After the shooting began in Belfast, the first thing Murphy did was to adjust the shooting styles of all photographers in the crew through a large number of on-site shooting. These frequent scenes were mainly temporary actors and scenic empty scenes. The photographers from each group took turns to take turns, and then Murphy and Felli Raschel gathered them together to watch the filmed video materials to solve specific problems.

Unlike the dual-camera or three-camera shooting commonly used in film shooting, since the crew will be divided into three afterwards, neither the number of photographers nor the number of shots taken can be compared with a single film.

Although Murphy and Felli Raschel focused on the filming style when recruiting photographers, no two photographers in this world have exactly the same style and working style, especially those photographers who worked with Murphy for the first time, if they want to meet Murphy's requirements, they will inevitably have an adaptation process.

Murphy is now famous here, and working with him is only beneficial. The photographers have tried their best to pay attention to their respective work to ensure the fit of the lenses they take.

There are no two photographers in the world who have exactly the same style, but with enough communication and working together, they can become a team that works closely together. At the same time, the materials taken can be very similar visually, so Murphy and the entire film crew have always adhered to the idea of ​​close integration.

Before shooting their respective parts, the photographers kept comparing their respective shooting logs at Murphy's request, and also used the online sample platform of the Pix system to preview each other's samples through secure connections. In the words of Filey Raschel, it is to make "Game of Thrones" a super cooperative "interconnected blockbuster."

Although everyone knows the importance of communication during shooting, in fact, Murphy and the photographers are busy all the time, so there is no guarantee that they can take time to chat every day, but they still try to read their respective shooting logs and often watch what other people shoot on PI.

Just like the entire crew, the photographers share the same work team.

All of this helped photographers understand what each other was doing and what they needed to do, and how they did.

For example, when Seth Logan directed a night scene, the crew hung a huge moon-shaped box under the crane as a luminous body. Murphy came to the set to watch it, expressing his preference for the device and decided to use it in some night scenes he shot.

This kind of mutual learning is widely present in the crew, and Murphy and all photographers strive to keep the lens consistent

During the period before the crew was divided into three, Murphy actually united the photographers so that they could learn from each other and make progress together.

During the shooting, Murphy asked David Robbie to use natural light sources to adjust the lighting as much as possible to make the shot closer to the natural reality. These natural light sources, whether from sunlight or fire, have more expressionistic saturation and color, and look more significant and dramatic.

After half a month of adjustment, the crew got on track step by step, and Murphy also obtained a lot of temporary actors and scenic empty shot materials. Then the main actors arrived at the set of the Titanic Museum in Belfast one after another. The complex relationships between major families in Westeros continent require Murphy to present them clearly with the camera lens in the next three months.

In the huge open-air set, dozens of staff were busy working in an orderly manner under the command of several Murphy's assistant directors. Two cameras were set on preset tracks, and one camera was hung under the long hanger. The Mike used for live video was also installed on the pick-up rod. The two recording engineers took their assistants to continuously debug to achieve the recording effect Murphy wanted.

Next is a night scene, but it is placed during the day. As in the past, most night scenes Murphy will still be placed during the day and will be adjusted after the later shooting.

"File, the lens of the No. 2 machine fell fifteen degrees."

Sitting behind the monitor, Murphy looked at the test shot and shouted to Philip Raschel, who was commanding the film crew, "The boom lowered another three feet and shot down at a thirty-degree angle! The track of the No. 1 machine is moved outward by two feet, and the lens angle remains unchanged."

Each scene was to adjust the shooting shots and angles, which took some time. Filey Raschel adjusted the camera according to Murphy's requirements. Murphy left his director position and walked to the two actors who had just entered the set, and asked them to conduct a trial move, while checking the details of their costumes.

Any item with modern social marks on clothing and shapes will be eliminated.

No epic film or TV series can completely eliminate all bugs, but in actual work, the director must not use this as an excuse to be careless and try his best to reduce the existence of bugs.

