No. 12 Universal Studios shed heavily guarded, the crew is a surreal setting in a camera shot preparation. A high ceiling, the walls are thin black cavern of the great white grid lines divided into several regions. Altitude of more than 100 lamps hanging air only, the following is a layer of soft fabric and a layer of muslin, to cast light neutral, clean, with no shadows. Actor CillianMurphy kneeling on the floor. Action soon as the order, starting two cameras, one to capture the scene of the deformation 35 mm, while the other records the action is 65 mm. Suddenly, a crack appeared on the floor, a large piece of falling scenery bizarre, Murphy, and stuck with the hole in the ground scene. Moment dusty, just listen to the director ChrisNolan shouted Cut. However, soon will be, hydraulic floor will collapse back into place, prepare the second shot. This is a compelling film Inception shot in the moment, Nolan and WallyPfister, ASC latest collaboration. The film also increased from Nolan wrote the script, the story of the dream into the ultimate experience: someone can invade other people dreams, and so do a lot of people connected together with a dream can be man-made, altered dream dreams to manipulate people. Protagonist DomCobb (LeoDiCaprio) Pirates of the dream to make a profit, he spies on the line in impressive company, became an international fugitive. And Nolan and Pfister previous works, they are still the starting point for realistic photography. “Back to the root of the end of our dream, that dream is real, this is the film of a line,” Nolan said at the end of shooting, “This is about photography, all aspects of the film are very important, and we do not want to dream superfluous paragraph reflects a sense of the surreal. I want these paragraphs as solid and real world, so our approach is to let a dream like the real thing. “” Sometimes people do not know what they see is a dream, So between the real and the dream is no visual signs of convergence must, unless certain point, we want the audience to know the difference between, “Pfister said,” In most cases, the film comes from a sense of the surreal environment, rather than photography through to maintain a realistic sense, we believe that when needed, to create a subtle strange or uncomfortable feeling, without the need to bring the audience a story. “They TheDarkKnight deformation of 35 mm in the mix and 15-hole 65 mm (translation: refers to the IMAX), their effect is to meet, so this would also like to try some of the paragraphs in the Inception and then a sharp negatives. “We have been aware of the high degree and high-definition format is a sense of love,” Nolan said, “We decided to use as the main deformation of 35 mm film format, whether it is best to use as a kind of camera is very light, very efficient, we have a lot of experience, but we also decided to formalize some great scenes and scenes with strong sharp negatives to shoot. “ruled out the first IMAX, because they decided, would be a lot of handheld shooting the film the foundation. “We want to take in some small place a lot of hand-held camera, record to one kind of sense,” Nolan said, “There are many very challenging body of work.” Shot on film is always a condition. “Film has a high exposure latitude and dynamic range, giving us endless creative flexibility,” Pfister said, “I frames in the same file in underexposed and overexposed 5 3 files, last on screen to show the entire range I e seen all the numbers the machine can be done all digital machines want to simulate 35mm film, this is the reason. “to find the most suitable in their substantial program period, they met with the legendary master DouglasTrumbull (Annotation: To 2001 , BladeRunner other films produced special effects), visited the Showscan demo (translation: Trumbull invented high-speed shooting a 65 mm film, screening technology). They also studied SuperDimension70, which is RobertWeisgerber design a system able to 48fps shooting and screening. “It is strange, though SuperDimension70 with extraordinary clarity, but its picture quality is only better than the HD,” Pfister said, “We can not use that.” They also put ASC Member BillBennett and KeesvanOostrum shot a specimen, with 65 mm film Scene large lens with 35 mm lenses do not shoot a small scene, and then combined. “We found 35 mm and 65 mm cut with very good,” Pfister said, “Big Scene lens rich in detail, clarity Ye Hao, despite what seems small on the screen. Yixianzhixia we decided to use this approach. “ultimate decision to use two coupled 65 mm 35 mm film negatives VistaVision8 hole (VistaVision for aerial photography, the photographer is HansBjerno) (Annotation: VistaVision was Paramount in the 1950s invented a frame ratio of 1.66: a wide-screen format film cameras within the cross walk in, use this format with the name of the film, including TheSearchers and Vertigo, this format was quickly abandoned, but still use it sometimes shoot Hollywood special