Hollywood Road

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"Here!"

A staff member led the way, leading Murphy and Philip Raschel to the open-air platform on the top of the Death Star Building. A helicopter was launched, the huge propeller was slowly turning, the roaring engine and The whistling wind makes people's ears buzzing.

The sky was a little gloomy, and the sun was almost invisible. Murphy carried a camera on his back and beckoned to Philip Raschel and a camera assistant behind. The three got into the helicopter, and someone immediately came to assist them. Secure seat belts and install equipment.

"We have three hours!"

The man said loudly to Murphy and Philip Raschel, "The Air Traffic Control Bureau only gave us a three-hour authorization."

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

The helicopter slowly lifted into the air, and quickly accelerated out of the range of Beverly Hills, all the way towards the downtown Los Angeles just east.

Murphy's goal is the old Chinatown in the downtown area, and he plans to take a part of the panoramic shot for the beginning of the film.

The plane gradually approached the city. This is not the first time the pilot has provided services to the Hollywood crew. He has rich experience in this area and quickly adjusted to a suitable height for shooting. Murphy made a gesture to Philip Raschel, and the two operated their own equipment. , From the doors on both sides of the helicopter, shooting down the urban buildings.

Compared with the century city when it came, the houses here are low and low, showing a slightly run-down blue-gray and dark brown.

Of course, although the urban area is far less prosperous than Beverly Hills, there is no shortage of reinforced concrete buildings.

Murphy first used a normal film camera to shoot with a wide-angle lens. After the helicopter circled the old Chinatown, he replaced it with a Sony digital camera.

This is the only place where Murphy will use digital technology to shoot.

The reason is simple. The function of this digital digital camera from Sony in aerial photography of buildings and cities is not comparable to that of a film camera.

When shooting cities or buildings, the first choice of all directors or photographers is almost a wide-angle lens, which does have a natural advantage in this regard.

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

But isn’t the wide-angle lens the only way to record buildings or cities? If Murphy chooses, the answer is obviously no. Advances in technology have given the camera more powerful functions and used the camera head in a more complete way. Capture the city.

Murphy is quite familiar with this area, but looking down from the air is another feeling, a sense of strangeness.

It is this seemingly quiet place, where there are many crimes hidden, such as drug trafficking, arms, gangs...

As long as you live in it for a period of time, you will inevitably see the other side of the so-called paradise shown by the United States.

In this film, or any film since entering Hollywood, Murphy has never filmed the good side of the United States. The films that have been studied, coupled with the deeply influenced thoughts, appear more in his lens. Much is the dark side of this country and society, even the superman movies of the gods are no exception.

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

With the light conditions you want, you also need to have good enough shooting equipment, and the panoramic scanning function of this latest Sony electronic digital technology camera in Murphy's hands can be far more than ordinary wide-angle lenses can bring us Wide vision.

The helicopter quickly completed its second turn.

Murphy pressed the intercom and said to the pilot, "Fly another circle!"

Then he informed Philip Raschel, "Change to black and white shooting!"

This camera comes with a black and white shooting function. Compared with the film camera that must be replaced with black and white film shooting, it is really simple to use and save a lot of trouble.

Frankly speaking, the replacement of film by digital shooting technology has become the mainstream of the Hollywood film industry, and it has its inevitable development trend.

The helicopter flew around again, and Murphy simply watched the black and white footage taken to inform the pilot that he could return home.

Although the black and white lens does not have the rich information transmission of the color lens, it can make the colorful picture simple and unified, and it can also purify the complex background, make it harmonious, look more comfortable and tasteful, full of nostalgia Meaningful scenes can often give people a more profound artistic conception.

According to Murphy's idea, the beginning of the film will use a black and white and color mixed cut of a panoramic shot of downtown Los Angeles, especially the buildings near the old Chinatown.

As for the use of black and white lenses, or the use of color lenses, this should be measured in the post-editing process.

On the second day after shooting this part of the scene, the crew officially announced the start of shooting at the warehouse set near the small city of Venice.

Many media reporters came to the scene. Twentieth Century Fox will also use this to promote a propaganda offensive, and this film is naturally topical and controversial.

