The set of "Georgeous" is very different from the sets of other movies

Accompanied by a Warner Bros., Christopher Nolan walked into the studio. Perhaps the Warner Bros. people had already said hello, and no one came to stop him. When he walked to the light box, he took the initiative to stop because the crew was filming. He was also a director. Although he had only been hanging around the film industry before, he knew that no director liked others to disturb his own shooting.

Standing here, Christopher Nolan watched the crew's nervous shooting, without saying a word, just observed carefully.

The reason he appeared at Warner Studios was because a movie project about space was spotted by Legend Pictures, which will cooperate with Warner Bros. This film will be a commercial masterpiece with an investment of more than $100 million. Both Warner Bros. and Legend Pictures have little confidence in him.

Christopher Nolan also knew that this was his first time entering the mainstream film industry and he could not mess it up, otherwise he would probably not have a second chance, so he specially asked people from Legend Pictures and Warner Bros. to visit Duke Rosenberg's space film set, which can be regarded as accumulating experience for subsequent shooting.

After watching it for a while, Christopher Nolan discovered that the light box was designed very cleverly. The scene of Scarlett Johansson was filming, and the light box was just that, plus the mechanical equipment and Aliexa's camera, it was gone.

The big boom trucks and big props needed in the space set in the past were gone. Here, Duke Rosenberg seemed to only need actors, a light box, main creators, and a group of technicians holding laptops.

With his arms crossed, Christopher Nolan walked around and looked at the set consisting of a light box as the main body. During the shooting, the actors and the cameras would move a little. On the right, you can see a basket like something. The actors can stand inside, and the computer controls rotation and alignment.

But after watching Christopher Nolan for more than ten minutes, he found that the device rarely rotated 45 degrees, and it seemed that the crew was deliberately controlling it.

Thinking of the crew shooting a space movie, Christopher Nolan quickly understood why. Once that happens, he will see the tension between the muscles on the actor's body. The shooting must look completely without tension, because this should be like this in a zero-gravity environment.

If the actors are completely turned upside down, then all the blood will run on their heads and all the muscles will press onto their necks.

"So always try not to move them, try to leave the action to the camera to move around them."

After this thought flashed through Christopher Nolan's mind, he couldn't help but secretly admire Duke Rosenberg's clever means

The filming entered a short interval. Christopher Nolan saw the crew preparing for the ending scene, so he didn't go over and disturb him. He said a few words to the Warner Bros. executive.

The other party obviously comes here often and knows the crew and filming very well.

When he asked if there were other ways to shoot weightless scenes, the Warner Bros. executive said, “There is another technique to create zero gravity effects.”

He pointed to Christopher Nolan on the other side of the studio and said, "In some shots, Scarlett Johansson would be hung on a device and then manipulated like a puppet to create a zero-gravity effect."

"The stuntman hung her up with four dots, and each dot has three different induction lines connected." He introduced in detail, "so basically, she divides her dot into triangles. The stuntman only needs to shake and swing to control her."

The crew then turned over there. After the filming began again, Christopher Nolan saw it as Warner said, the stunts were really manipulating Scarlett Johansson, and Scarlett Johansson would really turn it backwards. They could also skillfully move the entire device up, down, left and right.

And this is obviously a device that combines manual and computer control.

Therefore, the crew also needs to coordinate the work of different parts of the personnel, the work of computer personnel, the work of camera personnel, the use of lights, Scarlett Johansson's performance...

As a director, in Christopher Nolan's eyes, all these should be viewed as a whole.

He naturally thought of the space film he prepared, which also had similar scenes. It seemed that Duke Rosenberg's shooting method was the best solution.

Although he is a famous real-life madman and a traditional technical supporter in the film industry, Christopher Nolan understands that it is impossible to make space videos without computer technology.

Before coming here, Christopher Nolan considered many traditional weightless shooting methods, such as letting actors hang wires, etc., but these most basic methods are only suitable for shooting simple shots.

