The biggest difference between the post-production of this film and the first two movies is not that it has a large increase in special effects shots, but that it has a special soundtrack specially tailored the appropriate soundtrack for "City of Sin".

Murphy doesn't know much about music and will not participate in the creation of the soundtrack. However, if all soundtracks are added to the film, he must have his nod to approve it.

Although the final decision-maker of post-production was Harvey Weinstein, this Jewish fat man is currently working on the Oscar PR of "Chicago" and is only responsible for the final review. The specific work will be completed by Murphy and Erica Steinberg.

Of course, there is also Frank Miller. After several months of working together, Murphy gradually formed a silent tacit understanding with him.

Murphy kept the film's cameras in a comic style, and Frank Miller turned a blind eye to the things Murphy stuffed into that were conducive to the market.

Although this old man is a little stubborn and suspicious, he is not a person who is completely unresponsive. His comics can be sold well throughout the United States, and he must also understand that what is suitable for the market is the truth that can be truly spread.

He and Frank Miller had conflicts in shooting and production, but they were always controlled within a certain range and there was no fierce conflict.

Moreover, the picture style that Frank Miller cares about the most is also agreed with Murphy.

All shots were photographed in color. At Murphy's request, the first thing the producers had to do was remove the color and turn it into pure black and white images, but the color could be returned to the picture at any time.

Murphy used color as a weapon, and color became a powerful narrative tool. For example, Gotty in the film has real skin tone and blonde hair, and the mustard yellow skin of the yellow hybrid is also particularly eye-catching.

If Murphy wants to highlight the pain of a character, he will return the blood to bright red, just like a close-up of the color.

Three special effects companies in Venice are responsible for creating special effects backgrounds for the film, each company is responsible for a story, the studio under the digital field is responsible for Crime City, and the other two companies are responsible for sniping and yellow hybrids respectively. Each story requires more than 600 special effects shots, and all the special effects shots are combined to more than 2,000.

In actual shooting, there is no cost much, and most of the production cost budget is actually prepared for post-production special effects production.

"Mitchell, the red is not bright enough!"

In the special effects studio, Murphy stood in front of the big screen, holding her chest with one hand and pinching her chin with the other. She looked at the scene where the special effects adjustments were just sent. This is the scene where Murphy and Gotty get along, and it will also be the scene with the most intense color contrast in the film, but the red rendering of the special effects does not satisfy Murphy.

He told the person in charge Mitchell Williams, "The black and white here need to set off the color, and the color is extremely dazzling against the rich black background!"

Murphy pointed to Muffle and Gotty on the picture and said, "For a man like Muffle who is as rude as a murderous machine and ugly, he originally didn't know what love is, but after getting close to Gotty's skin, he fell in love with Gotty deeply and regarded her as his goddess. Here Gotty must use dazzling colors to highlight her golden hair, snow-white skin and red silk long skirt, which forms a strong contrast with the black background!"

"I'll get it back right away," Mitchell Williams said quickly, "re-adjust."

Murphy glanced at him and said word by word, "Speed ​​up!"

Mitchell Williams said confidently, "I promise!"

The scene between Gotty and Muffer can be said to be the scene with the biggest difference in color in the whole film. The lens is the language of the movie, and color is one of the ways of expression.

During the shooting, Gotty and Muffle had a huge red heart on the bed. At that time, Murphy took the camera to shoot, making this heart that symbolizes love seem like a small boat in the black ocean.

After Muffer woke up, Gotty was killed. From then on, Muffer fell into the double wanted by the police and the prostitute. Muffer, who lost his beloved, was determined to take revenge. He attacked everywhere not for his own safety, but for finding the murderer who killed Gotty.

In addition to color, Murphy also has strict requirements on the light and shadow design produced by each lens in the post-production.

Murphy almost gave up on color in the use of color, and used the ultimate black and white to display violent and criminal scenes.

In this case, the role of light and shadow is highlighted, and since there is no color as a distinction, the audience's dependence on light and darkness increases.

In comics, painting techniques can be used to create shadows for characters and objects. Movies facing real people and real objects are different from comics. After all, Murphy gave up on the real scene during shooting, and did not hesitate to use high-definition cameras combined with special effects departments to create backgrounds and process the picture, which shows that he attaches great importance to light effects.

Take the light and shadow design in the bar as an example.

Throughout the plot, the bar is an extremely important place, and it is the intersection of three independent stories.