"Director Stanton, why did you make such a film?"

Although most of the media reporters are from 20th Century Fox or News Corporation's media, there are other reporters. Even News Corporation cannot completely control the voice of the media. Just when Murphy was about to leave the press conference. At the time, a reporter suddenly came out and asked loudly, "If you shoot such a movie that the audience is destined not to like, does it mean that yours is really related to the drug cartel?"

Murphy was too lazy to answer the last question. It was useless to explain, and it was not clear. He simply said, "I create for myself. You can't determine the audience's aesthetics. You know the audience's aesthetics may not cater to you. ; You cater to the audience’s aesthetics, and you may not be better than others. You can only wait for your aesthetics to coincide with the audience; of course, you can also lead the aesthetics through advanced awareness."

Throwing a bunch of words casually, Murphy strode away and entered the studio, ready to start shooting the planned indoor shots.

Coming to the studio, Murphy did a formal confirmation for the second time before the official shooting started, so as not to be negligent and cause problems in the follow-up work.

For example, confirm that all shooting scenes can be executed according to the time announced, confirm that each shooting prop meets his requirements, confirm that the modeling design of each actor has met the requirements, and let the stylist take a photo of the makeup and paste it on the shooting In the script, confirm that the director of photography has understood the lighting effects he wants for each scene, confirm that the recording knows that he has understood the special sound effects he wants, and confirm that there are enough auxiliary equipment for shooting that day...

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

After all these were okay, Murphy picked up his work log and took another look. The director's desk work determines everything. It is impossible to rely on temporary performance on the spot, and time is limited. He is not the king of sunglasses, a movie. Shooting alone consumes energy for several years.

After finishing the work, Murphy went around the scene of the built room and said to David Robbie, "The lighting is too soft! A little harder! A little darker!"

At the same time, he pointed to a graffiti version of the sun and sunflower on the set wall and said, "Helen, replace this. Don't show anything related to sunlight in the room."

"Okay." Helena Espola said nothing, and quickly asked the person under her hand to check the shooting background again.

As the assistant director Seth Logan walked to Murphy at this time, "Is there any dissatisfaction?"

"The construction of the scene must not be sloppy." Murphy took a look at Seth Rogen and said specifically, "It depends on the story that happened before the camera, the shooting on site, and the post-production."

Hearing Murphy's words, Seth Rogen immediately rallied. He knew that Murphy was talking about some experience, which was very rare for him.

"Lighting, color, music, and lens movement are the key factors to get the right atmosphere of the scene or the entire film." Murphy first, Seth Logan behind, came to the lighting group together, he continued, "We need to To enhance or change the tonality, there are some simple ways to help you achieve the desired effect. The most important thing is the lighting. Adjusting the lighting of the picture in the later stage is far inferior to the correct lighting on the spot."

He said again, "Music and ambient sounds can also change the tone of a film under certain circumstances."

Seth Rogen nodded seriously.

"Because everyone has different tastes, there is no right or wrong when you choose a specific picture effect. Finding the right tone and picture is your task as a director."

Two people came to a camera, Murphy looked at the busy camera assistant, and said to Seth Rogen, "When shooting a scene, check the monitor and make sure to shoot according to the expected effect, and then go through the post. Adjust those things that cannot be controlled on-site. Filming is not only about a single aspect, it is a comprehensive treatment of different aspects, and careful consideration to create the best experience."

Compared with the always-soul friend Jonah Hill, Seth Rogen has been working very hard, especially in the direction of directors. When he found that he still had a lot of things that he didn’t understand, some basic techniques and When I don’t understand the professional knowledge, what I do is often very simple. I don’t want to know how to ask, learn more after the filming, and sum up the experience and lessons. Next time, I will always be better.

Therefore, he came to this crew and continued his learning journey.

Seeing Robert Downey Jr. and Margot Robbie with good makeup coming to the shooting location, Murphy stopped talking and called the two actors over and exhorted them. They have worked with each other not once, plus both. It is a friend, and communication and understanding are extremely smooth.

After everything was ready, the crew began filming the rivalry between Robert Downey Jr. and Margot Robbie.