not only art, but also technology, such as high-definition digital video cameras, which can effectively solve many problems encountered in shooting.

Compared to Murphy, a ****** director who uses whichever technology is beneficial to his project and doesn't care about the battle between film and digital, there are quite a few people in Hollywood who stubbornly believe that digital photography technology will ruin the art of film.

These people feel that the equipment is getting more and more advanced, and the people who shoot and make movies will become more and more lazy.

But Murphy never thought so, and even if he wasn't a technologist, he knew that digital technology was just as inevitable as the silent films to sound films, black and white films to color films.

And from the point of view of an average director, or someone who once dreamed of becoming a director, is technological progress really bad?

The answer must be no, the convenience provided by digital technology is definitely a good thing, in the past, this industry has a high industrial threshold, whether it is taking pictures or making movies, the industrial threshold is too much, and now the whole trend is to gradually let every ordinary person after a simple study, can be proficient in these video equipment, the so-called "image life" can start from this.

Like Murphy used to be a child, he always felt that the person who took the picture was very mysterious, but now the operation on the computer is getting simpler and simpler, but it does not mean the decline of creation, but the freedom of creation.

Also in this era, every year there are very wonderful video works are taken by some not very professional people, which may have some impact on traditional practitioners, but now this threshold is lowering, which enriches the image vision.

Of course, no matter how simple the use of equipment is, there are also professional requirements, and Murphy cannot ignore the aesthetic quality requirements of the image because the equipment is becoming easier to operate.

In the past, when the image was just becoming easier, it did bring a lot of shooting randomness, and products like Sony F35 were already very mature when they came out, and this kind of digital recording can be taken without restrictions, liberating the user in technology, but as time goes by, it will gradually be found that the important thing is not the equipment, but the professionalism of the equipment user.

If the user has a strong sense of professionalism, they will be able to provide better artistic support, such as in areas where the working environment is more complex, where large teams can't get in, or when shooting a complex mega-project like A Song of Ice and Fire: Game of Thrones.

When it comes to increasingly advanced equipment, professionalism makes it useful rather than abusive.

In all the shots that the crew has already shot with digital HD cameras, Murphy and the film crew have maintained enough aesthetic judgment and creativity to definitely not shoot casually because it is relatively easy, which will only end up being a tragedy.

In this era, equipment is getting better and better, changing faster and faster, and making creators more and more labor-saving, but the most important thing is to learn to use these equipment and know how to use equipment to express what you think in your head.

In short, no matter what equipment and technology, it is used to serve the production of film shooting, as long as it can achieve the desired effect, why bother whether it is old technology or new technology.

Digital devices are not only a consumer product or device, but can also be used to solidify classics like film.

Filming in the studio of the Titanic Museum came to an end, and the crew split into three, with Murphy leading the largest group to continue filming in and around the British Isles, and Paul Wilson and Seth Rogan each leading a team to Malta and Croatia to shoot some side scenes.

Filming on location began, and Murphy's crew also welcomed a group of special actors, and six huskies were brought into the crew by a professional agency. (To be continued.) )