At the same time, in this city that is extremely dark, the bar is a place where people are mixed and ambiguous. People entering and leaving here include police, gangsters, drug dealers and prostitutes. Most of them are perverts who come to Nancy's beauty, and the positive characters are also looking for the people they are looking for in the bar.

Therefore, in the bar, the light is ambiguous. Under the smoke, the light in the entire bar is filled with a sense of depression.

During his post-production, Murphy has always created a unique visual effect through the mutual penetration and influence of film language and comic language.

Although the styles of movies and comics are in line with each other, it is well known that comics and movies are two completely different forms of artistic expression. Although Murphy has the original comics as a basis and is extremely faithful to the original in the picture, this does not mean that the color and light and shadow design of the movie can be in an absent position.

Helena Espora, who is an art director, also played an important role in it.

While improving the special effects of the camera, Murphy also summoned all the main actors to the post-production room to dub. There was no live recording during the shooting. All dialogues and narrations will be re-recorded and added to the film.

This is not an animation dubbing. All actors have experienced the performance of their characters, and the dubbing work is relatively easy.

"Why do you think I keep writing?"

In the recording studio, Jessica Alba looked at Nancy on the screen and said to the microphone, "I have always loved you, Hardy, this has been like this for so many years. I have also tried to fall in love with other boys! But I can't... sleep with me, Hardy! sleep with me! I've long fallen in love with you..."

Like all crews, most of these recordings are conducted independently by an actor, even the dialogue scene is no exception. In the studio, Jessica Alba is the only actor, who is chanting the dialogue like a monologue.

Compared to shooting, the recording is much smoother.

When he was about to get off work, Murphy came out of the special effects studio and walked into the recording studio. All the dialogues that Jessica Alba needed to record had been completed.

Of course, she has few scenes and her lines are relatively limited.

"Hi, Murphy!"

Seeing Murphy come in, Jessica Alba immediately smiled sweetly, raised her arm and waved to him.

"Hello, Jesse."

Nodding to Jessica Alba, Murphy did not go over, but walked to the recording engineer and asked, "How is it?"

The recording engineer whispered, "It's OK, the line skills are much better than acting."

After saying that, he handed Murphy a headset, Murphy took it and put it on. After listening for a while, he nodded in approval and said, "Okay, let's do it, let's be here today."

After completing the recording of Jessica Alba, only a few minor actors were left behind to record the recording work. After nearly two months of busyness, the post-production is gradually coming to an end.

Murphy raised his voice and said to everyone in the studio, "It's all here today, get off work."

He also had a busy day, and he didn't care about the others. He left the recording studio, went to his temporary office, took a briefcase, walked out of Miramax's office building, and came to his car.

When he opened the car door, Murphy was about to get on the car. Suddenly, a sound of high heels falling to the ground sounded in front of him. Along with the sound of landing, there was a crisp and sweet voice of a woman.

"Wait, Murphy."

Hearing this voice, Murphy turned to see Jessica Alba in tight jeans was walking quickly, waving to this place as she walked, as if afraid that he would leave.

Murphy closed the car door, waited for Jessica Alba to walk in a little bit, looked at her and asked, "Is there anything wrong, Jessie?"

"I have no time to come over the car I called," Jessica Alba got closer and closer, and finally stopped near the front of Cadillac, standing there, saying, "Can you take me to North Hollywood?"

If you go back to Santa Monica, it would be a coincidence to walk there. Murphy nodded slightly and pointed to the co-pilot, "Get on the bus."

"Thank you!" Jessica Alba walked over and opened the car door.

Murphy also got in the car and drove onto the main road. The speed was not fast. He drove more steadily. He could no longer see that he had driven crazyly over the desperate murderers and the pursuing police.

Just like all successful people, now he can't see any madness when accumulating original capital.

"Murphy," Jessica Alba broke the silence in the car when the car was about to enter North Hollywood, "What do you usually do after get off work?"

"Go home, rest, think about what you didn't do today's work." Murphy stared ahead and said casually, "What you plan to do tomorrow...that's probably all."

Jessica Alba turned her head and looked at him. Isn't this too boring?

Cadillac suddenly stopped beside an apartment building. Murphy looked at it and asked, "Is it here?"

"Yes, it's here." Jessica Alba smiled, "Thank you."

She pushed open the car door and got out of the car. Just as she was about to close the car door, she suddenly turned around and lowered her head and asked, "Do you want to go to my place for a cup of coffee?"
Chapter completed!