After advising Fili Raschel on the precautions to take during the shoot, and exchanging opinions with Franco Miller, Murphy walked into the set surrounded by green screens, where three camera assistants were setting up the cameras, and Helena Espozela took her assistants to do the final checks on the green screen.

This kind of green screen shooting, which relies more on post-production special effects, undoubtedly greatly reduces the workload when preparing and shooting.

Retracting his gaze from Helena, Murphy looked to his left and saw a familiar girl approaching.

Her blonde hair, simply combed into a ponytail at the back of her head, and she wore a small denim suit, some gray and old, plus a pair of small brown leather boots on her feet, and a pair of eyebrows raised high on her face, showing a unique wildness.

This is...... Murphy thought for a while, and finally remembered that compared to what he remembered, she had grown taller and carried more wildness on her body.

"Hey, Murphy," the girl reached out to greet him politely before she could come over, "It's been a long time, remember me?" ”

"Are you ......" Murphy watched her get closer and closer, "Are you Margaret?" Maggie? ”

Margaret walked over to Murphy four feet away and tilted her head to look at him, "I was on the phone with you yesterday." ”

"Oh, I remember." Murphy smiled apologetically, "I've been so busy lately, and I've always forgotten some things." ”

Seeing the girl on the other side nodding slightly, he politely asked, "Why did you come to Los Angeles?" ”

"I'm on summer vacation." Margaret looked at the green screen around her curiously, "Come here for a tour, I heard that you are making a movie, so let David bring it to see, I haven't seen a movie yet." ”

She reached out and pointed to the wide green screen behind Murphy, "What are these for?" ”

"It's used in place of the shooting background," and the layman couldn't explain it for a while, so Murphy said a few words and asked, "Do you want me to have someone take you around?" ”

When he was in Australia, the other party entertained him, and now he is on his turf, of course, he can't be slow.

Margaret thought for a moment and nodded slightly, "Okay." ”

Murphy beckons Paul Wilson to find a female assistant to take Margaret around.

As soon as the little girl left, Murphy heard footsteps behind her, and James Franco, who had no scene filming today, came over in casual clothes.

He stood next to Murphy, looked in the direction Margaret had left, and asked, "Who is this?" ”

"Don't think about it, Jim." Murphy warned, "She's David Robbie's sister. ”

"Hey, Murphy, you're thinking too much!" James Franco spread his hands and said innocently, "I already have Lily, and I'm not interested in anyone else." ”

Murphy patted him on the shoulder hard, he didn't want to see his crew have nothing to do with infighting.

Soon, filming kicked off, and the main thing to be filmed today was an action scene, about the scene where Muffle, played by Seth Rogen, attacks the police.

The shoot is done with a green screen as the background, and the special effects are added in post, unlike normal green screen shooting, Murphy will use high-speed photography technology to shoot here.

In the early preparations, he Philip Raschel did experiments, and the experimental shots he shot were also approved by Frank Miller.

The style of the whole film will definitely coincide with the comics, which Murphy will not change, but the individual scenes in it will also be appropriately adjusted, such as the action scenes in the comics are completely fragmented, how to shoot and produce more attractive, more like the style of the comics, can bring people a different kind of excitement?

At the end of the day, movies and comics are different.

"Fran, the action scenes of the comics are different from the action scenes of the movies,"

Standing behind the director's monitor, Murphy and Frank Miller, who is the nominal director, said, "In the background of the black and white oil painting, the blood of **** and the corpse of the wind can bring a stronger visual impact in slow motion, which you have also seen in the previous experimental shots, and the effect is very good." ”

"I mean," Frank Miller said, raising his cowboy hat, "these shots need to be properly controlled, after all, that's not what the comics are selling." ”

Murphy nodded, "I know, these will definitely be in moderation. ”

If you don't control it, the film won't be R-rated, but will become NC-17.

Frank Miller is old and can see that the situation in the crew has exceeded his expectations, as long as the style and general direction of the film do not deviate from the track of the comics, he has rarely expressed his opinions recently, and no matter what changes there are, Murphy, the director, always consults him for advice at the first time, and shows enough respect.

What's more, judging from the high-speed slow motion in the preparation stage, the effect of the action scenes is really outstanding.

