After reminding Felix Raschel of the filming, she exchanged views with Frank Miller. Murphy walked into the set surrounded by green screens. Three photography assistants were setting up cameras. Helena Espozera took her assistant to conduct a final inspection of the arranged green screen.

This green screen shooting, which relies more on post-production special effects, undoubtedly greatly reduces the workload of preparation and shooting.

Retracting his gaze from Helena, Murphy looked to his left and suddenly saw a familiar girl coming.

Her golden hair was simply combed into a ponytail behind her head, and she was wearing a small denim suit, which was a bit gray and old. She also had a pair of brown leather boots on her feet and a pair of high eyebrows on her face, which showed a unique wildness.

This is...Murphy thought for a while and finally remembered that compared to what she remembered, she grew taller and had a heavier wildness on her body.

"Hi, Murphy," the girl reached out to greet him politely, "Long time no see, do you still remember me?"

"You are..." Murphy watched her get closer and closer, "Are you Margaret? Maggie?"

Margaret walked four feet away from Murphy, looked at him with his head tilted, "I was on the phone with you yesterday."

"Oh, I remembered it." Murphy smiled apologetically, "I've been too busy lately and I always forget some things."

Seeing the girl opposite nodding gently, he asked politely, "Why are you here in Los Angeles?"

"I'm on summer vacation." Margaret looked at the green screen around curiously, "Come here to travel. I heard that you are shooting a movie, so let David bring you to see it. I haven't seen a movie yet."

She reached out and pointed to the wide green screen behind Murphy, "What are these for?"

"It is used instead of shooting background," he couldn't explain it clearly to such an outsider. Murphy said a few simple words and asked, "Do you want me to take you around?"

When he was in Australia, the other party had treated him, but now he has come to his territory, so of course he can't be slow.

Margaret thought for a while and nodded slightly, "Okay."

Murphy waved to Paul Wilson and asked him to find a female assistant to take Margaret around.

As soon as the little girl left, Murphy heard footsteps behind her. James Franco, who had no scenes to shoot today, walked over in casual clothes.

He stood beside Murphy, looking at the direction Margaret left, and asked, "Who is this?"

"Don't think too much, Jim," Murphy warned, "she is David Robbie's sister."

"Hey, Murphy, you're overthinking!" James Franco spread his hands and said innocently, "I already have Lily and have no interest in others."

Murphy patted his shoulder hard, and he didn't want to see his crew having an internal strife.

Soon, the shooting kicked off. Today, the main shooting was action scenes, about the scenes played by Seth Logan, Muffer, attacking the police.

The shooting is based on the green screen, and the special effects are also added in the later stages. Unlike ordinary green screen shooting, Murphy will use high-speed photography technology to shoot here.

During the early preparations, he, Filey Raschel, had done experiments, and the experimental shots he shot were also recognized by Frank Miller.

The style of the whole film will definitely match the comics, and Murphy will not change this, but some scenes in it will also be adjusted appropriately, such as the action scenes in the comics, how to shoot and produce them more attractively, and more like the comic style, which can bring people a different kind of stimulation?

After all, movies and comics are different.

"Fran, the action scenes in comics are different from those in movies,"

Standing behind the director's monitor, Murphy and Frank Miller, the famous director, said, "In the background of thick ink and heavy colors, the blood and wind-torn corpses can bring stronger visual impact in slow motion. You have also seen these previous experimental shots, and the effect is very good."

"I mean," Frank Miller raised his cowboy hat. "These shots need to be properly controlled, after all, the selling points of the comics are not these."

Murphy nodded, "I know, these will definitely be temperate."

If you don’t control it, the video will not be R-level, but will become nc-17.

Frank Miller is a grown-up artist and can see that the situation in the crew has exceeded his expectations. As long as the style and general direction of the film do not deviate from the track of the comics, he rarely expresses his opinions recently. Regardless of any changes, director Murphy, always consults his opinions at the first time and shows enough respect.

What's more, judging from the high-speed slow motion scenes in the preparation stage, the effect of the action scenes is indeed very good.

After the actors and other departments were ready to be in place, Murphy quickly called to start shooting. The shooting looked quite boring, Seth Logan, who had an ugly makeup, and several stunt actors followed the action guidance routine and jumped around in front of the camera. After a few minutes of shooting, he had to stop and readjust. Especially Seth Logan's makeup was quite troublesome, and he had to put on makeup if he had to touch it.

