金沙第一娱乐娱城官网-金沙城娱乐中心手机版网址

热门关键词: 金沙第一娱乐娱城官网,金沙城娱乐中心手机版网址
您的位置:金沙第一娱乐娱城官网 > 影视新闻 > 中那个NB闪闪的长镜头

中那个NB闪闪的长镜头

2019-08-29 16:03

礼拜天陪着LP逛街,看了二零一八年金球奖最好影片《赎罪》,提起来好笑,那大致是第四回和LP看录像啊。

by Matt Mulcahey

Dunkirk, it is an excellent movie. I was moved and tears are sparkling in the eyes for at least 3 times.

这一次的电影感到还不易,比第三次跟老伴看的不行不知所谓的神怪片要好广大,总是说金球奖的要比奥斯卡的有暗意、要小众,看来果真不错。

原文:

On a clock that has an hour hand and a minute hand, the time 11:05 makes a V. These two numbers, 11 and 5, where 11 is November, and 5 is the day of November, spell out: the fifth of November. "Remember, remember the 5th of November."

After enjoying the movie, the most feeling how we are happy and lucky just live in such a peace decade. In the whole feeling of enjoying the movie, few dialouges were proposed. Most impressives are the eyes, expression on the faces and gestures of soliders.

影片中好些个地点值得回味,包罗非常身形像冲浪板一样的、当时怎么也想不起来名字的大嘴的“英伦玫瑰”凯拉·奈特利的显示。当然了,最让广大影迷乐此不疲的,也是让自家最看中,正是分外NB闪闪的长镜头。

图片 1

The domino scene, where V tips over black and red dominoes to form a giant letter V, involved 22,000 dominoes. It took 4 professional domino assemblers 200 hours to set it up.
---- 好奢侈~~

图片 2

当下在电影院意识到那是个长镜头的时候,时间已经过了一点分钟,接下去自身就一向跟LP唠叨,“那是个长镜头啊~~好长的啊~~还向来不完呀”,LP望着自身不让作者产生,好像自个儿正是个白痴似的。

Larkin Seiple

When V cooks eggs for Evey, he hums along to "The Girl From Ipanema."

The film was started by Tommy was running in the town of Dunkirk. He kept running and finally successed to get the beach. But found more soliders were in rows to wait for the vessels. That moment, I felt despaired. Then Tommy tried to be in the row but was told the team name difference which would made you in the different loaction of the rows. He was looking for some place to stand.

谈到来,这几个长镜头真值得咀嚼,并且据书上说有些地方是用人力车来推动的,长达四分半的长镜头表达了英法联军在敦克尔克大撤退前屠杀战马、捣毁车辆、丢掉伤患等的落败局面以及士兵们无节制地喝酒、纵情的聚会、祈祷、争斗等恐怖的状态,最讽刺的是,场景选在沙滩旁的一个俱乐部中,年代久远荒废失修的转动木马、摩天轮等建筑若隐若现可见当日的立秋,和即时塞满了散兵败将的景观产生了美好反差。

Filmmaker: How did you meet Swiss Army Man co-directors Dan Kwan and Daniel Scheinert (aka “Daniels”)?

James Purefoy was originally cast as V. He left the project because he couldn't breathe behind the Guy Fawkes mask.
---- 戳到~~

While you don't know if you will still live when the sun is rising tomorrow morning, what you will still need do. What is the most simplest? It is eating, excreting and sleeping. So what? Think it about while you almost have got everything now. You may have demanded too much. And you get upset. Calm down and relax yourself. Be the master of yourself and keep it.

呃,原谅作者用了地点的那句十分长的一句话,还很Sven,不过实际就是如此NB,本来恐怕20分钟工夫表现出来的感受,通过4分钟半的长镜头就宏观的显现出来,何况还给人记念深入。

Seiple: We all studied at Emerson College in Boston but I didn’t really know them until after. I met Dan Scheinert because he was in a comedy troupe with one of my roommates. After college [the Daniels] made their first music video and I saw it at a small festival put on by other music video directors called “Videomacher” in Los Angeles. The majority of the videos screened were these big budget “professional” projects and Daniels had made their video for literally no money with a 7D and it just blew everyone else’s video out of the water. I tracked down Scheinert after the screening and gushed about how their video had blown my mind and it made all of the other work feel stale. I had completely forgotten we were surrounded by other directors and very loudly said something like, “You guys destroyed it. Everything else here is crap.” And he was like, “Shhhh.” (laughs) I told them that I wanted to work with them and then they called me to do [Foster the People’s Grammy-nominated music video] “Houdini.”