Confirming that there is no problem with the costumes and styling, Murphy's focus is on the two actors. The upcoming conversation between Jon Snow and the little demon Tyrion Lannister, the two actors, one tall and one short, form a sharp contrast.

The actor who plays Jon Snow is a newcomer from Caa, a British man named Hahn Jott, and his audition was quite amazing.

As for the little demon, due to its appearance conditions, there are not many candidates for Murphy to choose. After Bill Rossis's efforts, he successfully found Peter Dinlaki.

Although Peter Dinlaki is now unable to compare with the mature stages after he has appeared in many major productions, this type of actor is really hard to find. Murphy does not want to use forced perspective on a large scale, which will mean more money and time. He chose this special actor who is extremely scarce in Hollywood.

Due to his childhood suffering from chondrolysis, Peter Dinlaki could only be "lowering" for the rest of his life, but this did not affect his performance. Unlike many celebrities who became monks halfway through, Peter Dinlaki graduated from the acting department of the formal college and was a real professional background.

He had already shown talent and talent when he was a student, and was an excellent student in the class, and began to write scripts in college. The "academic" style and rigorous attitude of Peter Dinlaki's audition left a deep impression on Murphy, which was also the main reason for choosing him in the end.

The two actors finished moving, Murphy patted her gently, waited for Hahn Jott and Peter Dinlaki to see and waved to them.

"Hahn," Murphy looked at the young actor first, "Your character is still very young now, and you don't need to be too hard to perform."

This young actor has a good understanding, which is one of the reasons why Murphy chose him.

"Well..." Hahn Kate nodded vigorously.

Then, Murphy took a step back without a trace and looked at Peter Dinlaki.

This step back can make the two more equal visions. Murphy will not underestimate anyone, even if it is a black actor he doesn't like, and the two sides will have to work together for a long time in the future. He will not be so stupid that he can talk to Peter Dinlaki in a way that looks down or is condescending.

Special people like Peter Dinlaki often feel extremely sensitive. Seeing Murphy's movements without missing traces, the face did not show it, but the favorability in his heart increased greatly.

The interaction between people is often a very profound science.

"Peter, Tyrion is a very complex character," Murphy said seriously. "He has a righteous side and an evil side, and you need to balance his complexity."

"I have studied this character seriously." Peter Dinlaki knew very well that he was limited by innate conditions and to succeed, he had to put in more effort. "I think to some extent, everyone is like this. People are very complex creatures. Unfortunately, sometimes we have too narrow ideas. For example, there are only good people and bad people in the novel. One of the highlights of the script is that the characters are blurred with good and evil. You will have sympathy for some characters who have done bad things. As an actor, I think this is very interesting. Tyrion is a good person who does bad things, and there are also many bad people who do good things in the play. I think this is very interesting."

Murphy didn't expect Peter Dinlaki to think so much, and asked again, "What do you think is the greatest charm of Tyrion?"

Peter Dinlaki did not hesitate or think too much, and said directly, "His sense of justice and the spirit of speaking for the weak are very heroic, even if his family has always turned a deaf ear."

"Not bad." Murphy raised a thumb to Peter Dinlaki. "Now I'm looking forward to your performance."

He thought about it and said, "I will shoot this scene from Tyrion's PV perspective first."

As an ugly dwarf, and deeply disliked by his father, Tyrion Lannister has a complex personality. Generally speaking, he is a person who sympathizes with the weak and is proficient in strategy. Because of his poor reputation and deformity, Tyrion is often misunderstood and becomes a scapegoat for many crimes, but he can always turn danger into danger with his talent.

He is a pretty special existence in the entire series.

Tyrion Lannister's life can be regarded as an endless psychological abuse, but his PV perspective will not make people feel miserable, but only feel excited, because his counterattack is also the most powerful.

His father threw his first wife into a soldier as a camp prostitute, and he finally shot her to death in a pit; his prostitute lover betrayed him in public, and he strangled her to death on the bed with the Prime Minister's chain.
Chapter completed!