According to Murphy's requirements, the crew's Philip Raschel and two famous photography assistants operated three latest Sony digital cameras respectively to shoot each shot in the final frame rate at a high-power frame rate.

It's actually not complicated. Murphy just wanted to integrate the way in which he used high-speed slow-motion shooting action scenes in "The Three Hundred Warriors" into the fight scenes of "Sin City".

Although "The Three Hundred Warriors of Sparta" is more colorful than "City of Sin", the background pictures of the two works are similar to a certain extent, and Murphy is far more restrained than Zach Schneider, and he is only using this shooting method in action scenes.

Action scenes are not the key to a film's success, but if they are outstanding, they can become the highlight of the audience.

Of course, using high-speed slow motion to shoot action scenes is also a relatively troublesome job.

The slow motion in the video is not simply slow playback, it is the lowest-level way to create slow motion effects. Murphy uses the high-definition digital camera to shoot at high speed and then play it slowly.

Normal camera shooting is twenty-four frames per second, and the film is also twenty-four frames per second when it is shown. However, when shooting Seth-Logan's action scenes, the shooting speed of the two digital cameras is ninety-six frames per second, and when it is shown, it is changed to twelve frames per second, so that excellent slow motion can be obtained easily.

Of course, such a setting is not obtained out of thin air, but is directly related to the recognition of the human eye.

At present, the frame rate will basically be adjusted to twenty-four frames per second when shooting and screening of movies. This parameter is consistent with the time resolution ability of the human eye. Therefore, although the movie is not continuously screened, it seems to form a coherent image in the human eye.

It is precisely because of the limitations of the human eye that some higher speed movements cannot be fully captured by the human eye. At this time, external forces need to be used to slow down the movements to ensure that high-speed photography technology can be fully viewed, which is the product that came into being.

High-speed photography is a photography method with very fast shooting speed and short exposure time. Relying on the "fast shooting and slow playback" technology, the fast-changing movement process will eventually slow down the time resolution of the human eye's vision, so that people can observe it. This means that when high-speed photography, its shooting frequency (frames/second) must be synchronized with the rate of object movement change. The faster the movement, the higher the shooting frequency is required.

This technology has a wide application in Hollywood. In the distance, there are Michael Bay's opening funerals with a high-speed slow motion in "The Matrix", and in the recent bullet time, there are all the finishing touches in the film.

After two consecutive hours of filming, Murphy called to stop the crew and let everyone rest for half an hour. He and Frank Miller and Miramax equipped the crew with editor Russ Beint to check the shots that had been shot.

For Frank Miller, these backgrounds are all green screens and slow motion without special effects, and there is nothing good to look at. It is far less than the shot of the knife Murphy showed him to carry blood through the human body during the preparations.

However, even an amateur, Frank Miller knew that if these things were to achieve that effect, they would have to go through more complex post-production.

In fact, Murphy and Russ Beint were looking at it carefully. The two people mainly discussed the editing points of the action shot.

All action shots will be shot using multiple cameras, adding editing materials at different angles. The editing points of the action shot must be able to reflect and strengthen the emotional power of the action scenes, which is also one of the basic principles of action shot editing.

"The character's reaction and action guidance will inevitably lead to the plot developing in different directions."

Sitting behind the director's monitor, Murphy looked at the dozens of shots of Muffer who was repeatedly played on the monitor because of his parole officer being killed, and said to Russ Beint, "It should also help bridge faults of position and continuity, making the slow motion part angry and skipping the action part you don't want. Ideally, it's best to edit the important characters in the scene, including the reaction shots from participants to bystanders, into the sequence."

Las Being nodded, "I think the shots shot with push-pull and swing cannot move at the same rate. If they are edited together, it will lead to heart-wrenching wrong scenes."

"Well..." Murphy fully agreed with Ras Beint's statement, "Be careful in this regard."

He wanted to say something, but suddenly he saw Paul Wilson coming over in a hurry, as if there was something urgent.

"Murphy," Paul Wilson tried his best to keep his tone calm, "There are two people outside who claim to be from the director's union and say that our crew violated the director's union's rules!"
Chapter completed!