Clarke's concern for Levy seemed to be casually remarkable, but Levy knew very well that what he said was definitely not a kind word.

Levy wanted to make a 3D film, and this decision has been the subject of a lot of buzz now. How to shoot a 3D movie, how to shoot a 3D movie to look good? People don't know all these questions - after all, 3D animation is still a new thing, a 3D version of a live-action movie, or is it shown on IMAX, how should such a movie be made? No one knows.

Of course, for the audience, they don't understand these questions. In their view, the 3D version of the movie is nothing more than a movie, and it can be made in the same way as the 2D version. However, in the eyes of industry insiders, this is something completely different. In Levy's opinion, there are a lot of things that need to be paid attention to in the shooting of this movie.

For example, one of the characteristics of IMAX is that it has a wider screen and a wider field of view. Such lens characteristics, in a sense, also determine that IMAX movies are not suitable for shooting with close-up shots.

After all, on a huge screen, revealing a huge face is not such a thing that makes people feel overcome. As the joke goes, the size of a sewer on top of a nostril certainly doesn't look very comfortable.

This is a problem that many people in Levy's memory are committing, and many 3D movies have to stare at people's faces when shooting, which makes people uncomfortable no matter how they look at them - however, their movies originally relied on 3D to make money, and these aspects, I'm afraid they didn't think much about it.

And in order to meet this need, what IMAX movies need is to present more long-range shots and present large scenes. In the lens, dozens of storey buildings appear, towering mountains, starry sky images, these things. It's much better than a human face.

The use of long-range lenses in 3D movies is very different from that of 2D films. When shooting 3D movies, you need to pay attention to the problem of depth of field. After all, with enough depth of field, you can highlight the sense of spatial staggering and make the 3D effect stand out. And if you want to create enough depth of field, then a big problem is to highlight more obvious people and scenery in the center of the picture to attract the audience. This creates depth of field. How do you create depth of field in a long shot? This is inherently a nuisance.

After all, the shooting of some movies is completely the effect of movie stars. If you don't give enough shots of movie stars in the movie and don't shoot close-ups of these stars, then how can this movie be made?

If this problem is solved, then the next problem will arise accordingly. When the depth of field is created, the core image in the middle of the movie will be more prominent. People will pay more attention. And when people pay attention to the core picture of the 3D movie, they naturally don't pay special attention to other backgrounds and global images. As a result, a new problem is created: people's eyes are only focused on the scene in the middle, regardless of the overall picture. The eyes will be more tired. And if the movie is switched very frequently, and the depth of field is constantly changing, the fatigue of the human eye will increase even further - even if a movie is good. If the audience feels tired after watching it for a while, then the movie is considered blind.

Over the years, with the maturity of digital editing technology. Even when filming movies in Hollywood, there are more and more ways to take short shots and switch quickly. There are quite a few directors who have made a name for themselves with their sharp editing, which is also popular - after all, using more short shots than long shots, which are difficult to shoot, can make shooting easier and faster.

However, 3D movies completely subverted the law of the development of Hollywood films. The last thing you can ask for when shooting such a movie is sharp and fast editing. Watching fast editing in 3D mode, the human eye will be very tired is one aspect, and, because the IMAX screen is very large, it is easy to cause another problem: the large screen gives a larger amount of information, a larger amount of information, which means that the human brain is slower to accept, and the human brain may not be able to adapt to it, and it is easy for the audience to see this picture clearly, so they jump to another picture, which will bring strong discomfort to the audience.

Such characteristics also determine the shooting techniques of many directors, which cannot adapt to 3D movies at all. For example, in Levy's memory, Christopher. Nolan is adamant about making 3D films, in part, because he knows very well that one of the great advantages of his films is that they are well edited. To shoot a 3D movie, it is to choose the advantages and the weaknesses, and the wise do not do it.

Every director has his own shooting style, and the shooting style is not suitable for a certain technique, which is not terrible, and without this kind of self-knowledge, it is really terrible to try.

Therefore, in the case of using 3D and IMAX at the same time, the first big trouble is that there are a lot of long shots, and the second trouble is that more long lenses are needed.

And after noticing this, it's not the end. Because after noticing these, a problem immediately followed: long shots in 3D movies, also need to pay attention to a lot of things, compared with general movies, in 3D movies, long shots need to pay attention to, is to reduce the sense of lens shaking: 3D movie shooting methods determine that if the lens shakes strongly, it is easy to have image ghosting, and this will also cause discomfort to the audience.