He also studied in-depth research on the weightless shooting methods in two famous Hollywood classics, "2001 Space Odyssey" and "Apollo 13".

In the past, among the many shots that express weightlessness, one of the most classic practices should be the "2001 Space Odyssey" by the early film master Stanley Kubrick. In a circular room, a camera was fixed and the actors were allowed to run. The scene recorded by the camera looked like the actors were running along the roof.

This method, born in 1967, made Christopher Nolan admire Kubrick's intelligence, but the problems it solved were very limited, and could only express a few shots, and it could not solve the weightlessness problem of other objects except humans.

After that, basically no one has used a similar method again.

Another great space film, Apollo 13, once again showed magical and realistic weightless shots on the screen.

In "Apollo 13", the shots of the capsule were all taken in NASA's training device "Vomit Comet". Christopher Nolan specially asked someone to investigate. It was a Boeing KC135 that brought all members to high altitude and then fell freely for a period of time. During this period, all objects and environments in the cabin were relatively weightless, and they could obtain about 25 seconds of weightlessness in one flight.

Director Lang Howard played 612 weightless flights in luxury and shot a lot of weightless time shots here. This method solved the weightless problem very thoroughly, but it was impossible to shoot weightless shots outside the cabin.

And not everyone can rent and afford nasa equipment.

Christopher Nolan asked himself that there was no such portion.

Compared with these two methods, Duke Rosenberg's shooting is obviously more realistic and can solve many problems. Nolan can also realize the use of the use. After the other party finishes shooting, use these settings to suit his shooting needs appropriately, and then it can be directly applied to future shooting.

Christopher Nolan confirmed that it was indeed worth the trip himself. Just standing next to watch, Duke Rosenberg gave him a lot of inspiration.

Especially that light box, which opened Christopher Nolan's eyes, can only praise him as one of the representatives of Hollywood technical directors.

There are huge LED lights in the light box, basically like a super large hanging TV screen. Nolan understands these very common technologies, and the ones based on them are no different from the huge screens commonly used by rock bands and gymnasiums. However, these ordinary technologies have been properly modified, greatly facilitate and simplify the shooting process. The most direct effect is that if the lights on the set are dimmer or change the color, the crew does not have to move the lights around like before, just control them directly on the large screen.

And after watching the shooting for most of the day, Christopher Nolan also saw other benefits. This thing is not just a correct lighting, but also gave the actor a sense of reality around him. When shooting Scarlett Johansson descended to the space station, she could indeed see through the LED screen that the space station was getting closer and closer to her, and she had the awareness of what was happening around her.

Also, during the filming just now, director Duke Duke Rosenberg asked her to look at something on a screen and reach out to grab a door handle, and she could really see these things on the screen.

"The led light itself is rough and not well harmonized."

As soon as the Warner Bros. executive finished speaking, another voice sounded next to him, "Jamie, this is not going to be like this, because when there are too many lights, it will look good when you mix it together."

"Hey Duke, you guy..."

After saying hello to Jamie Johnson, Duke turned to the British director next to him who was about the same age as him. In fact, he noticed it when the other party just entered the studio, but he was busy with work and didn't have time until now.

"Hello, director Rosenberg, I'm Christopher Nolan, and I'm also a director."

Christopher Nolan took the initiative to reach out to Duke, and Duke shook in his hand, "Hello, Director Nolan."

Duke was very calm, just like he had never had any connection with Christopher Nolan in the past. In fact, he was also very calm. Some things he did just did, and he would neither feel guilty nor guilty. Moreover, Christopher Nolan's project was supported by Warner Bros., which was also related to him.

When I went to Warner a few months ago, Duke heard people talk about Christopher Nolan and a space project, and specifically asked Tinafe to check it out, and then recommended him to Warner Bros. Otherwise, a film director might get a huge investment of $160 million in Legend Pictures and Warner Bros. in his first project to enter the mainstream film industry. To be continued.

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Chapter completed!