Ask for commuter passes and recommended tickets!

"This way!"

A staff member led the way and led Murphy and Filip Raschel to the terrace on the top floor of the Death Star Tower, where a helicopter had already started, the huge propellers slowly accelerating, the roaring engines and the whirring wind ringing in the ears. Pen × fun × Pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

It was a little overcast and the sun was barely visible, and Murphy, carrying a video camera, beckoned to Philip Raschel and a camera assistant in the back, and the three of them got into the helicopter and were immediately approached to help them secure their seat belts and install equipment.

"We have three hours!"

The man said loudly to Murphy and Philip Raschel, "The ATC only gave us three hours of authorization. ”

"Enough!" Murphy also raised his voice, "Now take off." ”

The helicopter slowly lifted into the air and quickly accelerated out of the Beverly Hills, heading due east towards downtown Los Angeles.

Murphy's target is the Old Chinatown neighborhood in the downtown area, and he plans to shoot a portion of the panorama for the film's opening.

As the plane approached the city, the pilot, who was not the first to work for a Hollywood crew, quickly adjusted to a height suitable for filming, and Murphy gestured to Philip Raschel, and the two of them operated their own equipment, photographing the downtown buildings from the doors on both sides of the helicopter.

Compared to Century City, the houses here are low, with a slightly dilapidated blue-gray and dark brown color.

Of course, while the downtown area is nowhere near as prosperous as Beverly Hills, there is no shortage of reinforced concrete buildings.

Murphy first shot with a wide-angle lens with a regular film camera, and after the helicopter circled the old Chinatown, he replaced it with a Sony digital video camera.

It's also the only place where Murphy shoots digitally.

The reason is simple, Sony's electronic digital video camera is not at all comparable to film cameras in terms of overhead shooting of buildings and cities.

When shooting cities or buildings, the first choice of any director or cinematographer is almost always a wide-angle lens, and wide-angle lenses do have a natural advantage in this regard.

Just like Murphy's first lap, the wide angle is indeed a hardware device for architectural shooting.

But isn't there only a wide-angle lens to document a building or a city? If Murphy were to choose, the answer would be no, as advances in technology have given the camera more powerful capabilities to capture cities in a more complete way.

Murphy was quite familiar with the area, but shooting from the top of the air was a different feeling, a strangeness.

It is a seemingly quiet place here, where many evils are hidden, drug trafficking, arms, gangsters......

As long as you live in it for a while, you will inevitably see another side of the so-called paradise that America shows.

In this film, or any film since entering Hollywood, Murphy has never filmed the good side of America, and the films he has studied and the deeply influenced ideas have made his lens appear more of the dark side of the country and society, even the superhuman movies of the pride of the sky.

Therefore, Murphy deliberately chose such a gloomy bad weather to shoot.

With the desired lighting conditions, we also need to have enough good shooting equipment, and the panoramic scanning function of this latest Sony electronic digital technology camera in Murphy's hand can produce a wide field of view that far exceeds that of ordinary wide-angle lenses.

The helicopter quickly completed its second turn.

Murphy pressed the intercom and said to the pilot, "One more lap!" ”

Then he told Fili Raschel, "Shoot in black and white!" ”

This camera comes with a black-and-white shooting function, which is really easier to use than a film camera that has to be replaced for black-and-white film.

Frankly speaking, there is an inevitable development trend for digital shooting technology to replace film as the mainstream of the Hollywood film industry.

The helicopter flew around again, and Murphy briefly looked at the black-and-white footage and informed the pilot that it was time to return.

Although the black and white lens does not convey as much information as the color lens, it can make the colorful picture simple and unified, and at the same time, it can also purify the complex background, make it harmonious, look more comfortable and tasteful, and the scene full of nostalgia can often bring people a more far-reaching artistic conception.

According to Murphy's idea, the film opens with a black-and-white and color mix of a panoramic shot of downtown Los Angeles, especially the buildings around Old Chinatown.

As for whether black and white shots are used more or more color shots, this should be measured in post-editing.

The day after filming this part of the shot, the crew officially announced the start of filming on the set of the warehouse near the small city of Venice.

There were a lot of media reporters at the scene, and Twentieth Century Fox also wanted to use it to promote the propaganda offensive, and the film was naturally topical and controversial.