All of V's dialogue was dubbed. Initially, a mask was designed with a small microphone inside, and another mike was designed to sit along Hugo Weaving's hair line, but neither worked very well.
---- 又戳到~~

The director of the movie is Christopher Eward Nolan. His other famous films are INCEPTION, THE PRESTIGE,INTERSTELLAR. Nolan is an English-American film director, producer and screenwriter. He was born in 1970. So young, but so great to the movie field. How could he directs such great movies.  If you ever magin this, then you will find how workhard he have done. Not to reach the top as he reaches,work hard for yourself and get a better for your family.

只是,就如好多个人钻探的那么,难题也就出来了,那个长镜头就相近维纳斯的臂膀,破坏了他原本总体的好看,未有这么些长镜头,《赎罪》正是一部爱情片,有了这些长镜头,《赎罪》便是一部展现了战斗场合包车型客车爱情片。大家当然知道前面一个没有前面三个那么纯粹,更要紧的是,如此耗资巨大的长镜头成为了那部爱情片的一件富华的装点,值如故不足?

Filmmaker: At what point did you first hear about Swiss Army Man and how did the idea evolve before you started shooting?

For the scene when V emerges from Larkhill, stunt double Chad Stahelski literally walked through fire, wearing just a special fire resistant gel and a g-string. Stahelski's body temperature had to be lowered before the scene was shot, and luckily, it was 3 below zero the night of the shoot. 15 minutes before a take, he would put on ice cold flame resistant clothing, and once he took them off, he would be covered with fire resistant gel which had been icing all day long.
---- g-string~~ 这专门的学业好费劲~~

The film was told from the land,sea and air.

之所以说,比较善意的猜度(作者的),正是想,只怕发行人确实的妄图就是想依据那些宏伟的外场,击碎观者们在前头刚刚创建起来的小资情调的情意感受,而让观者从大的背景中思索整整一代人的痴情所面对的切肤之痛和折磨,然后在通过前边的小影院大显示屏的内容,把主人公们的爱意再从全方位大时期背景中暴表露来,让他俩的爱情升华……

Seiple: I got involved about a year before [we shot it]. The Daniels were constantly revising the script. It was a very zany script and some of the ideas [from earlier drafts] were even crazier [than what’s in the final film], things like laser eyes and an endless rope made of hair. They kept trying to find this balance between touching and bizarrely comedic, a story you could laugh at but also have it resonate with you. I think they distilled the idea to “a fart to the heart”.

When V confronts Creedy in his home, he plays Beethoven's "Fifth" Symphony, whose opening notes have a rhythmic pattern that resembles the letter "V" in Morse code (...-). The Symphony's opening was used as a call-sign in the European broadcasts of the BBC during World War II in reference to Winston Churchill's "V for Victory". The film's title itself, is also a reference to "V for Victory".
---- 莫斯密码~~

图片 3

完了,说吗都很文绉绉了

Filmmaker: Did anything get cut because of budget or was everything cut for story?

The exact same font is found on all the posters and signs seen throughout the movie except the posters for Valerie's movies.

On the land,when 400,000 people could not get home, the most moved moment is the home is coming. You find homecountry come to pick up you home from the sea. Let me know the ever moved thing than you are treated as you have never been expected. Soliders were on the beach of Dunkirk and already no way to go head but dead if no vessel is coming.

附录一:这几个长镜头

Seiple: It was all for story. They would have a great idea that was really fun, but then they would realize that it completely took away from the story or it killed the rhythm so they would scrap it.

Andy Wachowski and Lana Wachowski, huge fans of the original comic series, wrote a draft of the script in the '90s before they worked on The Matrix, which shares several similar themes.

There was a scene that a soldier could not end up such pain any longer. He unloaded his arms and protected clothes  , walked to the sea and vanished in the sea.

 flash:

Filmmaker: Where did you end up shooting?

