"Diego Rose, scene one, act one. Pen? Interesting? Pavilion wWw. ｂiquge。 ｉｎfo”

After receiving Murphy's order, the field reporter placed the field sign in front of the main camera lens and said loudly, "Start now!" ”

In the dimly lit room, Robert Downey Jr. and Margot Robbie sat opposite each other, the former with misty eyes and seemingly delirious; The latter is dressed as if she were a courtesan.

"Damn it!" Margot Robbie glanced at Robert Downey Jr. and suddenly erupted, "The goods I gave you are for sale, not for you to suck!" ”

Robert Downey Jr. staggered, "I just sucked a little bit." Rest assured, not a penny will be paid to you. ”

The camera camera pans to Margot Robbie, and when Murphy sees Margot Robbie's face in the close-up, he immediately raises a hand and shouts, "Stop! ”

Seth Rogen, who was standing behind Murphy, stepped forward slightly, lifted his glasses, looked at the monitor screen, and didn't quite understand why Murphy shouted to stop.

He filmed all, pee, and fart comedies, and the requirements for acting were not particularly high, and now that Murphy shouted to stop, he really couldn't see what the problem was.

Robert Downey Jr. and Margot Robbie both looked at Murphy, and Murphy beckoned to Margot Robbie, "Maggie, come here." ”

He thought for a moment, then said, "Donnie, come over too." ”

Margot Robbie was the first to come over and asked, "My problem?" ”

"Well, your expression." Murphy pulled up the close-up shot just now, fixed it on the monitor, pointed to the corner of Margot Robbie's mouth and said, "At this time, you are furious, and the anger is not an exaggeration. ”

"This ......," Margot Robbie scratched her head, "I'll pay attention next time." ”

Murphy turned to Robert Downey Jr. and said, "Donnie, you put some distance from the table, and now you are empty-hearted. ”

Robert Downey Jr. didn't seem to be quite out of the role yet, just nodded and didn't say anything.

"Prepare for it." Murphy waved his hand to the two actors, and then said to the assistant in the back, "Call Filip here." ”

Soon, Filip Raschel also came over.

Again, Murphy pointed to Margot Robbie's face and said, "She's been too thin lately, her eye sockets are completely sunken, and her face is too thin, so make some appropriate adjustments when shooting the camera." ”

"Okay." Philip Raschel immediately thought of a solution, "I'll go back and deal with it." ”

Murphy nodded, didn't say anything more, using camera skills to make up for the shortcomings of the actor's physiology and appearance is just the most basic skill of a film cameraman.

After Philip Raschel made adjustments to the camera, the shooting started again, and this time the shooting went relatively smoothly, especially the minor problems on Margot Robbie's face caused by excessive weight loss mentioned by Murphy were well resolved.

When photographing people, different lighting can be used for the physiological defects of individual characters, and different shooting angles can be used to make up for them.

That's exactly what Philip Raschel did.

For example, the face of the fat face is not suitable for shooting frontal close-ups, the face can be slightly sideways, and the position of the camera lens can be appropriately raised, and the angle of the main light should be slightly higher and slightly sideways, so that the face can be projected, which can make the face appear thinner, and the thin face shape can be compensated by the opposite method.

For people with different eye sizes and deep-set eye sockets, you can also shoot from a slightly sideways angle according to the perspective principle of the lens near and far away, and make the smaller side of the eye close to the camera lens, so that the smaller eye can be slightly larger, so that the size of the two eyes appears close.

It can also be handled with lighting, which was also used by Fili Raschel, who had David Robbie adjust the lighting, arrange Margot Robbie's sunken eye sockets in the dark, and lower the main light to shoot in a softer light, thus compensating for her shortcomings caused by the transition to weight loss.

Robert Downey Jr. and Margot Robbie adjusted their status, the camera footage and lighting were fully in place, and the shoot went very smoothly, Margot Robbie ended the conversation with Robert Downey Jr., stood up and left, and the camera was frozen for a long time on the character of Robert Downey Jr. who was dazed after taking drugs.

It was a freeze-frame shot, and Murphy took one look at it and shouted, "Stop!" This one has passed. ”

But before the people from the various departments of the crew could breathe a sigh of relief, Murphy said loudly, "Jack, touch up Donnie and Maggie's makeup, and do it again in fifteen minutes." ”

Then, he waved to the main camera, and Philip Raschel walked over again.

