After adjusting the camera, the other departments of the crew were ready. Murphy immediately announced that the shooting began. Just like the previous shooting, he continued to control an imax camera himself, but this time it was no longer a panoramic shooting, but a close-up shot of Henry Cavill.

Just like other films before, close-up shots are commonly used to shape characters.

This is the critical moment on the eve of the final showdown between Chris Dane and the Magician, and Murphy will definitely give Henry Cavill enough close-up.

Although he is not a professional photographer, Murphy has had unique experience in photography for many years as a director, especially this important close-up. After several important assistants of Filey Raschel switched jobs, the newly recruited photographers did not talk about their abilities, but the style alone would take some time to adapt. Therefore, in addition to Filey Raschel's control of an imax camera, if he had extremely important scenes, he would personally take the stage and take the photo.

IMAX cameras are more troublesome to operate than ordinary cameras, but Murphy is very clear that to become an excellent photographer, you must first observe and understand the light, not the camera itself. The use of the camera is not particularly difficult. It is easy to do a standard operation, but it is more difficult to do an unstandard operation.

Just like the director, most photographers have their own styles and preferences. For example, some people like black and white, like to find things in black and white, and like to change the color depth. These things can be different every day. Others may like something else. The most important thing is to present their own image after in-depth experience.

This is also an important reason why Murphy took the stage to shoot himself.

Close-up is one of the basic shots in film shooting. Close-ups are always shots that show details. Different close-ups also have specific meanings and can play a unique role.

The shooting began soon, and Murphy took the lead in giving Henry Cavill a standard close-up based on the shooting plan. Because Henry Cavill was wearing a mask, the focus of the close-up was not the eyes, but his mouth.

Murphy skillfully controlled the camera and filled the camera with Henry Cavill's face, but he did not place Henry Cavill in the middle of the picture, but composed the picture according to the golden three-point method.

After taking the picture he wanted, he moved the camera a little, and then placed Henry Cavill's face in the center of the picture. When this shot was displayed on the screen of the movie, the male protagonist Chris Dane looked directly at the audience.

Through this shot, Murphy wants to present a male protagonist who is still calm and composed in a tense situation, which is also an excellent use of close-up shots.

Murphy continued to adjust the camera, causing Henry Cavill's vision to slightly deviate, but the image on the black Kevlar helmet formed a perspective composition with Chris Dane as the focus. He used this close-up to make Chris Dane's search for the magician and the conversation with Sheriff Lynch even more exciting.

Although he was shooting close-ups, Murphy was not in a constant state. Instead, he used different shooting methods according to different periods. He pulled the shot slightly away and expanded the scope of the framing further, from the top of Henry Cavill's shoulders to the top of his head, which was the widest close-up he would use.

Then Murphy pushed the lens again, and the picture once again became a standard close-up.

During post-recording, these mid-scene close-ups will serve as a transition bridge from wide shots to standard close-ups, which will make the tension inside the scene suffocate.

Murphy here is the shooting technique of George Lucas in "Star Wars: The Ghost Threat". Although Star Wars fans are very disappointed with the prequel series, they have some consensus: Darth Moore is definitely a tough character. One of the best shots of this film is the close-up of Darth Moore in the ending battle scenes, which brings a little closer to the movement. Darth Moore's lightsaber duel with Obi-Wang and Quigang King was cut to this shot as soon as the lightsaber duel ended, and its composition makes Darth Moore's dominance more attractive.

In addition, when Murphy was formulating the shooting plan here, he also watched Stanley Kubrick's "The Shining". In the film, Jack cut the door open and poked his head into it. A close-up of the story caught his evil peeping expression. At this time, he spoke one of the most famous lines in film history: "Johnny is here!"

It is perfect to cut into this scene with this shot, because it sucks the audience into the movie space and creates a sense of horror to the throat.

Then, Murphy changed the camera again, and the shot became a typical close-up. The close-up mainly switched between Henry Cavill's mouth and firm eyes exposed outside the mask. However, most of the time, the subject of the close-up was still Henry Cavill's firm eyes.

In the post-editing, such close-up shots are used to switch between Christopher Walz, which can easily establish a response between characters and effectively enhance the tension of the drama.