Natalie Portman was chosen for the role of Evey over Scarlett Johansson and Bryce Dallas Howard.

On the sea, thought soliders get on the vessels but still were attached by the bombs. Then many soliders died in the sea with fire and fear. How despair it is?

附录二:有关那多少个长镜头

Seiple: We quickly discovered that southern California does not have beautiful forests and no real underbrush that makes forests lush and majestic. We ended up going to northern California, which has one of the most beautiful forests in the world. There’s a place in Eureka in the Redwoods called The Avenue of the Giants that is just stunning. These trees are so huge that you feel like you’re surrounded by ancient ancestors. It’s very quiet too. It reminded me of how the forests feel in Princess Mononoke. There’s just naturally a sense of magic to it.

Keira Knightley auditioned for the role of Evey Hammond.

On the air, the pilots are trying to protect more soliders even knowing without enough fuel.  When he said ok, just do this. His greatness is already without words could be expressed.

《赎罪》里有三个4分27秒的长镜头,描述了英法联军有名的敦刻尔克大撤退。这几个在敦刻尔克沙滩所拍戏的五分半钟的镜头,前后共拍片了陆遍。庆祝场合包车型大巴陆分半钟使用了轨道拍戏,共八遍,第一遍被运用。从骨子里角度出发,剧组唯有一天的摄像时间,并且与一千名一时歌手的时间越发有限,除了这几个之外还要赶在潮水将布景完全淹没在此之前产生拍照。敦刻尔克海滩能够说是全剧中拍片最费力的一些。拍录计划原定为两日,然则布景人士建议在第二天晚上才恐怕有适联合拍戏摄的采光条件。这迫使编剧改换拍片计谋,只用二个水墨画机。场景在率后天和第二天早晨因此排演,拍片时接纳了Mini轨道装置,在围绕一条小船之后向演奏台移动,滑向三个斜面,踏上了人力车,最终下来从码头走入障碍。 建在Redcar地区的敦刻尔克布景是大局最为昂贵的部分,共开支约一百万港币。

Filmmaker: How about the beach location for the opening scene?

Natalie Portman worked with Barbara Berkery, the dialectologist who also worked with Gwyneth Paltrow, to perfect her English accent.

The film was produced between the United Kingdom,the United States, France and the Netherlands.

原文:

Seiple: That beach was also in Eureka. The project was actually shot in three different cities, which made it very challenging. We shot a lot of the bus sequence and a lot of the technical builds in the woods in a small forest outside of San Francisco that matched the redwoods in Eureka. Then we shot in Los Angeles for two weeks — everything in the water tank was shot there, we shot the opening fart scene of [Manny, played by Radcliffe] shooting across the water, and we shot the bear scene because it’s the only place you can get a bear. We also shot all the cave work [in LA]. The cave is actually the cave they used for the Batman TV show, where the Batmobile drives out. So we started in San Francisco, came back to Los Angeles, and then we ended in Eureka with a small crew going to get all of these wonderful moments in the most beautiful forest we could find.

The line about God playing dice with the universe comes from Albert Einstein's objections to quantum theory, in which he said that "At any rate, I am convinced that [God] does not play dice."

While you face the danger, how you will behave and face. Tommy and the French solider were really smart and found a way to escape. They had no team already and just pretended to be the partner if the team would have a chance to go home.

The 4.5 minute long take through the Dunkirk beach scenes took under 5 takes to film.
The celebrated 5 1/2 minute tracking shot was done in four takes (the third one was used). It was conceived out of necessity, for the crew only had a day to film and had limited time with the 1,000 extras and had to shoot before the tide would come in and wash away the set.
Shooting the five minute Dunkirk beach scene was arguably the toughest portion of shooting. The shooting schedule dictated that the scene must be completed in two days. However the location scouts report indicated the lighting quality at the beach was not good enough until the afternoon of the second day. This forced director Joe Wright to change his shooting strategy into shooting with one camera. The scene was rehearsed on the first day and on the morning of the second day. The scene required five takes and the third take was used in the film. On shooting, Steadicam operator Peter Robertson shot the scene by riding on a small tracking vehicle, walking off to a bandstand after rounding a boat, moved to a ramp, stepped onto a rickshaw, finally dismounting and moving past the pier into a bar.
The set of Dunkirk, built at Redcar, was the most expensive set, costing an estimated 1 million pounds.

