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The warehouse was quiet, Murphy stared at the set, and the photography director Felix Raschel was standing on the other side of the wall. The camera lens in his hand locked Seth Rogan's figure through the turbid water in the bathtub.

The bathtub shook violently, and the water splashed everywhere. Seth Rogan suddenly sat up. He coughed violently, opened his mouth and spit out a sip of water without any warning. It was sprayed on File Laschel's body without any prejudice, and the camera lens was not spared.

"Stop," Murphy shouted, "What's going on?"

Seth Rogan was still coughing violently. After a while, he stood up in the bathtub and looked at Felix Rasher apologetically, "Sorry, I got up a little fast. I accidentally opened my mouth and water poured in."

Filey Raschel waved her hand and said it was okay, Murphy shouted loudly, "Jack, make up Seth. Filey, re-debug the camera, and start over in ten minutes."

This opening scene will start in the dark, but will not be shot in the dark. There are not many of the dark scenes in Hollywood that are really shot in the dark. Light is an important factor that can never be ignored during shooting. For example, the scene shot by Murphy will adjust the background to black through the Da Vinci color palette in post-production. This is also very simple for today's filmmaking technology.

The first scene was choked by water, and after Seth Rogan adjusted, he performed normally for the second time.

However, Murphy did not call for approval and continued to let the fat man drill into the bathtub. He took three shots in a row before the end of the shot.

Unlike the time when shooting fruit hard candy, Murphy is now more experienced. He has fully considered the difficulties before, and even made James Franco and Seth Rogan do a lot of rehearsals. In addition, the people hired this time are no longer those guys who are not capable of the previous time. The filming of several scenes in the morning was smooth, and he basically called it through within five times.

After six scenes in one morning, this was definitely the most efficient half day in Murphy's short directorial 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 Rogan's sneak shot, was already lying on the jigsaw on the middle ground.

Of course, because there is no need to move, the jigsaw here is a dummy carefully crafted by Baker Clebert.

This is the first time that three people appeared in the same shot. After filming twice, they did not achieve the effect Murphy wanted. He simply called for a stop to the entire crew.

Murphy called the photography director Felix Raschel over, "In this scene, we must intentionally ignore the jigsaw in the camera."

In the scene where three people appear at the same time, the camera ignores the jigsaw, and the video also ignores the jigsaw in the end. The audience will naturally ignore the jigsaw, which can bring about the shock of the end.

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

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

"If the three actors deliberately emphasize two of them when they appear and try to avoid the participation of third parties, when only a single relationship line is highlighted," Felix Raschel quickly came up with an idea, "there are two ways to deal with the shooting: partial highlights and full highlights."

He detailed, "Partial highlighting means showing three actors in the first main shot, but there are only two main directors in the second main shot; all highlighting means shifting from the relationship between 3 and 3 to the relationship between 2 and 2, and only showing two main actors.

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

The shots taken in two ways can also have more choices in post-production.

Filey Laschel went to prepare for the shooting, and Murphy found lighting maker David Robbie and told him to try to light up James Franco and Seth Rogan when switching close-ups of a single face.

And unlike Carey Mulligan's eyes when he appeared on the Fruit Hard Candy, Murphy needed to be colder and harder, highlighting the alertness and panic of the character when he woke up in a strange environment.

Just like Murphy's two shots, eye light is used in almost all close-ups of actors filmed in movies.

Generally, when the main or secondary light position is appropriate to the camera angle, the eye light effect can be generated while completing the main or auxiliary light effect. At this time, there is no need to shoot eye light to avoid two highlights, giving people a feeling of dissipation.

However, if the original main light and the secondary light cannot produce eye light effect, then the small lamp can be used to supplement eye light when it is close to the camera, and can also be used to draw it out with a large area of ​​flexible light source. The key is to arrange it without affecting the main light relationship.

Unless required for a specific plot, Murphy's eyes should not be too bright to avoid two highlights on the eyeball, which will destroy the character's charm and even cause a pathological effect like cataracts.

In fact, this is also a way to shoot blind scenes. Generally, when shooting blind people, you will avoid using eyelights, which can help actors create a unique sense of blind people's gaze.

Since shooting fruit hard candy, Murphy has developed the habit of observing light and angles in order to quickly and easily find the shortcomings in the lens.

After shooting several partially prominent and all-out shots in succession, the crew turned to film the personal scenes of James Franco and Seth Rogan again. When the close-up shots were lit, Murphy understood that his money was useless and that the lighting maker who could sign Caa was as unknown as him, but he was very good at it.

Photographer Felix Raschel also has a unique way to verify eye light.

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

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

After a busy day, Murphy announced that the work was over, but he did not leave. Instead, he sat behind the camera and examined the footage of the shooting today with photography director Felix Raschel and editor Jody Griffith.

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

Like most directors, unless the actors make a big mistake and need to look at the shots to correct them, Murphy will not let them watch the shots casually.
Chapter completed!