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The warehouse was silent, Murphy stared at the set, and director of photography Fili Raschel stood on the fat bathtub on the other side of the wall, the camera lens in his hand, through the murky water in the tub, firmly locked on to Seth Rogan's figure.

The tub shook violently, splashing in all directions, and Seth Rogan sat up suddenly, coughing violently, his mouth wide open, and spat out a mouthful of water without warning, spraying right on Filip Raschel's body impartially, and the camera lens was not spared.

"Stop!" Murphy shouted, "What's going on? ”

Seth Rogan was still coughing violently, and after a while, he stood up with the bathtub and looked at Filip Raschel apologetically, "Sorry, I got up a little fast, and I accidentally opened my mouth, and water poured in." ”

Filip Raschel waved his hand to indicate that it was okay, and Murphy shouted, "Jack, touch up Seth's makeup." Fili, recalibrate the shot, and do it again in ten minutes. ”

This opening scene will start in the dark, but it will not be filmed in the dark, and not many of the dark scenes in Hollywood are really filmed in the dark, and light is an important factor that can never be ignored during filming, like the scene shot by Murphy, the background will be adjusted to black through the da Vinci console in post-production, which is also very simple for today's filmmaking technology.

Choking on water in the first scene, Seth Rogun adjusted and played normally the second time.

However, Murphy didn't shout through guò, and continued to let the fat man get into the bathtub, and shot three more in a row before ending the shot.

is different from the filming of "Hard Candy", Murphy is now more experienced, and he has fully considered the difficulties before, and he has let James Franco and Seth Rogan do a lot of rehearsals, plus the personnel hired this time, they are no longer those incompetent guys from the previous time, and the few scenes in the morning were all filmed smoothly, and he was basically shouted by him within five times.

In one morning, six scenes passed, which was definitely the most efficient half day in Murphy's short career as a director.

By the beginning of the afternoon, the pace slowed down again, and after James Franco appeared, there were three people in the toilet, and the doctor he played, Seth Rogen's candid photographer, was already lying on the jigsaw on the ground in the middle.

Of course, because there is no need to move, the jigsaw here is a dummy made by Baker Klebert.

This is the first time that the three of them have appeared in the same shot, and they have been shot twice, but they have not achieved the effect Murphy wants, and he simply called the entire crew to stop.

Murphy called director of photography Philip Raschel over, "In this scene, we were going to deliberately ignore the jigsaw. ”

In the scene where the three of them appear at the same time, the camera ignores the jigsaw, and the finished picture will also ignore the jigsaw, and the audience will naturally ignore the jigsaw, so as to bring the shock of the ending.

The ending of this film is quite important, and it can be said that the whole film has been sublimated and raised to a higher level, otherwise, it is not much better than traditional American plasma films.

Murphy walked into the set, carefully dodging the blood on the ground, and said to Philip Raschel, who was following him, "In this three-person scene, we are going to highlight two and ignore one. ”

"If three actors deliberately emphasize two of them and try to avoid the involvement of a third person, when it comes to highlighting only a single relational line," Philippe-Raschel quickly came up with an idea, "there are two ways to shoot it: partial prominence and total prominence. ”

He elaborated, "The local prominence is that there are three actors in the first main shot, but there are only two leading actors in the second main shot; All the highlights are from the relationship between 3 and 3 to the relationship between 2 and 2, and only the two main actors are listed.

Murphy thought for a moment and said, "Try both." ”

Shots shot in both methods can also be more options in post-production.

Philip Raschel went to get ready for the shoot, and Murphy approached gaffer David Robbie and told him to give James Franco and Seth Rogan a look when switching to a close-up of the single face.

And unlike Carey Mulligan's eyes when he appeared in "Hard Fruit Candy", Murphy needed to be more cold and hard, highlighting the vigilance and panic when the character wakes up in an unfamiliar environment.

Just like Murphy's two shoots, eye light is used in almost all film shoots in close-ups of actors.

Generally, when the angle of the main light or secondary light is appropriate for the camera, the eye light effect can also be produced while the main light or fill light effect is completed, so there is no need to look at the eye light, so as not to produce two bright spots, giving people a feeling of distraction.

However, if the original main light and secondary light position cannot produce eye light effect, then a small lamp can be used to supplement the eye light near the camera, or it can be played by a large area of flexible light source, the key is to arrange it without affecting the relationship between the main light.

Unless required by a specific plot, Murphy's eyes should not be too bright to avoid two bright spots in the eyeballs, which would destroy the charm of the characters and even cause a morbid effect like cataracts.

In fact, this is also a way to shoot blind scenes, generally when filming blind people, they will avoid the use of eye light, which can help actors create a unique feeling of blindness.

From the beginning of filming Hard Candy, Murphy developed the habit of observing light and angles in order to quickly and easily find the shortcomings in the shot.

After filming several partially prominent and fully prominent shots in a row, the crew turned to filming the personal scenes of James Franco and Seth Rogen again, and when the close-up shots were lit, Murphy understood that his money was not spent in vain, and the lighting engineer who could be signed by CAA, even if he was as obscure as him, was also very set.

Photographer Philip Raschel also has a unique way of verifying the light of his eyes.

His method is very simple, standing on the set with his hand in a fist, pressing a marble under his index finger, and through it, he can observe a reflective effect similar to that of the human eye, and only need to turn the direction of his hand and observe the changes in the light on the marble, so that he can find the position and angle he needs.

At the same time, the curves and lines of the hand can also show contrast and backlight effects.

After a busy day, Murphy announced the end of his work, but instead of leaving, he sat behind the camera and reviewed the footage of the day with director of photography Philip Raschel and editor Jody Griffiths.

James Franco also tried to come over, but was chased away by Murphy.

Like most directors, Murphy won't let them look at the shot unless they make a big mistake and need to look at the shot to correct it.