Please give me a monthly ticket and a recommendation ticket!

After getting off the car, Montreal showed his ID and walked towards the open-air studio on the set led by a staff member of the crew of "Inglorious Bastard". However, equipment such as cameras and cameras were impossible to bring in. They could only be kept in the storage area for the time being and taken away when they came out.

This is the rule of the studios all over the world, and most media reporters will abide by it tacitly. Before becoming a reporter, Montreal also stayed in Hollywood. He was a graduate of the University of Southern California Film Academy. He served as an assistant director on a crew. Later, he couldn't find a way out and had to change his career. Unexpectedly, he became the chief reporter of the film page in "Entertainment Weekly".

To interview a Hollywood front-line director like Murphy and watch his new project on the spot, of course, he also needs a reporter with equal status in the industry.

In the open-air set, a large area of ​​temporary grass was laid. In front of this grass, Murphy met the reporter contacted by Twentieth Century Fox.

This kind of interview can't ask much, Montreal only asked a few simple questions.

"Director Stanton..." he handed a recorder to Murphy and asked, "Is the shooting going smoothly?"

"In the first 2 to 4 days, our condition was close to crazy because everything happened so quickly."

Because it was a publicity need, Murphy said a few more words, "I was almost fighting against time and time, including staff allocation and accounting accounting issues, which I was dealing with. Because we all know that we are fighting for a special day project, we need to concentrate the attention of all those involved. If we can't assemble an excellent team, we will not be able to complete the production of the film on time, and we do have an extraordinary and unusual behind-the-scenes team."

Montreal asked again, "How do you evaluate the actor's job? And your job?"

"I think until now, the work of actors can be said to be instinctive." Murphy said in detail, "The more instinctive it is, the better the result. The work of directors is more rational. When directing, you have to conceive, explain it to technicians and actors, and then it will come naturally."

Gal Gadot walked over from behind and said to Murphy. Murphy said sorry to Montreal. When he returned to the set, he discussed the work of setting up the scene with Helena Espora.

Murphy came to the camera lens for long-range shooting, looked at the set set, shook his head, and said to his art director, "Helen, the scene needs to be adjusted."

Not far from the camera is the paved outdoor site. The outdoor site is very simple, a farmhouse, a cow, a piece of dry clothes, a farmer working, and a green grass...

Murphy frowned and thought for a moment, and said to Gal Gadot who was following behind, "Call David Robbie."

In the crew, Gal Gadot has no preferential treatment, and she never regards herself as a special member. She participates in every aspect of the filming and production with an intern who is serious about studying.

A qualified producer may not be as proficient in professional skills as Murphy and Filey Raschel, but must have some understanding of all aspects of the industry.

Gal Gadot found David Robbie almost as fast as possible.

"Helen, adjust the position of the cow to the left thirty feet."

Time waits for no one, Murphy tried to say simply, "David, I need you to use low-intensity light to increase the texture of the grass. Filet, increase the contrast when shooting, so that both the house and the cows leave a slender shadow in the camera."

Then Murphy pointed to the jagged grass in front and said to Helena Espora, "I need a lot of empty prospects to show the vastness here and provide a sense of space, especially when the grass in the long-range lens is almost flush with the farmer."

"And," he pointed behind the house, "I remember there is a scene of the distant mountains? Let's set it up later."

Helena Espora nodded, and the distant mountains in the background helped the depth of field a lot.

The preparations were immediately unfolded, and an hour later, Murphy's shooting began on time with the shouts of present record.

Accompanied by two crew members of the crew, Montreal stood in the observation position specially reserved on the set and watched the shooting process carefully.

Due to his professional study, he was once an associate director of a crew. Perhaps his actual hands-on ability is not strong, but his professional qualities are undoubtedly unquestionable. This is also the greatest capital he can get to the chief reporter of the film category of "Entertainment Weekly".

Compared with the layman of media journalists, Montreal can be regarded as an expert in movies in the journalist industry.

Standing on this relatively high observation position, the outdoor venue used for shooting was clear at a glance. After just taking a look, Montreal nodded in praise. The houses, cows, distant mountains and trees on the set reached a good balance, which also set the actors smaller.

