After adjusting the cameras, the rest of the crew was ready, Murphy immediately announced the start of filming, and as with previous shoots, he continued to control an IMAX camera himself, but this time instead of a panoramic shot, it was a close-up of Henry Cavill. Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 ｉｎｆｏ

Just like the previous films, close-ups are a common means used to create characters.

This is a pivotal moment on the eve of Chris Dane's final showdown with the Magic, and Murphy will surely give Henry Cavill enough close-ups.

Although he is not a professional photographer, Murphy has been a director for many years, and he also has unique experience in photography, especially this important close-up, after several important assistants of Philip Raschel jumped ship, the newly recruited photographers do not talk about ability, and it takes a while to adapt to the style alone, so in addition to Philip Raschel controlling an IMAX camera, if there is an extremely important scene, he will personally take charge of the scene.

IMAX cameras are more troublesome to control than ordinary cameras, but Murphy knows very well that in order to become a good photographer, you first need to observe, to understand the light, not the camera itself, and the use of the camera is not particularly difficult, it is easy to do a standard operation, but it is more difficult to do a non-standard operation.

Just like a director, most cinematographers have their own style and preferences, for example, some people like black and white, like to find things in black and white, and like the change of color depths, and these things can be different every day, others may like something else, the most important thing is to show their own image after feeling deeply.

This is also an important reason why Murphy himself went on the scene to shoot.

Close-up is one of the basic shots in film shooting, close-ups are always the shots that show the details, and different close-ups also have specific meanings behind them, which can play a different role.

Filming soon began, and Murphy, according to the shooting plan he had developed, took the lead in giving Henry Cavill a standard close-up, and since Henry Cavill was wearing a mask, the focus of the close-up was not his eyes, but his mouth.

Murphy skillfully manipulates the camera and fills the camera with Henry Cavill's face, but instead of placing Henry Cavill in the middle of the frame, he composes the shot according to the golden rule of thirds.

After shooting the desired shot, he moved the camera slightly, which only put Henry Cavill's face in the center of the frame, and this shot was shown on the movie screen when the actor Chris Dane looked directly at the audience.

Through this shot, Murphy wanted to present a male protagonist who was still calm and calm in a tense situation, which is also an excellent use of close-ups.

Murphy continues to adjust the camera so that Henry Cavill's gaze is slightly off the camera, but the reflection on the black Kevlar helmet creates a bit of perspective composition with Chris Dane in focus, and he uses this close-up to make Chris Dane's search for the magician and the conversation with Sheriff Lynch even more gripping.

Although he was shooting close-ups, Murphy was not static, but used different shooting methods depending on the time period, he zoomed out the lens slightly and further expanded the framing area, from the top of Henry Cavill's shoulders to the top of his head, which was the widest close-up he would use.

Murphy then pushes the camera in again, and the frame becomes a standard close-up again.

In post-editing, these mid-shot close-ups serve as a bridge from wide shots to standard close-ups, which can make the tension in the scene suffocating.

Murphy here borrows from George Lucas's filming technique in "Star Wars: The Phantom Menace", although Star Wars fans are very disappointed with the prequel series, but there is one thing in common: Darth Maul is definitely a ruthless character, and one of the best shots of this film is the close-up of Darth Moore with a little push movement in the finale of the battle scene, and Darth Moore's lightsaber duel with Obi-Wan and Quigang King immediately cuts to this shot, and its composition makes Darth Moore's dominance even more impressive.

In addition, when Murphy was planning the filming here, he also watched Stanley Kubrick's "The Shining," in which Jack sliced a hole in the door and poked his head in, catching his wicked peeping look in a close-up, at which point he uttered one of the most famous lines in film history: "Johnny is here!" ”。

It's perfect to cut through this scene because it sucks the audience into the cinematic space and creates a sense of horror in the throat.

Then, Murphy changes the camera again, and the shot becomes a typical large close-up, which mainly switches between Henry Cavill's talking mouth and determined eyes exposed outside the mask, but most of the time, the subject of the big close-up is Henry Cavill's determined eyes.

In post-editing, such close-ups are used in the camera cuts with Christoph Waltz, which can easily establish the echo between the characters and effectively enhance the tension of the drama.

In front of the camera lens, Henry Cavill ends Christopher Waltz's conversation and turns to walk outside, and Murphy adjusts the camera lens at the right time, follows in a close-up, and uses the character's movement to create a tangential effect.