Filmmaker: How long was the shoot?

The name Evey is pronounced EV, with E being the fifth letter of the alphabet, V being five in Latin and Y being the 25th letter (5 squared)

Appreciate what you have got and keep do the meaningful things you have insisted on.

Seiple: I think we had 25 days, but we had travel days on top of that. Then we got an extra day to do pick-ups on the very last day of the shoot. That was just me and the directors. Scheinert is the same exact build as Paul Dano so we just kept [Dano’s] wardrobe and shot a lot of the travelogue shots [with Scheinert doubling him], all these beautiful vistas of Scheinert walking around with the dummy.

Hugo Weaving based his accent on Harold Wilson, British Prime Minister from 1964-1970 and 1974-1976.

For my part, I am keeping writing and reading. For doing excrcises, I will go on from tomorrow.  Feel really bad that I have stopped for almost 20 days.

Filmmaker: Are any of the wide shots of Manny and Hank (Dano) crossing that ravine on the giant pipe actually Scheinert and the dummy or is that a VFX composite?

When we look into Valerie's flashback, there is a brief scene when she talks about meeting her lover while filming her movie. When we see the scene of her washing clothes in the bucket, the film crew behind her was composed nearly entirely of the real crew for "V for Vendetta".

Goodnights, boys and girls.

Seiple: No, that shot is fake. We were scouting for hours east of Eureka trying to find a place to shoot that [practically]. We didn’t find one but we found a perfect location for our plates. However it was five hours from any major city and we knew we could never come back. Luckily we brought a Red Epic camera so we were able to capture plates for the ten or so angles we needed for the sequence.

Hugo Weaving appears unmasked while V is pretending to be the old man who gives the information to Inspectors Finch and Dominic. He also appears unmasked, though with his face always in shadows, while a disguised V acts as the guard/torturer of Evey while she's imprisoned. Despite rumors to contrary, he doesn't appear in the crowds in Lark Hill flashbacks or at the climax while all the Londoners watch Parliament being blown up.

真是奇葩了 前年0六月二十日  22:58

That pipe sequence was actually shot with several different pieces put together. There’s the shots of them getting onto the pipe, for which we built a fake pipe into a ditch near the side of a road. For the profile angles we broke down and rebuilt the pipe on a ridge so that our background felt high up and far away. Lastly, when they’re hanging off the pipe and for the falling plates, we had to bring in a crane and suspend them and shoot that [against] greenscreen.

Filmmaker: You shot the film in July of last year. How did you get it ready for Sundance the following January? That’s incredibly short turnaround.

Seiple: Oh yeah, it was nuts. We had an on-set editor, which helped us just emotionally to be able to come back in every day and have a scene from a week ago to look at and see that it was working or if we needed to do pickups. Once we wrapped, Daniels and their editor didn’t stop [working] until Sundance. It was crazy. I think Dan Scheinert was doing VFX comps on Christmas Day.

Filmmaker: Did you have a DIT coloring dailies for the on-set editor?

Seiple: We did. I had my DIT Matt Conrad, who has done the last three movies with me and for the most part all my commercials and music videos. He built a LUT that we would tweak per scene. For example in the forest there’s all this green bounce everywhere so you’re constantly trying to neutralize that so people’s [skin tones] don’t look like an alien’s. Or if we were cheating a scene for dawn we would warm the highlights and add a bit of magenta. We were able to apply the LUT to our dailies so as they edited they could discern what images worked.

Filmmaker: Did you go back and tweak the color grade any more after Sundance?

Seiple: We did, but it’s pretty close [to what screened at Sundance]. We went back and tweaked some of the crazier sequences, like some of the night work was really tricky to keep the continuity with a bear and a fireball and all of these visual effects shots. We also added a level of grain to the final version that wasn’t at Sundance to fight the digital look of it. It came off very sharp at the first screening and we just wanted to find a way to soften it a little bit more.

Filmmaker: You used Cooke Anamorphics with the Alexa XT?

