It was dark in the studio, and Henry Cavill, dressed in black uniform, stood in front of the camera lens, his strong body was like a small mountain, and he looked full of explosive power, like a tiger about to descend from the mountain, and his whole body gave people a very dangerous feeling. Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 ｉｎｆｏ

After the tempering of "City of Chaos", coupled with the assistance of makeup, costumes and cameras, Henry Cavill's aura is obviously stronger than before.

On the opposite side of Henry Cavill, several people dressed somewhat similar to him were tied up and squatted there.

The scene is very simple, just a few lines of dialogue.

But this simple play is expressing a theme that is not simple.

"Why do you have this right!" In the face of Chris Dane's persuasion, one of the imitators asked loudly, "How do you feel different from us?" ”

Henry Cavill didn't have any expression and coldly dropped a sentence, "I don't wear a chest guard for ice hockey." ”

Then, in silence, he turned his head and walked away.

“CUT！” Murphy shouted to stop the crew, "This one is over!" ”

After all, with "City of Chaos" as a foundation, the filming this time was much smoother, and Henry Cavill was wearing a mask, and Murphy didn't ask him to play well in acting, and the only more demanding voice could be synthesized through post-production.

The crew temporarily entered a short adjustment and prepared to shoot the next scene.

Margot Robbie, who has no role today, stands on the periphery and watches with Gal Gadot as Murphy directs the entire crew.

"Gail......" Margot Robbie suddenly asked, "why did Chris Dane give such an answer." ”

Although Chris Dane satirized the other party's question in a humorous way, he did not answer that question directly, and Gal Gadot saw it a little more clearly, "Because Chris Dane was speechless about that question." ”

"Speechless?" Margot Robbie couldn't help but look at her strangely, "Why do you say that?" ”

"Quite simply, why does Chris Dane have the power to break the law?" Gal Gadot's eyes turned to Murphy, the theme of this film is definitely the deepest of all commercial films, "I think that's what Murphy wants to express." ”

Margot Robbie still didn't understand, and couldn't help but continue to ask, "Chris Dane is fighting crime, isn't his appearance just to save the chaotic and dark city of New York?" Isn't he the embodiment of justice? Is it the vigilantes in New York? ”

"My dear, I studied law in college, and there has never been a police officer in law!" Gal Gadot said seriously, "Should an individual, even someone like Chris Dane, be above the law?" ”

"Uh......"

Although she has not studied the law specifically, Margot Robbie also knows some basic common sense, according to the conventional saying, no person or team is above the law.

While the two of them were discussing, Murphy's voice asked the crew to start filming sounded on the set again.

Christopher Waltz is already standing in front of a laid green screen with Henry Cavill.

Murphy and Philip Raschel each control an IMAX camera and shoot the dialogue between Christopher Waltz's Sheriff Lynch and Henry Cavill's Chris Dane from a 45-degree angle on the same side.

Standing in front of the green screen, Henry Cavill said to Christopher Waltz, "Is it beautiful? Right? ”

Puzzled, Christopher Waldsdo asked, "What is this?" ”

"This is through a high-frequency transmitting receiving device." Henry Cavill said seriously, "One of the devices left behind by Reina's organization in New York can turn every cell phone that is on the phone in New York into a megaphone!" ”

"It's beautiful," Christopher Waltz, a policeman, said coldly, "but unethical, and dangerous." ”

His face was quite serious, "As long as half of your cell phones are the source of your sonar, you can spy on the whole of New York, and it's wrong to do that." ”

"Lynch!" Henry Cavill slowly clenched his Kevlar gloved hands, "I have to find that guy, find the magician!" ”

"But at what cost?" Christopher Waltz asked a worried rhetorical question.

He's a realist, so he knows very well that it's hard for the police and the law to restrain a character like Chris Dane, and once he breaks through his own boundaries, he will become as dangerous as Reyna and the magician.

Henry Cavill was silent and did not answer him, and now Chris Dane has no time to discuss these questions about morality and democracy.

After a while, he said, "I'm here to restore peace to the city." ”

Christopher Waltz still frowned, "This power is too powerful for one person. ”

Not far away, Gal Gadot and Margot Robbie have been keeping an eye on the filming location in front of the camera, and the two are also nodding, obviously agreeing with Christopher Waltz's lines, if in the real world, there really is someone who can monitor everything about them through the device, it is simply creepy.

Sitting behind the director's monitor, Murphy thought of another thing, this country is far from being as democratic as he advertises, and the degree of being monitored, such as the prism gate or something......

