In the early morning of August 1st, the Venetian warehouse set was in a hustle and bustle. A team of nearly 100 people came out of the back door of the set and gathered more than a dozen shooting cars that bypassed the huge warehouse set. Under Murphy's command, they began to work orderly and busy each other to make the final sprint for the next shooting.

Behind the warehouse set, there was originally an abandoned open-air material piled area. As soon as the preparations began, Murphy asked Gal Gadot to contact the original owner of the land, bought the place from him, and transformed it into a very flat open-air shooting area as quickly as possible for shooting some action scenes.

Several huge green screens were quickly set up. Although Murphy advocated the real scene shooting as much as possible, New York was busy, especially Manhattan, which is the main location of the outdoor site. It was difficult to clear a whole road for shooting the popular car chase scenes. After many discussions, Murphy decided to set up a green screen for some large scenes to shoot on the set, and later replace it with the real scenes of Manhattan.

Today, the filming was basically the scene of Chris Dane riding an upgraded superbike and rushing forward crazy. Murphy went to the stuntman to see. This kind of scene would definitely not allow Henry Cavill to play in person. If he was injured, the crew would not be able to bear it. The crew had already hired three stunt stand-in-arms with very similar sizes to Henry Cavill.

Chris Dane was masked throughout the whole process, and there was no super close-up of the close-up, and there was no need to use the actors at all.

Then Murphy came to the photography crew, and Filey Raschel was standing on an embedded photography vehicle modified by a huge Ford pickup truck, debugging the bulky IMA camera.

"How are you doing?" Murphy asked.

Hearing Murphy's voice, he gestured with an ok' gesture, "No problem!"

Until the commissioning was completed, Philip Raschel raised his head and looked at Murphy and said, "One micro camera, I had someone installed it on the motorcycle yesterday, and it has been debugged."

Originally, Murphy wanted to use the forward rushing of the plane when taking off to take off to shoot the first angle of forward Chris Dann when riding a motorcycle to increase the impact of the lens, but the plane is a super expensive luxury after all. If you want to install a huge and bulky IMA camera, you must make a huge transformation of the plane. No one is willing to do so. Even Gulfstream declined Murphy to reorganize the leased plane.

Murphy's own plane will have to wait until January next year to deliver, so he can't wait for the time, so he took some measures when shooting "City of Chaos", installing the camera on Chris Dane's motorcycle, and other shots hired professional racers to set the camera on supercars to shoot.

Although the impact force of the first-view lens obtained in this way is not as good as the original idea, it can barely meet Murphy's requirements.

This is how the shooting happens. There are always some unexpected situations that the director must find a solution.

The departments quickly prepared and waited for the stunt driver to ride on the motorcycle. Murphy also got on the photography vehicle platform. Then, with the order, the shooting officially began.

The motorcycle that looked like a black ghost rushed forward like lightning under the driving of the stuntman. The photography car was located on the right side of the motorcycle, and the speed was not slow at all. It was almost always running parallel to the motorcycle at the same speed, so as to facilitate the shooting of Murphy and Felix Raschel on the on-board photography platform.

The motorcycle rushed out nearly 2500 feet, Murphy's eyes left the camera of the IMA camera and shouted to Mike, "Very good! After this one passes, the photography car will be on the left and continue shooting!"

After saying that, he also slapped the roof of the black pickup truck hard, and when the driver parked the car and looked back, he raised his thumb to the driver.

To be honest, the shooting of this scene was not the stunt actors, but the driver of the photography car.

It is not so easy to keep moving with the motorcycle at a very fast speed on the basis of the car's smooth driving, and it requires very excellent driving skills.

In fact, from high-speed car chase scenes like this to various luxury car advertisements, it is not difficult for those who are interested to find that drivers driving photography cars often have higher driving skills than stunt actors.

Of course, Murphy's specialized transformation of excellent photography cars also contributed to the outstanding performance.

This time, there will be a lot of car chase scenes, so Murphy specially hired a professional company and team to transform nearly ten various shooting photography cars based on his ideas.

Camera cars have various models and sizes according to their respective shooting needs, so that the cameras can be installed and mounted on the body, but without exception, they are painted into matte black, because in this way, they do not reflect light and are more conducive to shooting.

