readx;?“ Need a stand-in? ”

Standing in front of the Vientiane Ring, Duke asked Joseph, who was about to shoot a weightless fight scene in the hallway? Gordon? Levitt, the latter shook his head and swore a promise, "I've done a lot of practice, and I'll do these scenes myself." Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 ｉｎｆｏ//”

That being said, Joseph? Gordon? Levitt still had a little nervousness on his face.

Despite the protection of coercion, there is still a certain degree of difficulty and danger in this action scene, and with Duke's work style, the first choice for this kind of scene must be a stunt double, but he will not completely ignore the actor's own opinion.

Most of the scenes here will be played by Joseph? Gordon? Levitt did it himself, but some of the most difficult action scenes inevitably required the use of stunt doubles.

In this regard, the actor has no say, and it is impossible for Duke to let the main actors take such a risk, not to mention the possible troubles of their agency and the actors' union after the injury, and he can't afford to delay it just because of the time alone.

And the shooting here is also the most typical scene of the combination of traditional location and digital technology.

In this scenario, gravity is not enough, and Duke also uses the trick of "zero gravity".

In shooting, the change in gravity is generated by the rotating scenery, so how can complete weightlessness come about?

The traditional approach is that the crew builds a high-speed rotary centrifugal system to allow the actors to perform in real weightlessness; The digital technocratic approach is that it's too cumbersome, just hang the actor in front of a green screen to shoot, and then composite it with the background is easy to do.

However, Duke relied on the perfect combination of traditional location and digital technology to achieve this - the result of a masterful artistic direction imagination and advanced digital technology.

First of all, the entire gravity-free scene was done on a real set, including Joseph? Gordon? The actors, including Levitt, were suspended from the set to create the effect of weightlessness.

But this kind of suspension is not as simple as just hanging a few Wia, according to the action guide Jimmy? Carter's request was that there were so many Wiaws on set that they were like forests, and that they didn't have to worry about appearing in the film and distracting the film itself, because the digital special effects artists could easily erase them all using the latest computer technology.

Duke was well aware and shot the usual way. It was a huge disaster for digital special effects, as it meant a lot of WIA removal work, so he came up with a brilliant way to shoot – make the set vertical and shoot the camera vertically upwards!

Other words. The walls on both sides of the corridor become ceilings and floors in a real sense, and the vertical relationship of the shooting scene becomes the relationship of depth - and vice versa, the depth of the shooting scene is actually the physical vertical plane - so that the vertical hanging Weiya can be seen according to the spatial relationship of the shooting scene. It extends from the sides of the hallway, rather than hanging from the ceiling.

This greatly increases the chances of using actors to block the suspension device, and the special effects artists who do the Wia removal can breathe a sigh of relief.

In this respect, traditional shooting techniques have helped digital technology a lot, but digital has also helped traditional special effects.

For some actors, especially those who are facing the camera head-on – meaning they are filming with their faces down – such as Ken Watanabe and Cillian? Murphy, they can't afford to hang for a long time, so they can only use stuntmen at this time, but don't forget that they have to show their faces in front of the camera......

In this way, face replacement is indispensable. Of course, this can only be done by digital special effects technology, where the digital special effects artist scans the actor's face, makes a digital model, and then attaches it to the body of the stuntman, almost indistinguishable from himself.

Such a special shooting technique requires a seamless combination of traditional shooting and special effects techniques.

In Duke's view, this is the sublimation of special effects production, traditional special effects and digital special effects do not have to be dead or alive, digital special effects represent the future direction of development. And traditional special effects are not useless, the two can complement each other.

Duke's production of Inception is not a game between tradition and digital, but a comprehensive application of the entire film process.

Of course. For Duke, digital effects are used much more than traditional effects.

After ILM's special effects artists finished rewinding Paris, they began to work on another full scene, a complex of buildings on the edge of the subconscious.

Want to make the audience believe Daum when they watch the film? The Cobbs spent a full 50 years building cities on the edge of the subconscious, which meant that the film required a huge number of three-dimensional buildings, and the special effects artists had only a few months to complete the 50-year work.

At the same time, the diversity of architectural styles also increases the complexity of the modeling work.

In order to further amplify the realism of the building. In particular, Duke demanded that cities on the periphery of the subconscious must embody modern architectural aesthetics across different time spans, from Bauhaus architecture to skyscrapers to postmodern styles.