effects shots). And their previous film work is different, they also decided to use a large number of high-speed photography lens, Pfister is mainly used Photo-Sonics4ER plus Panavision lens to film, frame rate up to 360fps, and Photo-Sonics4ERotaryPrism, frame rate up to 1500fps (a These high-speed photography scene also used PanArri435ESA and VisionResearchPhantomHD camera). “I had something very few high-speed film camera, because I think this natural untrue,” Nolan said, “but it is an integral part of the Inception, because the dream world and the real world a very special relationship between the time We hope to see high-speed photography and the narrative pace of upheaval to achieve results, not just the pursuit of aesthetic effect. “Pfister knew he wanted to deal with a lot of cameras, film formats, and high-speed photography to bring underexposed, so he will limit the use of film in two: KodakVision3500T5219 and 250D5207. “I do not like to use for the film the way to achieve different effects, I know it is useful to some photographers, but I prefer to adjust the lighting or exposure. I like the simple film with the same feeling. We started on location plus ND .6 or .9, if the light turn dark, put the filter removed. “filmmaking started in six countries, all of shooting time 92 days, the most in Japan, Pfister work depends on his regular team: photo help BobHall and DanMcFadden, head CoryGeryak, and lights to help RayGarcia. (UK part of the light is very important to help RyanMonro partners). Tokyo Imagica, Paris, LTC, and London, North Hollywood Technicolor company and printing photos 35 mm; shooting, Technicolor plant in North Hollywood is responsible for printing photos and printing photos 65 mm. (Burbank Iwerks Reduction from 65 mm film 35 mm deformation produced raw footage). Japan two-day shooting schedule, including aerial photography and some high-speed rail location, and then moved to the crew of a British Cardington hangar, TheDarkKnight and BatmanBegins where most lenses are shot. Here is a shot the rest of the headquarters of the lens. Build a good shed spectacular scenery, including a hotel can be tilted 30 degrees bar, and a horizontal elevator. Special effects supervisor is responsible for guiding ChrisCorbould manufacturing. “Chris from BatmanBegins since working with us, he do right or great engineers and artists,” Pfister said, “If he is making life difficult to imagine how such a large-scale production of a film.” Another at Cardington scene is a hotel corridor, shooting scenes for the zero-gravity. This corridor was built twice, look through the camera interior to exactly the same twice. First, the entire corridor as barbecue grills rotate 360 ??degrees vertically, like the camera to see the bottom of the corridor, will not be affected to move on (with Technocrane completed), or mounted on a specially designed track system, so that a fixed camera with a gyroscope in hide in a dark trench around the mobile (think FredAstaire dance on the roof of the case, or 2001 zero-gravity scenes in the interior). Second, stand up straight corridor, the camera can be mounted on retractable Towercam platform straight to the point of view. Actor hanging in the air with the WIA performance. The third shot in the corridor approach is to cast on the cart, the cart on the screen to remove at a later stage. Nolan hope to see the corridor can not be reset to rotate freely. Geryak explained: “We found a company, designed a brush pulley system, the supply corridor of power, we tell them to specific requirements, so they established a carousel-type system, power transmission to the platform on our dimmer has been in the above, this is a new type of manipulation program. we have to balance the weight of wire and silicon case, in order to avoid uneven load on the platform. “Because the lens to shoot high-speed, requires a lot of light, and light to which makes very strong, because the actor may fall to the top. Part of the design for a very practical art fixtures, each can hold six 150W floodlight. Four weeks depending on the environment is also equipped with a bottom wall and a lamp, some 1000W opal glass bulb hiding behind the aperture value is generally T2.81 / 2. Corridor rhythm section that requires special action, action guide TomStruthers and actors closely, and determine what action to achieve security. “We have a real shot used to achieve the effect of keyrig, is to get inspired in 2001, as well as Kubrick film weightless scenes approach also revealed to us,” Nolan said, “I am loving these ideas, technology and philosophy into action scenes, I inspire TomStruthers, ChrisCorbould and Wally team will play all the energy in a concentrated action to a flight the next, so that we can use the equipment for these excellent shot and I think the ultimate result is interesting mixture of surreal, bizarre, but with amazing rhythm action. “” Security is very important, the actors very painful, they have to hit