In front of the camera lens, Henry Cavill ended the conversation between Christopher Walz and turned around and walked outside. Murphy adjusted the camera lens in time, followed the camera in a close-up manner, using the character movement to create a far-cut effect.

Murphy used a very wide-angle lens to reduce the framing range of the standard close-up, but at the same time he combined wide angles and close-ups to convey a richer visual message.

In fact, it all depends on being able to help narrative with the right visual language at the right point.

Henry Cavill walked out of the set, Murphy finished shooting, stood up from behind the camera, and said, "Okay! This one has passed!"

Then he said to Henry Cavill and Christopher Valz, "Henry, Chris, you guys are doing very well!"

As in the past, Murphy's encouragement to the actors during filming will be much more than scolding.

Murphy looked at the time and said, "This is all for today's shooting!"

He handed over the follow-up work to associate director Michel Williams, and he walked into the temporary press hall on the outermost side of the set, accompanied by news public relations staff from Twentieth Century Fox and Imax.

According to the plan formulated last week, Murphy will accept joint interviews from the media to cooperate with the promotion of the video.

In addition to "viral marketing", Twentieth Century Fox did not relax its conventional publicity methods. The film "Dark City" is still the Hollywood movie that uses the most IMAX, and the company is also using appropriate resources to promote the movie.

The topic of this joint interview is mainly focused on imax technology.

"Director Stanton..."

At the beginning of the interview, probably from IMAX Company, a reporter wearing gold-rimmed glasses couldn't wait to ask, "You have used IMAX cameras to shoot in your projects several times. Do you like this technology very much?"

“I especially love shooting with imax cameras,”

In response to the reporter's recorder, Murphy recited the answer he had prepared without hesitation, "Because it can enlarge the picture and expand the scale and scale to the extreme. In the previous "City of Chaos" and other films, I have appreciated its extraordinary skills. Through continuous learning and research, our technology has become more and more mature, and our exposure index and other aspects can better serve the film. The continuous update of technology has also continuously improved our shooting standards."

Nowadays, a video is shot with a lot of imax cameras, which is already one of the selling points, and these words are also for promotion.

"Murphy..." another middle-aged reporter asked, "Can imax technology effectively improve the audience's viewing experience?"

"Yes! There is no doubt about this!"

First, Murphy explained in detail, "From the picture and sound quality, imax technology provides an immersive viewing experience, because the format and clarity of the picture presents the wide and immersive feeling in front of humans, and combined with high-fidelity surround sound, it is difficult to forget. We spent three months reorganizing the viewfinder on the camera with Sony Electronics and imax, and improved the lens, so that even in the dim environment of the machine, we can shoot extremely high-quality pictures. All these improvements have achieved many details that our previous two films could not achieve."

However, during the filming, the bulky cameras caused a lot of trouble to Filey Raschel and his photography team. Just setting up these big guys onto the photography cars and lifts used for shooting was enough. The crew had to re-cut and weld them on the lifts so that these bulky guys could be placed firmly.

When shooting ground scenes in the studio, the crew placed thick aluminum plates on miniature moving tracks when shooting ground scenes in the studio, thus building a horizontal working platform for the camera camera.

In all scenes shot with IMAX cameras, Murphy asked for dual-machine shooting. At least two of the three technicians who were dispatched by IMAX company must assist Philip Raschel's photography team on the set to deal with some difficult shooting operations and carry out temporary repairs to ensure the smooth progress of the crew's work.

In general, in terms of film installation, film removal and operability, the camera is no different from other cameras, but many unexpected situations will occur when changing films, which will lead to card failure. If the card phenomenon is too serious, the camera can only temporarily leave work and drag it to IMAX's branch workshop in Los Angeles for professional dismantling and repair.

To a certain extent, these bulky big guys are more delicate than ordinary cameras, and the number of imax cameras in the world is extremely limited. If both cameras fail, Murphy will either pause the shooting or switch to ordinary film cameras.

In Murphy's hands, the camera is mainly used to shoot motion, panoramic and impactful lenses, while other ordinary lenses are mainly used to shoot with ordinary digital cameras.

Even now, the cost of imax cameras remains high. It is not convenient and too luxurious to use imax cameras throughout the whole process.
Chapter completed!