It's up to digital VFX artists who don't have a high standing in the industry.

Don't look at the current box office big productions, there are thousands of digital special effects shots at every turn, and the status of the digital special effects team is actually quite embarrassing.

On the one hand, they are important contributors to VFX films, and on the other hand, Hollywood, which has not fully adapted to the way digital filmmaking is done, does not give them the attention they deserve, as can be seen from the fact that digital special effects technicians are always at the bottom of the end credits.

Anyone who is even a little familiar with Hollywood production knows that most film crews shoot with little regard for how the original footage and VFX work together, and just throw what they've finished to the digital effects department, which is why digital effects are often referred to as "post-processing."

Of course, the situation is changing little by little, and like Duke and James? Cameron's projects are the dawn of digital special effects artists - they are finally no longer just engaged in "post-processing", in the project of the two, digital technical special effects artists successfully infiltrate the entire process of the film from pre-production to post-production.

VFX Supervisor at Inception, ILM's Paul? Franklin has been involved in the film since its inception, and this alone is a rare thing in the Hollywood industry. Prinz, Hannah? Serena and John? Schwarzman and others were part of a core creative team that flew to each of the locations to participate in the framing, set construction and shooting discussions, and had ample preparation time to gather special effects references.

ILM's special effects team, through many previous projects and years of cooperation, has fully won the trust of Duke, and nearly 2,000 VFX shots in Inception will be completed by ILM alone.

It took Duke nearly a month to complete all the studio scenes at Warner Studios, and then the crew left Los Angeles, rented two planes, and flew directly to Tokyo, Japan, where they began shooting the few shots.

Among them, there is a scene on the Shinkansen, it turns out that Duke planned to shoot on the spot, but because there was some uncertainty about the filming location and the management of the Shinkansen, he simply set up a set in the studio to shoot it, and then used it to replace the scenery outside the car window in post-production.

Leonardo? DiCaprio once said that Duke wanted to use filming to go on a trip around the world, which was obviously impossible, the crew was busy with work, and the time for filming was quite tight, and then there were other scenes to rush, and when Duke arrived in Tokyo, he had to use it for filming during the day, and at night to review the camera and deal with other aspects of work.

In addition to being a director, Duke has other identities after all, and a series of investments and industries to pay attention to.

For example, after he acquired the corresponding shares of Relativity, Avatar, which already accounts for nearly 40% of the investment and revenue share, is launching an indiscriminate propaganda offensive in North America and the world, and will also be launched to the global cinema market in December.

On a temporary rental tarmac in Tokyo, a helicopter soared into the air amid a roar, Duke looked up, and when the plane circled around and was ready to land, he signaled his field notes.

"Scene Seventy-Eight, Act Eleven......"

Placing the sign in front of the main camera, the reporter shouted, "Start now!" ”

The main camera lens is deflected, aiming at the helicopter as it lands, and it continues to fall back to the tarmac, and after the helicopter comes to a standstill, the door is pulled open from the inside. Gordon? Levitt and Leonardo? DiCaprio jumped one after another.

Duke made a gesture, and the second camera operated by a camera assistant immediately aimed at Watanabe's face exposed in the cabin, and the microphone used for recording also moved to the side of the cabin.

"Hey, Mr. Cobb." Ken Watanabe shouted at Leonardo's back, and when Leonardo turned around, he said in a seductive tone, "What do you think if you were to go home and return to your children in North America?" ”

"You can't do that!" Leonardo clearly did not trust him, "No one can do it!" ”

"Is it harder than Uekatsu?" Ken Watanabe said again.

Joseph? Gordon? Levitt shook his head at the one in front of him and reminded, "Cobb, let's go." ”

The longing for home and children gradually became written on Leonardo's face, and he did not listen to Joseph? Gordon? Levitt reminded him, strode back to the helicopter, and asked Ken Watanabe, "How complicated is this idea?" ”

Ken Watanabe had a faint smile on his face, "It's pretty simple. ”

Filming in Japan went smoothly overall, and by mid-December, Duke had ended all of his Tokyo location roles and handed over the crew to Anna for the time being. Plitz was in charge, and he returned to Los Angeles with Leonardo to get involved with James? Cameron's Avatar! To be continued.