He shook his head, and his energy returned to the filming set.

Henry Cavill stared at Christopher Waltz, "I've found the place for the magician, I need you guys to give me a little time!" ”

"Where?" Christopher Waltz asked.

"Follow the signal from above." Henry Cavill didn't answer him, just threw a receiver at Christopher Waltz, "The last place I stayed, was the magician's place!" ”

Henry Cavill turned and walked outside, and just as Christopher Waltz wanted to ask what to do with the monitor, he raised his hand and pressed a transmitter.

However, the two of them were faced with a green screen before, and of course there would be no reaction, and these effects had to be added through post-production.

"Stop!" Murphy stood up from behind the camera and said loudly, "This is over, all departments are reset, rest for ten minutes, and shoot again in ten minutes." ”

Then, he said to Philippe Raschel, "According to the plan, close-up!" ”

Since IMAX only provided two IMAX cameras, Murphy and Philip Raschel's cameras were used to capture and shoot panoramic shots respectively, and could not take into account the close-ups of the actors, which was a limitation on the number of equipment, and the best solution was to shoot a few more times.

This is also something that can't be helped, although there are a lot of IMAX cameras nowadays, but Murphy uses MSM.9802 film cameras, there are only four in the world at present, and the other two are currently in other crews, and now these two are the largest resources that IMAX companies can deploy.

MSM.9802 film IMAX camera, is the most widely used IMAX camera in Hollywood, once hung in TDK shooting, is this model, this machine is very commonly used, once changed 2, disc 4, dark knight, dark knight rises, trek, hunger games, interstellar, star 7, super bat and so on have used this machine.

However, this machine can only shoot in 2D, and if the movie made with it becomes 3D, it must be 3D in post-production.

In the past, IMAX cameras were built on film, but technology is constantly evolving, and today's IMAX cameras have a digital version.

IMAX's recently launched phantom.65 is a 3D digital IMAX camera, which is used in films such as "Transformers 3".

This camera was more convenient than a traditional IMAX film camera, but Murphy chose to shoot on film for his own goals, and had to abandon the more advanced phantom.65 camera.

As the soul of the entire crew, Murphy's use of IMAX cameras will be more frequent and in-depth than the previous "City of Chaos", and "Dark City" will also be the film that uses the most IMAX lenses so far, and after an additional $20 million investment from Twentieth Century Fox, he has increased the proportion of shots to 65 to 70 percent.

In the face of large sums of money, IMAX provided Murphy with a strong technical backing, and these heavy cameras were built by hand, each with a different personality, but they were basically the same system, and all the parts were interchangeable.

EVERY IMAX CAMERA COMES WITH ITS OWN PRIME LENSES, WHICH ARE AVAILABLE IN 40MM, 50MM, 80MM, 110MM, 150MM AND 250MM, MANY OF WHICH ARE FITTED WITH A T2.8 APERTURE WITH A 65MM ADAPTER RING AND A HASSELBLAD CAMERA LENS FOR MEDIUM FORMAT.

Focusing on IMAX cameras can be a trick, and in the past, Fili-Raschel couldn't focus manually, so you had to use a remote focus with a torque motor to do so.

During the preparations, Murphy made some requests for the use of IMAX cameras based on his previous technical experience, and asked IMAX technical engineers to improve some of the lenses and build a new viewfinder.

IMAX'S TECHNICAL ENGINEERS DISCARDED THE IMAX MECHANICAL PARTS OF THE 80MM LENS AND REPLACED IT WITH A CINEMATIC-SPEC PANAVISION CONVERTER, AND THEY ALSO REWORKED THE ENTIRE LENS HEAD TO FIT A MECHANICAL DIAPHRAGM DEVICE, AS MURPHY REQUESTED.

THE 50MM, T2.5 APERTURE LENS MODIFICATION IS DIFFERENT, WITH THE IMAX COMPANY FITTING MOST OF THE LENS INTO A NEW LENS BARREL TO TRANSFORM IT INTO A MORE STABLE LENS CONVERTER.

IN ADDITION TO THIS, THEY ALSO BUILT A CUSTOM LENS WITH A 50MM AND T2 APERTURE BASED ON THE CONSTRUCTION PRINCIPLE OF A REVERSE TELEPHOTO LENS.

These are the basis of filming, and without enough excellent equipment, no matter how good the idea is, it can only exist in the director's head and on paper.

With the green screen removed and the camera positioned, Murphy and Fili-Raschel each took control of an IMAX camera and began shooting close-ups.