Hollywood Road

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The warehouse was quiet, and Murphy was staring at the set. The director of photography, Philip Lascher, was standing in the bathtub beside the wall. The camera lens in his hand, through the muddy water in the bathtub, firmly locked on Seth Rogen. figure.

The bathtub shook violently, and the water splashed everywhere. Seth Rogen sat up suddenly. He coughed violently, opened his mouth wide, and spit out a mouthful of water without any warning. Raschel's body, the camera lens was not spared.

"Stop!" Murphy yelled, "What's going on?"

Seth Rogen was still coughing violently. After a while, he stood up with the help of the bathtub, and looked at Philip Raschel with an apologetic face, "Sorry, I got up a little too fast, and I accidentally opened the I opened my mouth, and water poured in."

Fili Raschel waved his hand to indicate that it was okay, and Murphy shouted loudly, "Jack, touch up Seth's makeup. Fili, re-adjust the camera, and try again in ten minutes."

This opening scene will start in the dark, but it will not be shot in the dark. Not many of those dark scenes in Hollywood are actually shot in the dark. Light is an important factor that can never be ignored when shooting, like For the scene shot by Murphy, the background will be adjusted to black through the Da Vinci color palette during post-production. For today's film production technology, this is also very simple.

The first scene was choked by water, and after Seth Rogen adjusted, the second play was normal.

But Murphy didn't say yes, and continued to let the fat man get into the bathtub, and took three consecutive shots before ending the shot.

Unlike the filming of "Hard Candy", Murphy is more experienced now, and he has fully considered the difficulties before, and let James Franco and Seth Rogen do a lot of rehearsals. The personnel hired this time were no longer those who were incompetent before. The filming of the few scenes in the morning went smoothly, and he basically called him to pass within five times.

In one morning, six scenes passed, which was definitely the most efficient half-day in Murphy's short director career.

As soon as the filming started in the afternoon, the speed slowed down again. After James Franco appeared, there were three people in the toilet. The doctor he played, Seth Rogen's sneak shot, was already lying on the jigsaw on the ground in the middle.

Of course, because there is no need to move, the jigsaw here is an elaborate dummy made by Baker Kleibert.

This was the first time that the three of them appeared in the same shot. They took two shots, but they couldn't achieve the effect Murphy wanted. He simply stopped the whole crew.

Murphy called the director of photography Philip Lascher over, "In this scene, we have to deliberately ignore the jigsaw in the shot."

In the scene where three people appear at the same time, the camera ignores the jigsaw, and the whole picture will also ignore the jigsaw. The audience will naturally ignore the jigsaw, so as to bring the shock at the end.

The ending of this film is very important. It can be said that the whole film has been sublimated and raised to a higher level. Otherwise, it is not much better than the traditional American plasma film.

Murphy walked into the set, carefully avoiding the blood on the ground, and said to Philip Raschel who followed, "In this three-person scene, we want to highlight two and ignore one."

"If three actors deliberately emphasize two of them and try to avoid the third party's participation when they appear on the stage, when only highlighting a single relationship line," Philip Lascher quickly had an idea, "There are two Shooting processing methods: partial highlighting and full highlighting."

He elaborated, “Partial prominence is when three actors are shown in the first main shot, but there are only two leading actors in the second main shot; full prominence is the transition from the relationship between 3 and 3 to the relationship between 2 and 2, Only the two main actors are shown.

Murphy thought for a while and said, "Try both ways."

Shots shot by the two methods can also have more choices in post-production.

Philip Lascher went to prepare for the shoot, and Murphy found the lighting engineer David Robbie, and told him to give James Franco and Seth Rogen eyeballs when switching to a close-up shot of a single face.

And unlike Carey Mulligan's eyes when he appeared in "Hard Candy", Murphy needs to be more cold and hard, highlighting the vigilance and panic of the character when he wakes up in an unfamiliar environment.

Just like these two shots of Murphy, catch light is used in almost all close-ups of actors shot in the film.

Generally, when the main light or auxiliary light position is suitable for the camera angle, the eye light effect can also be produced while completing the main light or auxiliary light effect. God's feeling.

However, if the original key light and auxiliary light position cannot produce the eye light effect, you can use a small light to supplement the eye light at a position close to the camera, or you can use a large-area flexible light source to pull it out. The key is not to affect the main light relationship. Layout in case.

Unless required by a specific plot, Murphy's eye light should not be too bright, so as to avoid two bright spots in the eyeballs, which will destroy the charm of the characters, and even cause a pathological effect like cataracts.

In fact, this is also the way to shoot blind scenes. Generally, when shooting blind people, eye lights are avoided, which can help actors create the unique feeling of blindness in the eyes of blind people.

Since shooting "Hard Candy", Murphy has developed the habit of observing light and angles, in order to quickly and easily find the shortcomings in the shot.

After filming a few partial and fully prominent shots in a row, the crew turned to James Franco and Seth Rogen's personal scenes again. When the close-up shots were lit, Murphy knew that his money was useless Bai Hua, the lighting engineer who can be signed by CAA, even though he is as unknown as him, is still very good at it.

And the photographer Fili Lascher also has a unique method of verifying eye light.

His method is very simple. Stand on the set, make a fist, and press a marble under the index finger. Through it, you can observe the reflection effect similar to that of the human eye. You only need to turn the direction of your hand and observe the marble. With the change of light, you can find the position and angle you need.

At the same time, the curves and lines of the hand can also show contrast and backlight effects.

After a busy day, Murphy announced that the work was over, but he himself did not leave. Instead, he sat behind the camera and reviewed today's shots with the director of photography Philip Lascher and editor Jody Griffith.

James Franco also wanted to come over, but was driven away by Murphy.

Like most directors, Murphy doesn't let actors look at the shot unless they make a huge mistake that needs to be corrected by looking at the shot.

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