to hit to the wall, “Pfister said,” They must learn the appropriate time off. We have people on the switch at any time on your hands. “There is a beautiful scenery hotel bar, which gravity will suddenly change, the weather outside will be sudden change. Corbould team built this scene tilted 30 degrees, the window is a green screen, will later replace with a real street. In order to achieve the lighting changes, Pfister who will all devices connected to a dimmer board. Just the beginning of this scene at sunset, so, Molebeam lamp, 21/2CTS filter. With 60-foot-long container filled with maxi-brute soft light, covered with soft cloth, making light of a cloudy day. “This is the camera work and lighting reflects the reality of a surplus scenario, but it is part of the story,” Pfister said, “is still a naturalistic approach, all sources are well-founded. Extraordinary is that it changes the way . combining the original sloping scenery to create a very uneasy feeling. “flat is the elevator Nolan idea, Pfister said,” This item can defecate annual fee credit card machine consumers of the new rules so that we get another method can not do perspective. Hollywood movies in general, there will be effects-intensive scene, but our strategy is to use the camera as much as possible done to true, the result was very successful. “filming in the UK, the crew again Paris to work for a week, working in Morocco for two weeks, before returning to Los Angeles to shoot a rain occurred in the urban action paragraphs. Pfister said the biggest challenge is to use Condor and large banner blocking the sun. “RayGarcia doing great, he has endless ways Qudang sunlight, so the rain is very real,” the photographer said, “Sometimes I was the glare of the sun to worry about accidentally slipped into the camera, work efficiency will be the first of Chris reminded me, anyway, this is a dream. “There is a real part of the size of the train derailed in the city streets flying. To achieve this effect, graphic designers GuyDyas take a fake engine, following the 18-wheel chassis. Pfister said: “The details of the great, we use the 65 mm and large rocker shot of these lenses, there are many action scenes in downtown Los Angeles.” Trains Chi Jin, hand-held shooting Pfister with a lot of equipment to make the screen shake, but Finally, he chose to direct hand swing. He smiled and said: “The easiest way is often the best.” Part of high-speed photography, they often use the machine maximum frame rate. Many scenes are shot in daylight, there are a few shot with light. There is a scene in the third floor of a hotel in downtown Los Angeles shooting, Cobb backwards, into a bathtub filled with water, his dream was awakened. To enhance the effect, the performance of Cobb returned to awake from the dream, Nolan demands drastic changes in frame rate, reaching 1000fps, must be faster Photo-Sonics camera, and less exposed 7 files. Geryak said: “We need to shoot 1000fps large aperture, but here only to the 4.5 lens to use in measuring under 24fps, I think the edge of the optical equivalent of f/90. Practice is out of the window frame of two Condor, each loaded two Arrimax18K Par lamp reflector bowl, Leo interval less than 15 feet. we are still on the ceiling lights for security of the two 12KPar fill light, light for the actor as his immediate sweat! “Pfister said,” great shot, you can see clear beads per drop, giving a feeling beyond the earthly. “Another complication is the lens 360 degrees along the horizontal axis rotation a vehicle. Target frame rate is 1000fps, Geryak built a tunnel, was Nolan jokingly called the “price tunnel”, Geryak explains, “We are barricaded with steel beams of a tunnel, there are six rows of each row of five 18K Fresnel lights, trucks lined up around the bike, straight irradiation. truck to rotate in the tunnel, with the sun out of the effect as woven into the blanket wrapped as we are not on the ground lighting, so the trucks were alternately exposed in the shadow of rotation that it is tumbling. “crew in the Warner Bros. studio take of a Japanese castle interior, take the turn of the destroyed. This part of the film and shot in California PalosVerdes the location of AbaloneCove lens together. There is a paragraph, an interior winter mountain fortress built in the Universal studio. This scene, bunkers destroyed when the floor debris have fallen, in order to achieve this effect in more practical terms, the production team created sets this table is higher than normal, so the floor can be broken down at the appointed time, setting surrounded by green screen, will use the latter part of the Rocky Mountain snow replaced. “We must have enough outside the green screen, but also one kind of feeling fired into the sunlight from the window, lighting and green screen there must be some distance between, in other words, the green screen must be large,” Geryak said, “We know the field in Calgary around a soft ambient light, and the sun behind