After the actors and other departments were ready, Murphy quickly shouted to start filming, the shooting looked quite boring, Seth Rogen, who had ugly makeup, and several stuntmen jumped around in front of the camera according to the routine of the action director, and after a few minutes of shooting, they had to stop and readjust, especially Seth Rogen's makeup was quite troublesome, and the slightest touch had to be touched.

At Murphy's request, Filip Raschel and two camera assistants operated three of the latest Sony digital cameras to shoot every shot at high frame rates.

It's actually not complicated, Murphy just wants to integrate the use of high-speed slow-motion action scenes in the old "Spartan Three Hundred" into the fight scenes of "Sin City".

Although "The Three Hundred Spartans" is more colorful than "Sin City", there is a certain degree of similarity in the background drawings of the two works, and Murphy is far more restrained than Zack Snyder, except that this method of filming is used in action scenes.

Action scenes are not the key to the success of a film, but if they are brilliant, they can become the attraction of the audience.

Of course, using high-speed slow motion to shoot action scenes is also a more troublesome job.

The slow motion in the film is not simply slow motion, it is the lowest way to create a slow motion effect, Murphy uses a high-definition digital camera to shoot at high speed and then play it back in slow motion.

Normal cameras shoot at 24 frames per second, and the film is shown at 24 frames per second, but when shooting Seth Rogan's action scenes, the two digital cameras shot at 96 frames per second, and when projecting it was changed to 12 frames per second, it was easy to get a great slow motion.

Of course, such a setting is not obtained out of thin air, but is directly related to the recognition of the human eye.

At this stage, when filming and projecting, the frame rate is basically adjusted to 24 frames per second, which is consistent with the time resolution of the human eye, so although the film is not shown continuously, it forms a coherent image in the eyes of the human eye.

It is precisely because the human eye has such a limitation that some higher-speed movements cannot be fully captured by the human eye, so it is necessary to use external forces to slow down the movements to ensure that they can be fully seen - high-speed photography technology is the product of this application.

High-speed photography is a kind of photography method with fast shooting speed and short exposure time, and then relies on the technology of "fast shooting and slow down" to finally slow down the fast-changing movement process to the time resolution of human vision, so that people can observe. This means that in high-speed photography, the shooting frequency (frames per second) must be synchronized with the rate of change in the object's motion, and the faster the change, the higher the shooting frequency.

This technology has a wide range of applications in Hollywood, as far as Michael Bay's "Death Island" in high-speed slow motion of the opening funeral, and as recently as "The Matrix" bullet time, which can be called the finishing touch in the film.

At the end of the two-hour shoot, Murphy called out the crew to rest for half an hour, and he and Lars Beint, the editor assigned by Frank Miller and Miramax to the crew, to review the footage that had already been filmed.

For Frank Miller, these slow-motion scenes with all green screens and no special effects are really nothing to look at, far worse than the shots Murphy showed him during the preparation of the knife passing through the human body and bringing blood.

But even as a layman, Frank Miller knew that in order to achieve that effect, he would have to go through more complex post-production.

In fact, Murphy and Russ Beint are watching it carefully, and the two of them are mainly discussing the editing points of action shots.

All action shots will be shot with multiple cameras, adding clips from different angles, and the editing points of action shots must be able to reflect and strengthen the emotional power of action scenes, which is also one of the basic principles of action scene editing.

"The character's reaction and action guidance will inevitably lead to a different direction in the plot."

Sitting behind the director's monitor, Murphy watched the dozens of shots on the monitor that played repeatedly as Muffle went on a killing spree because he was killed as a parolee officer, and said to Russ Beint, "Also be able to help bridge the gap between position and continuity, so that the slow-motion part becomes animated, skipping the part you don't want the action." Ideally, it's a good idea to edit the important people in the scene, including the reactions from the participants to the bystanders, into the sequence. ”

Russ Beint nodded, "I don't think a shot shot shot with a push-pull-pan can move at the same rate, and if you edit them together, it will lead to a heart-wrenching wrong scene." ”

"Hmm......" Murphy fully agreed with Russ Beint's statement, "be careful in that regard." ”

He was about to say something, when he suddenly saw Paul Wilson coming over in a hurry, as if there was something urgent.

"Murphy," Paul Wilson tried to keep his tone calm, "there are two people out there, claiming to be from the Directors Guild, saying that our crew has violated the rules of the Directors Guild!" ”

Murphy immediately stood up, glanced at Frank Miller on the other side, frowned, and said, "Paul, you go and inform Bill and Erica." (To be continued.) )