Then, he looked at several camera positions not far away and quickly determined that Murphy Stanton used triangular composition shooting technology, with a large reflection source reflecting the sunlight on the actor's face. The farthest camera was obviously shot at a wide angle, which easily highlighted the distant and loneliness of this scene.

The filming was carried out one by one, and the entire crew and the set were completely under the control of Murphy Stanton. The young director showed super professional ability, no worse than those major directors from Hollywood who came from professional backgrounds, and even had more active thinking. The adjustments made on the scene were finally proved to be some masterpieces.

For example, he temporarily switched to a reflector for filling light. When the shooting was completed, the large depth of field effect of the related lenses seen in Montreal was quite outstanding.

Yes, after the morning shooting, he saw the partially finished footage of Murphy Stanton.

Montreal originally asked the crew whether he could watch some of the shots completed with a try. After all, his background and professional ability are quite famous in the circle. When he enters interviews with many crews, he often achieves this goal.

This time was no exception. Murphy Stanton agreed happily, but the number of shots provided was extremely limited, and the two parties also signed a temporary agreement that all viewed contents must not be taken or recorded, and the contents of the shots must not be mentioned directly in the report.

The crew did this and wanted to use Montreal's pen to better carry out early publicity.

The lens that has not been post-processed is actually very rough, but standing in front of a monitor, the first shot I saw left a very deep impression on Montreal.

Montreal knew that this opportunity was very rare, so he was quite serious when he could see the film shots of Murphy Stanton before others.

In the camera, a girl is drying the bed sheets. Whether it is the girl herself or the light-colored bed sheets hanging on the clothesline, they do not exist as individuals, but are all actually involved in the expression of the plot.

The sheets are cleverly used as revealing elements and eventually pulled back, showing soldiers from afar approaching, and the dark chocolate brown outfit creates a lovely contrast with the white sheets, which temporarily removes attention from the background and what is about to be revealed, while simple items like baskets can help balance the composition, and may also be cleverly placed here to cover the bottom of the clothes rail.

The clothing is brown, white or gray, which is consistent with the overall tone of the lens.

Then, the time to reveal it! The effect is really good. The soldiers' distant location makes people know how long it will take for them to arrive. The beautiful S-shaped lines lead the direction of the sight. The winding roads and fields reflect this.

The second shot is a panoramic view of the house. As soon as it is played on the monitor screen, Montreal saw the farmer walking towards the house.

"Murphy Stanton's composition is so clever!"

Even though he is knowledgeable, Montreal also expressed a sentiment.

In the monitor screen, the foreground stump helps balance the picture, its size contrasts with the house and the actors, adding depth of field, and the axe handle raised on the stump leads your sight toward the house.

The entire composition is also based on triangles, perfectly reflecting the three-dimensionality of the lens.

Then, several girls appeared near the house. The color of the girl's clothes was perfectly matched with the blue stones and purple-red plants. Their skin tone was also beautiful, and the girls looked healthy.

I don’t know if it was used for special processing techniques, and the sky in all the pictures looked a little dark, which was very consistent with Murphy Stanton’s usual picture style. However, if the sky is blue, there shouldn’t be such a sharp color comparison.

If you break this lens into a depth of field plane, you will find the exquisite composition. The distant mountains and the camera's position relative to the house make the composition even better.

If this shot was taken by other directors, it would probably not look so beautiful.

Montreal can only watch these two shots, but after watching these two shots, he thought about it carefully, and then looked at it again. Perhaps because he was afraid of forgetting it for a long time, he pressed the button of the recorder and whispered, "The pace of these two shots is so perfect. The tension of Murphy Stanton's construction shot is almost overflowing! The actors performed quite well, and they completed Murphy Stanton's almost genius lines. I hope he doesn't mind me sharing some experience in the media: good job, Murphy!"

He will hand this recording over to the crew for public relations review and then publish it in Entertainment Weekly. I believe there will be no problems.

During the filming of "Inglorious Bastard", although Murphy still maintained his usual picture style, he also balanced the colors appropriately, and paid unprecedented attention to depth of field and details.
Chapter completed!