the mountain, so we get a dozen 20-foot soft box, you can rise can be reduced. softbox specially set up to coincide with the irregular triangular windows shape. “crews will close the window in the upper lights hanging above the outside, creating a feeling of natural daylight, when the local board fall into the light more strongly. This paragraph in KaninaskisCountry shooting location, it is in Calgary, Alberta in Canada west of the mountains. The mountain bunker we built two versions, one is the real size of a miniature model is the ultimate for blasting. Ski team photo shoot a very good guide ChrisPatterson ski lens, Pfister said: “When I saw his outstanding work, when we shook.” Editing stage to, Nolan want to play cross-splicing, so he asked Pfister to each of the different The King and dreams are given to different feelings. “From one place to another place, we hope some changes in tone,” Pfister said, “Calgary has a poor sense of cold, the corridor is a hot color, truck is neutral, even if we cut into small Scene, even cut out the background to the isolation of things, you can know immediately where they are, which is a convenient way storytelling. “” The film is to rely on cross-splicing, “Nolan said,” if different look very different scene, a clip you can be very relaxed, but Wally and I do not want to do too much man-made picture processing. On the contrary, we want to find the natural color of each place in the script, I wanted so different action cues in the design and feel born with a different place, we observe and ask each person, including art and sound parts, and Wally will be gracefully integrated into this principle photography. “” light in the cloth, I thought he was a naturalist, “Pfister said,” I not too stylized in some cases, because the selection or creation of natural beauty, the picture finally looks very stylized, but that is a natural formation. really interesting, Chris and I actually can use this approach in the Hollywood film ***。” For this reason, I always try to keep the screen not to appear too complex, “the photographer added,” I never wanted to look lighting signs too – or that do not have a trace of light. The secret is to work as quickly as possible and simple, while not mess up the works. I think it comes down to for me to accept the news and record early photography practice. Take those things you have to find the beauty of natural light. You always start from the simplest aspects: from the past to see what direction, choose which time of day, a single light source or light source. You find out what real life is a valid way, then you form opinions based on their tastes. I have been with this view, is not only real, even the studio scene, too, even if we have the conditions to well-crafted. “Pfister insist on operating the camera is part of his method.” If it is a good photographer, I can not distinguish between light and good composition, good cloth, because they are one solution. If the hand-held shooting, I always want to personally exercise machine, because I can always change your mind and react. Chris and I are the only way to capture the action set – shot from behind, shot from the front, then do not take them together in different scene. I personally exercise machine that material, story, cloth light conditions change to this principle adaptable. “Inception of the latter involves a number of different treatment processes, according to the guidance DavidHall later said two PhantomHD lens added to the final cut version of the after effects of London DoubleNegative companies handle 65 mm film in DKP70mmInc. With a 6K scan by The company president DavidKeighley personally monitor the scan into a 6K file was sent to Hollywood Technicolor company, let the staff work to extract the data from the 6K rushed into 4K35 mm and 35 mm have been with the group then. Pfister and old partner DavidOrr together in Technicolor Company completed the work of all the optical light distribution in addition to 35 mm and digital copies, Inception will be in some markets to 70 mm IMAX format screening, DKP70mmInc. scanned with a good 35 mm intermediate positive light, then make copies of IMAX. “conventional photochemical approach is very simple, and very suitable for us, “Pfister said,” I am very careful when shooting color balance and exposure of the subject, the latter without major changes. If we want to play a stronger contrast, we can light from the cloth, clothing or art design to find solutions. All with light we used only three A copy of the spent digital intermediate process is generally half the time. “Technical indicators: 2.40:135 mm, 65 mm and HD PanaflexMillenniumXL, PFXSystem65Studio; PanArri435E SA, 235; Photo-Sonics4ER, 4ERotaryPrism; Beaucam; Vision ResearchPhantomHDPanavisionPrimo, SuperHighSpeed, CS eries, E-Series, G-Series, System65lensesKodakVision35 00T5219, 250D5207SpecializedDigitalIntermediatePrint edonKodakVision2383 full compilation: magasa
2011 年 01 月 18 日