"Director Stanton, why are you making such a film?"

Although most of the media reporters are from Twentieth Century Fox or News Corporation's media, there are other reporters, even News Corp., it is impossible to completely control the voice of the media, just as Murphy was about to leave the press conference, a reporter suddenly flashed out and asked loudly, "Such a film that the audience is destined not to like, is it filmed by you, does it mean that you are really related to the drug cartel?" ”

The last question, Murphy didn't bother to answer, no matter how he explained, it was useless, and he couldn't explain it clearly, so he simply said, "I am creating for myself, you can't decide the audience's aesthetics, and you know that the audience's aesthetics you may not cater to; You cater to the audience's aesthetics, and you may not do better than others, you can only wait for your aesthetics to coincide with the current audience; Of course, you can also lead the aesthetic through advanced awareness. ”

Throwing a bunch of words at that, Murphy strode away and into the studio, ready to begin shooting the planned interior shots.

Arriving in the studio, before the official shooting began, Murphy made a formal confirmation work for the second time, so as not to be overlooked and cause problems with the follow-up work.

For example, confirm that all the shooting scenes can be executed according to the announced time, confirm that each shooting prop meets his requirements, confirm that the modeling design of each actor has met the requirements, and ask the stylist to take makeup photos and paste them in the shooting script, confirm that the director of photography has understood the lighting effect he wants for each scene, confirm that the recording knows that he has understood the special sound effect he wants, and confirm that he has enough auxiliary equipment for the day's shooting......

Making a movie is a process of constantly solving difficulties, the start of every film is the beginning of a director's career and destiny, and every mistake can cause a devastating blow to a crew.

After these were all right, Murphy picked up his work diary and glanced at it again, the director's desk work decided everything, it was impossible to hope for temporary performances on the spot, and time was limited, he was not the king of sunglasses, and a movie alone would take several years.

With that out of the way, Murphy circled around the built room scene and said to David Robbie, "The lighting is so soft! Harder! Be dark! ”

At the same time, he pointed to a graffiti version of the sun and sunflowers on the set wall and said, "Helen, replace this, and the room should not have anything to do with sunlight." ”

"Okay." Helena Espora didn't say a word, and hurriedly asked her subordinates to check the background of the shoot again.

Seth Rogen, as the assistant director, walked up to Murphy at this time, "Is there anything you are not satisfied with?" ”

"The scene must not be built in the slightest sloppiness." Murphy glanced at Seth Rogan and said, "It depends on the story that happens before the camera, the filming on set, and the post-production. ”

Hearing Murphy's words, Seth Logan immediately perked up, and he knew that Murphy was talking about some experience, which was very rare for him.

"Lighting, color, music, and camera movement are key factors in getting the right mood for a scene or for the entire film." Murphy in front and Seth Rogen in the back, came to the lighting group together, he continued, "We enhance or change the tone as needed, there are some simple ways to help you achieve the desired effect, the most important thing is the lighting, by adjusting the lighting of the picture in post, it is far less than the correct lighting on the scene." ”

He added, "Music and ambient sounds can change the tone of a film in some cases." ”

Seth Rogan nodded earnestly.

"Since everyone's tastes are different, there is no right or wrong when you choose a particular picture effect, and it is your task as a director to find the right tone and picture."

The two men came to a camera, and Murphy looked at his busy camera assistant and said to Seth Rogen, "When you're shooting a scene, look at the monitor and make sure it's going to work as intended, and then adjust the things in post that you can't control on the spot." Filmmaking is not just about one aspect, it's about combining different aspects to create the best possible experience through careful consideration. ”

Compared with Jona Hill, a good friend who is always not serious, Seth Rogen has been working very hard, especially in terms of directing, when he finds that he still has a lot of things he can't understand, some basic technology and professional knowledge are not understood, what he does is often very simple, ask more questions, learn more after filming, summarize more lessons learned, and the next time it will always be better.

That's why he came to this crew to continue his learning journey.

Seeing Robert Downey and Margot Robbie coming to the filming location with good makeup, Murphy stopped talking and called the two actors over to say a few words, they have not worked with each other once, plus they are friends, communication and understanding are extremely smooth.

Once everything was ready, the crew began filming the rivalry between Robert Downey Jr. and Margot Robbie. (To be continued.) )