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With his eyes fixed on the monitor screen, Murphy's head didn't turn, as if it was just a trivial matter, he asked casually, "You found out who the whistleblower is, tell me."

Bill Roses glanced at Murphy and nodded slightly.

The crew quickly arranged the venue. The most special thing about the venue was the large bed placed in the center of the green screen. The large bed was dazzling red, which formed a sharp contrast with the surrounding green screen.

Jessica Simpson in a red dress and Seth Logan, who is wearing a topless red dress, are ready to be in place.

It was probably more than two months of fitness that played a role. Although Seth Logan did not lose weight, his body fat was significantly reduced and his protruding muscles were quite stylish.

Jessica Simpson on the other side sat by the bed, asking the hairstylist to tidy up her slightly scattered blonde curly hair. She was not wearing any clothes on her upper body, and she didn't seem to care about this. She did not require a clearance in the contract. She just sat here openly, letting some scrutiny glances swept by.

Although she hasn't been involved in movies before, she is a person who has worked hard in the circle for many years and doesn't care much about nudity.

Moreover, her singing career is more famous and she also takes the sexy route.

"David, the lights are softer!" Murphy shouted to the lighting group, "Still the shot of Gotty's death is replaced with hard light!"

When his eyes turned back from the lighting team, he saw Margaret again. Seeing the busy David Robbie, Murphy was not surprised that she appeared again. David Robbie was so busy that it was impossible for him to accompany her to play in Los Angeles, and he could only bring her to the crew.

However, she has not affected the crew's shooting.

Maybe she grew up on a farm. She is wild but very sensible. She always hides in a corner that does not affect the shooting and plays alone.

It was a little better today. Rutger Harr, who participated in the filming, also came to the crew with his thirteen-year-old son. He would not be too bored with his peers.

After the lighting was adjusted, Murphy looked at the effect and nodded to the scene.

The recorder walked to the camera, put the recorder in front of the camera, and shouted loudly, "The fourth scene of "City of Sin" and the first scene, now begin!"

On the set, Jessica Simpson, who was ready, immediately became entangled with Seth Logan. The main camera controlled by Philip Raschel also focused the main target of the shooting on Jessica Simpson's ****.

This is both a reappearance of the comic scene and Murphy's request. Just like Jessica Alba, he never is vague when the actor should take off and reveal himself, and it has nothing to do with art, but only with business.

He won't say anything like those European directors, nude, 3 skins and s.m for art, just to attract audiences.

The purpose of these videos is that simple.

Therefore, according to Murphy's requirements, Seth Logan and Jessica Simpson kept changing their positions. When each position was progressing, the crew would use three cameras to shoot a large number of shots from different angles, especially many scenes with Jessica Simpson's top-ups.

The crew obviously forgot that there were minors present at the scene.

"So that's how these shots were taken." Margaret stood in the distance, watching the intermittent shooting, with some accents in her words, "It's not good at all!"

"What do you know!" A little boy stood next to him, nearly taller than Margaret. He looked at Margaret with a look of contempt, "Do you know who that woman is? That's Jessica Simpson, the dream lover of many boys!"

Margaret's eyes narrowed slightly, her hands crossed her chest, "Is it very famous?"

"It's indeed a country bumpkin from Australia!" The boy said sarcastically with an inexplicable pride, "A country bumpkin who knows nothing!"

"Rien Harle?" Margaret turned to look at him. "Ren Harle, are you talking about me?"

"Is there anyone else here besides you?" Rein-Hal raised his hand and pointed at Margaret's mouth, "It's so rustic!"

Then, he pointed to Margaret's somewhat old and white denim suit, "I'm wearing so rustic! I have a rustic smell on my body!"

In Rein-Hal's eyes, this girl looks pretty good, but she's too rustic, she's purely a country bumpkin from Australia.

Margaret nodded to him, but said nothing or did nothing.

The crew is filming, and her brother is also the head of a department. If the filming is affected, it will definitely be detrimental to his brother's work.

Although he was less than thirteen years old, Margaret could still see this.

Rein-Hal next to her looked at her even more contemptuous. The superiority of growing up in a big city is becoming more and more obvious.