What to do with these long shots to make the audience more comfortable? This is also a problem.

These problems are all different from ordinary blockbusters. If the blockbuster of 2D movies relies on the characteristics of many action scenes and fast scene switching to win, then the advantage of 3D movies is that the scenes are large, the sense of hierarchy is strong, and the picture can be more highlighted.

On the one hand, the progress of science and technology has promoted the development of films, and on the other hand, better shooting skills are also needed to promote catering.

A good movie is not only a product of technology, but also a product of shooting skills. When shooting a movie, you need to pay attention to the actors in the movie, but you also need to pay enough attention to the shooting techniques of emerging technologies to be able to shoot a good movie. There are many 3D movies in Levy's memory, but there are few that have actually been filmed, because such movies are not those things that can be filmed at will. If you don't have enough technology to play these, you'll just make a mess.

All kinds of questions, in Levy's mind, are swept through one scene after another. These are these problems, but now except for Levy, but not many people can summarize - after all, Levy has seen 3D movies, I don't know how many, and he has a general idea and understanding of these movies.

It's already hard to come by. Because these current directors are still in the stage of crossing the river by feeling the stones. Of course, some people are more talented and can summarize some shooting rules of 3D movies from the characteristics of 3D and IMAX, but no matter how good the inference, it is only an inference, compared to Levy, he already has a deep understanding. After all, there are still some gaps in their grasp of the details.

It's just that he knows what he has to do with these things. Others don't know. Although Levy's previous films are pretty good in terms of lens editing, they are in terms of character creation and shooting shots. However, he pays great attention to the use of close-up lenses. Now that you suddenly want to shoot a movie with long shots, how do you shoot it? In the eyes of others, this is a big problem.

However, because I have a better understanding of these things in my heart. When Levy was filming the movie, he made his own choice early.

"First of all, I would like to say that all the shots had to be shot on IMAX, and when shooting, we used full screens instead of ultrawidescreens. In this regard, let's pay attention first of all. ”

This is a question that Levy is talking to Michael. After all, the preparation of the movie Michael requires a lot of effort.

Levy naturally has his own reasons for these ideas: film shooting is to better reflect the IMAX effect, and in this regard, Levy has to learn from Nolan: although Nolan never shoots 3D movies, but the practice he insists on in 2D movies also greatly enhances the viewing effect.

In terms of screen width, Levy naturally chose a full screen - he knows very well that in IMAX movies, there are two black bars on the top and bottom, what an uncomfortable viewing experience, if you really want to shoot a good 3D movie, then you have to use a full screen - in this aspect, he believes that James . Cameron must also agree, because in his memory, not only the Avatar is shot on a full screen, but even the 2D version of the Titanic, which was originally shot on an ultra-wide screen, has also become a full screen after being transformed into a 3D mode, which is something that must be paid attention to technically.

And after taking care of Michael, he also took care of Bob.

"At the beginning of the movie, it's best to immediately have a cosmic picture. The wider the IMAX screen, the closer it will be to the movie from the audience's point of view. If you directly use a long shot to show the depth as soon as you come up, then it is easy to pull the audience into the movie and make the audience feel immersive, which is the first thing to pay attention to. ”

3D film shooting, how to make the audience feel like they are in the middle of it, is very important, therefore, Levy in this regard, also has to tell Bob. After all, Bob had only written scripts for 2D movies before, and there were some issues that he needed to pay attention to.

This kind of practice of immersing yourself in the picture as soon as you come up has been applied in some documentaries, and this time Levy also hopes that his crew will use it.

In addition to this, another example is that camera switching is also an aspect.

"When you cut shots, try to use gradients instead of abrupt changes. Don't pursue suddenness, don't pursue excitement, use more rendering, and use a gradually increasing sense of oppression to make the audience immersive. In this regard, we should also pay attention to it. ”

Compared with the first part, the camera switching of this part naturally needs to be changed here: in the first part, Levy deliberately used a quick switch to constantly present the lives of three people, but in this part, this quick switch cannot be used.

Levy, on the other hand, preferred to use a gradient lens to make the switch, after all, as he remembers, Life Pi did just that, and it was a great success.

There is no reason why he should not use these successful experiences. Only by learning from others' strengths can we make a good movie.

Filmmaking is a technology, while 3D filmmaking is a completely new technology. Luckily, Levi has mastered this technique better than others, and in this technique, he has abilities that no one can match. (To be continued......)