Seiple: Yeah. The Cookes are a really lovely set of lenses. At a T4 or a 5.6 they’re pristine and very sharp, but if you shoot them around a T2.8 they start to have all these little inconsistencies that look really lovely on camera. The 75mm goes really soft on the top and bottom when you shoot wide open, which helped enhance some of the more subjective close ups.

图片 4

Filmmaker: I read an interview where Daniels talked about the very different processes of Radcliffe and Dano. How do you take into account actors with different working methods when you’re planning the order of your coverage?

Seiple: If it was a different movie I’d have a great answer for you, but for this movie we were hustling and moving very fast so those choices came down to “this is the shot that makes the most sense to do next and we’ve only got three takes to do it.” It was very easy to shoot Daniel as he’s always static, but Paul really likes to be in the moment and just let it happen. That’s challenging, because he jumps and moves and darts around a lot and as a camera operator you’re just like, “Alright, he’s still. Nope! He’s over here now.” In one of the opening shots of the film when Paul first hears the fart and he snaps up, you can see in the movie that the camera was not ready for him to pop up and so the camera does a slow drift up to catch up to him. I begged Daniels, “Just give me one more,” but they loved it.

Filmmaker: Walk me through the fake Mannys. Did each have a specific function?

Seiple: We had a small brigade of Mannys. One was stunt Manny, where the face work wasn’t as precise but he was about the weight of a human being so we could throw him around realistically. One was a much lighter Manny that I think had the best face work and we would use that for things like the scene where the raccoon [chews on Manny’s face]. There’s one take that they took out that I wish they would’ve kept where the raccoon goes right for Manny’s eyelid and pulls it open and it was terrifying. (laughs) That Manny was also super lightweight so Paul wouldn’t mess his back up by carrying around 150 pounds of weight every day. And then there was the floating Manny that we built a small air tube into so that it could consistently fart and float in the water. The floating dummy was a little tricky because we had to have multiple people on strings pulling him at the same time you had a guy running with an air tank so the dummy could emit farts.

But ultimately we used Daniel Radcliffe more than anything else. Paul does carry Daniel quite a bit. When a scene wasn’t working with the dummy, we’d say, “Alright, let’s just do it with Daniel.” Daniel was also really insistent on trying to be in every shot he could to support Paul. We ultimately only used the dummy for things that a human shouldn’t do.

Filmmaker: Did the AD supply your on-set fart noises?

Seiple: Actually either Kwan or Scheinert would do it when we were shooting because the farts had to be very specific. They all have a different emotion to them. I don’t know if the video made it [online], but when Manny first starts farting on the beach Scheinert was conducting him off camera, literally like a symphony of farts. Scheinert would raise his arms and bring them down and raise them again and then simmer it down. It was a pretty interesting sight to behold.

Filmmaker: Tell me about the set-up for the opening title card shot – which is a super wide shot of Hank riding Manny like a fart-propelled jet ski. Both the actors and the camera are moving at a pretty good clip.

Seiple: That whole sequence, like everything else, was pieced together. All of the shots of Paul and Radcliffe were done with them on a giant boogie board dragging them through the Pacific Ocean with some gnarly waves. They could at any moment get tossed off, which is a little intimidating if you don’t like swimming in the middle of the ocean. So we shot all of their close-up work like that and then we had a stuntman dressed in Paul’s gear and we put the dummy on a very small knee board and the stuntman would climb on and we would get like 10 seconds of footage before he got knocked off by a wave.

Filmmaker: So the stuntman was being pulled by some type of boat?

Seiple: Yeah, I think it was a motorboat pulling them and then in post we removed the wake and the foam caused by it. The camera was on a zoom lens tracking with them at high speed on a flat-bottom boat. That scene was bananas to shoot and shooting in the ocean is very frustrating. Everything is always drifting or changing with the current so we figured the best solution was to shoot on a zoom, on a crane, with a remote head so we could literally swing the camera anywhere we had to. We barely got all the shots. We grabbed the last one at dusk and there was a very beautiful sunset but it lit the water with oranges and pinks so in post we had to color grade the crap out of it and force blue back into the water. That was a very challenging scene to shoot/grade because it goes from hard sunlight to soft sunlight to sunset and we had to make that all feel like it takes place at the same time. Luckily we had Sofie Borup color grade the film and she did a wonderful job.

Filmmaker: Do you have any horror stories about the bear or the raccoons?