Murphy reduced the framing of standard close-ups with a very wide-angle lens, but at the same time he combined wide-angle and close-ups to convey a richer visual message.

In fact, it all depends on being able to use the right visual language at the right point to help the narrative.

Henry Cavill walked out of the set, and Murphy finished filming, got up from behind the camera, and said, "Good! This one is over! ”

He then said to Henry Cavill and Christopher Waltz, "Henry, Chris, you guys are doing very well!" ”

As in the past, Murphy would give the actors much more encouragement than scolding during filming.

Murphy looked at the time and said, "That's all for today's shoot!" ”

He handed over the follow-up to assistant director Michelle Williams, and he walked into the temporary press room at the outermost part of the set, accompanied by the press and public relations staff of Twentieth Century Fox and IMAX.

According to the plan made last week, Murphy will give a joint interview to the media in order to cooperate with the promotion of the film.

In addition to 'viral marketing', Twentieth Century Fox has not relaxed its conventional publicity methods, and the film "Dark City" is still the Hollywood film that uses IMAX the most, and IMAX is also using appropriate resources to promote the film.

The topic of this joint interview is mainly around IMAX technology.

"Stanton Director ......"

At the beginning of the interview, probably at the behest of IMAX, a reporter wearing gold wire glasses couldn't wait to ask, "You've used IMAX cameras to shoot in your own projects several times, do you like this technology very much?" ”

"I love shooting with IMAX cameras,"

Facing the reporter's voice recorder, Murphy did not hesitate to recite the answer he had prepared before, "because it can enlarge and relax the picture, and give full play to the scale and proportion." In the last "City of Chaos" and other films, I have already appreciated its extraordinary ability, through continuous learning and research, our technology is becoming more and more mature, and the exposure index and other aspects can better serve the film. The continuous updating of technology has allowed us to continuously improve our shooting standards. ”

Nowadays, a film is shot with a lot of IMAX cameras, which is already one of the selling points, and these words are also for publicity.

"Murphy ......," another middle-aged reporter then asked, "Can IMAX technology effectively improve the audience's viewing experience?" ”

"Yes! There is no doubt about it! ”

After confirming this argument, Murphy explained in detail, "In terms of picture and sound quality, IMAX technology provides an immersive viewing experience, because the format and clarity of the picture present the kind of expansive and immersive feeling in front of human eyes, coupled with high-fidelity surround sound, it is difficult to make people forget." We spent three months working with Sony Electronics and IMAX to restructure the viewfinder on the camera and refine the lens so that we could shoot extremely high-quality images even in the dim environment of the machine. All of these improvements have been made in a way that we couldn't do with the previous two films. ”

However, during the filming, the bulky phantom.65.IMAX camera caused a lot of trouble for Philip Raschel and his camera crew, and it was enough to set up the big guys on the camera cart and lift used for filming, and the crew had to re-cut and weld them on the lift to fit the bulky guys more securely.

When filming the ground scene in the studio, the crew placed thick aluminum plates on miniature moving tracks because the camera vehicles could not enter, thus creating a horizontal working platform for the phantom.65.IMAX camera.

In all the scenes shot with IMAX cameras, Murphy required a two-camera shoot, and at least two of the three technicians assigned to the IMAX crew had to assist Filie Raschel's camera crew on the set to deal with some difficult filming assignments and carry out temporary repairs to ensure the smooth running of the crew's work.

In general, in terms of film loading, film transfer and operability, the phantom.65.IMAX camera is no different from other cameras, but there will be many unexpected situations when changing the film, which will lead to the failure of the card, if the card phenomenon is too serious, this phantom.65.IMAX camera can only be temporarily out of work, dragged to the IMAX branch workshop in Los Angeles, to do professional disassembly and repair.

In a way, these bulky big guys are more delicate than regular cameras, and the number of IMAX cameras in the world combined is extremely limited, and if both phantom.65.IMAX cameras fail, Murphy will either pause shooting or switch to a regular film camera.

In Murphy's hands, the phantom.65.IMAX camera was mainly used to shoot action, panorama and impact shots, and other ordinary shots were mainly shot by ordinary digital cameras.

Even now, the cost of IMAX cameras is high, and using IMAX cameras all the way is neither convenient nor too luxurious.

With this interview in the press, Twentieth Century Fox also pushed for another viral marketing plan.