Margaret held her hands together, just watching the shooting on the set.

Murphy's shooting continues, Jessica Simpson lies on a red field, playing Gotty has been murdered, and a photography assistant is standing there, using a portable camera to shoot close-ups, and the camera is still aimed at her uncovered ****.

Transmitted to the director's monitor, the fair skin and blood-red sheets formed a sharp contrast in color.

High-definition digital cameras bring convenience to shooting, and other effects can be added through post-production special effects.

Simple black and white images are easy to restore with lenses, but with many other effects, it is almost impossible to restore the style of a comic with regular lenses. Murphy solved this problem with digital photography. When shooting, he only needs to pay attention to making the lens faithful to the angle and depth of field in the storyboard of Frank Miller's original comics and the new drawing board. All the issues related to style are solved through post-production, including adding digital backgrounds and creating color or silhouette effects.

The shots that have been taken also proved to Murphy that digital photography can compete with traditional films in shaping the image art.

With the development of film technology to this point, digital photography technology is no longer a convenient means, but more of a new way to create films.

Regarding digital photography technology, during the preliminary preparations, Murphy also communicated with Quentin Tarantino.

Quentin is a smart and even cunning person. He used to criticize movies such as "The Matrix" that rely on digital stunts, but just vent his views on "film is the purest way to show the art of image"; when he discovered through Murphy's experimental short film that digital photography can also create a unique film style, this guy's brains were enlightened and he also said he wanted to shoot his own digital works.

After all, compared with the dispute over physical qualities between film and numbers, how to express the concept of film needs is more important.

The shooting of this scene ended soon, Murphy asked the crew to switch, filming the scene after Muffer was injured in the model car, Seth Logan was pulled to re-put his makeup, and when he came out, his rough face was covered with white band-aids.

"Renhall," Margaret was about to come over and take a look. Before leaving, she said to the boy who was very superior to her, "Didn't you say you would take me, a country bumpkin to see the bustling Los Angeles? At half past five, I'll wait for you in the passage next to Studio 3."

"Okay, the country bumpkin." Rein Hal thought about whether he would call some of his friends from the school to tease this rustic girl.

Margaret walked to the near set again. The filming had begun. Next to her was an old man in a cowboy hat. This familiar outfit made her feel a little favorable.

However, seeing that the fat actor had so many Band-Aids on his face, she couldn't help but mutter, "Why do you want to make this look?"

This was heard by Frank Miller. This was the creativity in the comics. He knew the most. For some reason, he explained a few words to the little girl.

"This is the first time that the tough guy Muffer was injured. He hung these messy and flat pure white band-aids on his dark cheeks and rough arms, which could make his scars scattered with eye-catching fluorescence, but it also seemed so insignificant in front of his calm consciousness."

What Frank Miller did not expect was that the little girl listened very seriously, and there was a little curiosity in her blue eyes. Seeing this age similar to her little daughter, Frank Miller continued, "This color design can intuitively express Muffer's physical fitness as a beast, provide evidence for his amazing ability to resist and heal, and also imply that his weather-beaten life and calm and stubborn personality made a reasonable interpretation of Muffer's seemingly humble reason for revenge, so that the plot would become a natural progression."

Margaret didn't expect that she could get the answer from an inconspicuous old man, and asked curiously, "How do you know so much?"

Frank Miller smiled, "Because I drew this comic."

"So that's how it is!" Margaret suddenly realized and asked curiously, "Is there any?"

"Look," Frank Miller pointed at the blood on Seth Logan's face, saying, "What Muffer was injured was the very rare red blood in the whole film. This originally normal blood color seemed precious and alternative in the story scene filled with white plasma. It not only reflects the violent theme of the movie, but also echoes Gotty's red sheets, alluding to Muffer's reason for revenge, connecting the entire plot of the story "City of Sin."

I don’t know if I understand it, Margaret nodded mechanically and said, “I’ve been shooting for several days. I can’t understand some things. Can you ask you for advice in the future?”

When people get old, their hearts are relatively soft. Frank Miller hesitated for a moment and agreed, "As long as I have time, you can come over at any time."
Chapter completed!