In Hollywood, photography has a long history of using a photography car.

If the photography car is to be traced back to its first use, a camera was set up on the car when the 1925 movie "Ben Hu: The Story of Christ" was filmed, which can be said to be the earliest origin of this tool.

To this day, the technical means of photography vehicles have been adjusted and have been used to this day. Just like Murphy's shooting today, it is now mostly used with green screens.

Murphy is now using a specially modified embedded photography vehicle. The entire photography platform is modified by Ford Raptor so that bulky IMA cameras can be installed.

Because the car has a bracket inlaid, it allows for a range of different cameras and light installations, such as flatbed shooting or crane shooting. This inlaid photography vehicle also has the power generation function to drive any camera and lighting equipment. If you don't take the photo personally, Murphy can sit in the cab to watch the monitor, while the camera operator can actually shoot on the bracket platform.

The crew quickly reset. The only difference from the previous shooting was that the photography car moved to the left side of the motorcycle.

In this kind of shooting, as long as the photography car is kept stable and synchronized with the motorcycle, there is basically no difficulty, and the second shooting will be passed.

Then Murphy asked the crew to turn around and came to a specially constructed corner to shoot the footage of Chris Dane almost sticking to the ground when the motorcycle turned at high speed.

Here, Murphy changed to another photography car synthetic trailer!

Using this synthetic trailer, it is usually to capture a picture that is the same as or lower in the horizontal height of the driver in the car, which is close to the ground, but allows the camera to achieve wider shooting in the horizontal width.

This kind of trailer is more restricted, and North America is easy to say. If photographed in Australia, this equipment must be accompanied by a policeman when used and requires a professional license to operate.

However, Murphy used not an ordinary synthetic trailer. In order to photograph Chris Dane, a motorcycle that can move sideways, the rear wheel of the trailer was specially modified, and a "smart rear wheel" that can drive the trailer to perform small horizontal movement was added.

When shooting a motorcycle's lateral movement, in a real horizontal movement, all four wheels of the trailer can be switched to horizontal movement mode. This movement also has an additional function called rotation. The wheel angle after setting can rotate the camera around its center 360 degrees.

Correspondingly, the stability of the synthetic trailer is a little worse. Although the shooting of sports lenses, Murphy has never liked the scenes that constantly shake in the film. When such sports lenses are finally shot, the picture still looks stable.

In order to meet this requirement, the ground of this curve is also specially made. During the preliminary preparations, Murphy asked someone to lay a layer of dancing boards commonly known as the industry.

To make the car move smoothly and without shaking, it can only be done on a smooth floor. If there is no place to place the track, or the moving track is not straight or curved, the crew must build a dance board so that the car can move freely. This special dance board is made of plywood or birch boards that are up to three to four inches thick and of high-quality plywood or birch boards, and covered with a layer of smooth Mason Knight fiberboard.

Most importantly, the joints must be carefully aligned and tapered to form a perfect surface that can smoothly move the car.

In Murphy's opinion, an excellent photography car can move horizontally or go anywhere, and the combination of various movements can be very complicated. The only certainty is that he wants to avoid taking a dance board.

When lenses other than wide-angle lenses are installed on cameras, a slick board or dance board becomes crucial because certain protrusions on the floor will cause long lens shaking.

So, Murphy will not use any long shots in such an action scene.

However, when shooting, I encountered some difficulties. Murphy found that motorcycles and stunt actors could use the inertia of turning and stick very close to the floor. Due to the camera position, it was difficult to shoot at a horizontal angle.

After standing on the set for a while, Murphy quickly thought of a way to add an extended arm to the platform that could bear the weight of the IMA camera.

Murphy thought of two solutions, the other one needed to readjust the installation arm so that the camera could reach a height of only a few inches from the ground, but the camera car could not be modified on the spot and needed to be installed back to the factory, which was quite troublesome.

It is relatively easy to add an extension arm. To put it bluntly, it is to add a high-strength alloy tube that can be lowered and extended out to the camera, so that the lens of the IMA camera can be as close to the floor as possible.

Because of the extension arm, Murphy only filmed two scenes in one morning, but in the afternoon, the shooting progress accelerated. It took only three days to basically complete the shooting here. There were not many scenes here, and some scenes were still to be filmed in New York.
Chapter completed!