Waiting for Philip Raschel to come over, Murphy played it again, pointed to the stop frame shot of Robert Downey Jr. at the end and said, "It's not appropriate to use a stop frame here to show the trance of the characters after taking drugs." ”

Philippe Raschel replayed the shot he had just shot and said, "There is no continuity in the freeze-frame here, and the effect is really not good. ”

Murphy thought for a moment and said, "In this case, let's try the push rail zoom." ”

The camera slides in the venue have already been laid, as long as they are properly adjusted.

The most direct lens effect of push rail zoom is the vertiginity effect, which combines push rail and zoom, and the zoom lens zooms out when the camera push rail is close to the subject; As soon as the camera moves away from the subject, the zoom lens pushes closer.

As long as it is executed properly, the size of the subject in the frame can remain the same, while the background perspective will change drastically, and it seems to be constantly moving closer or farther away from the subject, the effect is extremely strong and blurry, so it is only suitable for important moments of the plot, push rail zoom is often used for people in the lens who are surprised by what they see and know, or in a state of stun, and is also used to express strong emotions, such as anger, obsession, love, paranoia, fear, and the situation after medication.

In addition, the speed of the zoom will affect the viewer's interpretation of the plot and the emotions conveyed by the camera, and when strong emotions are expressed, the speed is usually very fast, so that the audience can easily perceive the change in perspective.

In other cases, the tempo is slowed down, making the changes in perspective subtle, sometimes difficult to see, less subtle, but conveying that something is happening, albeit not drastic, but meaningful.

Filming on location soon began, Murphy stood behind the director's monitor, carefully observing the changes in the camera, when Margot Robbie left on the set and the camera turned to Robert Downey Jr., it was no longer a freeze-frame, Filip Raschel switched to a close-range wide-angle lens, and the camera was also very close to Robert Downey Jr., during the shooting, when the lens zoomed to a remote view, the camera quickly retreated along the slide rail, immediately moving away from Robert Downey Jr., so that Robert Downey Jr.'s size in the frame remained the same, but the background looks closer to him.

Murphy immediately replays the shot, a scene where the zoom effectively conveys how lost and frustrated the protagonist is at a critical moment, while also demonstrating how much the focal length does not affect the depth of field when the size of the person remains the same, as the distance from the camera to the subject cancels out this drop, and the background is out of focus from beginning to end, regardless of whether the lens is wide-angle or remote.

After looking at it, Murphy nodded slightly, which was exactly what he wanted the camera to achieve.

"It's much better than just now." Seth Rogun, who had been watching from behind, came over and said, "It's just the right reflection of Diego Rose's situation at this stage where he needs to choose." ”

"It's a push-rail zoom, and it can actually be used in another situation." Murphy simply said, "Push the rail zoom is also used in a rare situation, that is, to highlight the background of the composition rather than the subject in the foreground, leaving the subject out of focus, which is usually used to show that the characters in the play feel that the scenery around them is distorted due to their psychological state or supernatural powers, which is the favorite technique of horror films." ”

This interesting technique of using the camera is also known as the "Hitchcockzoom" or "Vertigoeffect" because of the use of Hitchcock in his films.

In fact, the principle is not complicated, that is, while rotating the zoom lens to change the angle of view, move the camera towards or away from the object, so that the object remains the same size in the picture.

Thus, the camera moves forward while moving away from the object, or vice versa, so that the image creates a continuous perspective distortion in the zoom, most intuitively characterized by a change in the size of the background and the same subject.

The filming of the film has just begun, everything can't go well, and Murphy is not the first time to shoot a movie, he can be regarded as an experienced director, and he knows the actual situation and effect during shooting, and there may be a gap with what he expected, so the director needs to make adjustments in time.

It took five shots of the first shot before Murphy was completely approved, and in addition to making adjustments to the plan, he also conveyed the concept of a demanding shot in this way.

Shooting is like this, no one can guarantee a smooth ride, but there are some things that can be done in advance to reduce the chance of making mistakes.

Later, Murphy filmed Robert Downey Jr.'s one-man show.

He plays Diego Rose, Murphy and his friends, and understands that the film is not for profit, but more for commitment and friendship, and has invested a lot of time and energy in studying the characters, and the state adjustment is quite good.

Over the course of the morning, Murphy shot a total of four shots, and during the lunch break, Gal Gadot, who was the producer, approached him.

"These two documents need your signature." Gal Gadot laid the two documents flat in front of Murphy and handed over a signature pen, "This is the venue lease agreement between the crew and Stanton Studios......"

Murphy glanced at it and took the pen and wrote his name.

Gal Gadot put away the papers and said, "Bill just called and received an invitation to Britney Spears inviting you to a party. (To be continued.) )