Seiple: The raccoons were good. I believe their names were Boris and Natasha. Raccoons can really only either grab something or run away and each of the raccoons had a specific move that it could do. So they weren’t too bad, we just had to do a lot of takes and they were constantly trying to escape, which made the owners nervous because we were in a giant forest.

The bear was challenging to shoot in that we didn’t have a lot of time with it. We had to set up an electric fence around the bear wherever we were shooting just in case something went wrong, which is nerve-wracking to shoot any sequence where you’re surrounded by an electric fence for your protection. The owners also seemed a little intimidated by the bear. (laughs) They looked very nervous when he wasn’t in the cage. Its main lure was ice cream sandwiches. They would throw five or ten of them back into his cage whenever they finished a take. He loved them. The bear’s name was Tag and he was very sweet but you could hear him rolling around in the cage and you thought, “My god, how much does he weigh?” The suspension on the truck was just shaking.

One tricky part was that he photographed much darker than we expected so we had to redo all of our lighting once we actually framed up on the bear. Our gaffer, Matt Ardine, had designed a wonderful lighting setup of moving lights on Condors and thank god they were all remote controlled. We were able to pan and tilt them remotely and increase the intensity, so once the bear came out we quickly re-lit the scene and over-lit the hell out of it just so we could see the bear. So when we shot the bear it looked like a high key comedy with super bright moonlight and a vibrant background and it was supposed to be a moody scene at night. In post we had to go in and basically bring down [the levels on] everything but the bear.

Filmmaker: In addition to the Alexa you used the Phantom Flex 4K for a few sequences, including the shots where Manny and Hank burst out from underneath the water in slow motion.

Seiple: That was a big moment in the movie for Daniels and they wanted it to be otherworldly so we decided to shoot it at a high frame rate to enhance that state of awe. That was half stuntmen and half real actors. The shot of them initially bursting out of the water is just Paul and Daniel (Radcliffe) in the shallow end of a pool jumping out of the water from underneath, which looked great. Then for the wide shot we built a system of trusses over the pool and had high-speed cable rigged to two stuntmen underwater. On action the motor would go and it would rip these guys upwards out of the water. We shot that against greenscreen and combined it with the plates we shot four months earlier on that scout.

Filmmaker: What frame rate did you end up shooting at?

Seiple: I think it was 1,000 [frames per second]. At that speed you get a 4K image. If you shoot 2,000 frames per second you get a 2K image. We went for the higher resolution because we knew that we had to cut it out of the greenscreen and we needed all the resolution we could get.

Filmmaker: Did you have to pump a lot of light onto the actors to expose for a frame rate that high?

Seiple: We had plenty of light. The tricky part was matching it to those plates we’d already shot. When we shot the plates it was sunny but partly cloudy so it’s direct light but soft. To match that light we shaded the pool in a 20’x20’ of Full Grid rigged off a Condor to soften the sunlight. Then to give them a subtle edge we spotted in two M90s just off camera.

图片 5

Filmmaker: There’s some behind the scenes footage out there that shows how you shot the sequence in which Radcliffe – propelled skyward by an ignited fart – falls back down to earth through a series of tree branches. In the footage you see a Red Epic rigged to a Doggy Cam and crew members whacking Radcliffe with branches.

Seiple: The choice that we made to make it a body mount POV shot of Manny falling through the trees was really done because we didn’t know how to shoot it any other way. We created a moving light rig around Radcliffe using LED tubes to make it as though the moonlight is circling him as he falls. It wasn’t actually a Doggy Cam mount. It was some funky mount rig my key grip Nick Kirsten had found. We couldn’t afford Doggy Cam.

Filmmaker: Did you use the Epic for that just because it’s smaller and lighter?

Seiple: Yeah, we did it for the weight. The Alexa Mini either wasn’t out yet or we couldn’t get our hands on it, I don’t remember which. And the (higher) resolution (of the Epic compared to the Alexa) helped a little bit too so that in post they could zoom in or reframe a little bit. But mainly it was because we didn’t want to put all this weight on Daniel Radcliffe while he was also being hit by branches.

本文由金沙第一娱乐娱城官网发布于影视新闻,转载请注明出处:中那个NB闪闪的长镜头

关键词: