Since Philip Raschel will be back soon, Murphy does not intend to continue to hire a photography director, but appropriately adjusts the shooting plan, adjusts some action shots, and lets the action director team take charge of the camera, so as to minimize the negative impact of Philip Raschel''s absence.


    As for other shots interspersed in the action scene, such as some typical long-range shots, Murphy will personally go on stage to operate the camera.


    In the set, six people stand in front of the green screen and confront Henry Carville in black. Liam Nissen in high boots stays outside and yells at him.


    Murphy sat behind the director''s monitor, just looking at the transmitted picture, completely giving the command of the scene to the action director.


    If a person wants to have a strong power, he must go through severe hellish training. Of course, the hero played by Henry Carvel is no exception.


    The action scenes are intermittently shot, and the longest shot will not exceed 20 seconds, which is Murphy''s requirement. The short shot is conducive to the late editing of the action scenes, and can also speed up the rhythm of the final film. In this regard, Murphy thinks that Michael Bay''s shooting and editing method is very worthy of reference.


    Of course, Michael Bay can''t copy the action scenes directly. Murphy just takes it as the basis and makes appropriate transformation to conform to the style of his film.


    In the morning, Murphy finished filming the training scene of Henry Carvel, which is about to be demolished. There is only one scene left, a dialogue between the apprentice played by Henry Carvel and the tutor played by Liam Nison.


    Murphy called Henry Carver and Liam Neeson over before shooting in the afternoon.


    "This scene is the beginning of your conflict of ideas."


    Looking at the two actors in front of him, Murphy said seriously, "Henry, Chris was a lost child at first. It was Reina who untied his heart knot and doubts and pointed out the way forward."


    He then said to Liam Nissen, "Liam, your goal is not to get Chris back on the right track, but to lead him to the path that you believe in."


    Liam Neeson nodded. "I know I''m not evil."


    He pauses and points to his head. "What''s evil is the ideology that''s instilled in it, the ideas that can''t be changed."


    Murphy gave him a thumbs up. "Absolutely right!"


    This pair of protagonists and villains who were almost like father and son eventually turned into enemies, the only reason is the difference in ideology.


    Chris Dann, played by Henry Carville, has been influenced by many people. He grew up in a complete family when he was a teenager. Although he was hit by a blow in the middle, his behavior was extreme, but he did not form a single ideology. Even with the influence of a teacher and father like Liam Nison, he is still a very complicated person in his heart.


    Leiner, played by Liam Nison, wants Chris Dann to inherit the idea he was instilled in from childhood and become an individual with single ideology, leading the organization he inherited to achieve the goal, which is bound to form a collision with Chris Dann''s idea. Chris Dann partially agrees with Liam Nison''s point of view, but can''t recognize the exclusive and destructive part of his idea noodles.


    Soon after the shooting, Henry Carville and Liam Nissen stood in the dark light in front of the green screen.


    "The biggest fear in your heart comes from the darkness."


    Looking at the uneasy Henry Carvel, Liam Nissen said aloud, "but darkness is never our enemy. Darkness is our best friend. He can provide us with cover..."


    Murphy doesn''t need the two actors to have outstanding performance in Wenxi. As long as he has the normal level, he controls the camera No.1 to slide back slowly.


    "You have to overcome fear," Liam Nissen''s voice was clearly captured by the recording equipment. "The best way is to become afraid!"


    "Stop!" Murphy called to stop shooting and warned, "Liam, Henry, you two don''t have the right expression."


    The two actors are making adjustments, and he yells to other departments, "everyone reset and start shooting again in five minutes."


    Everyone else was busy making adjustments, but Murphy''s camera didn''t move. When he was shooting just now, he suddenly had an idea that he wanted to shoot with a long-range lens.


    Murphy also made the necessary adjustments to the camera in this short five minutes, and the subsequent shooting was also very smooth. After only one shot, he got the lens he wanted, but for better effect and different lens expression, Murphy then changed two angles and shot four shots successively.


    One of the most outstanding, fully meet his requirements.


    The long-range lens has a wide field of vision, which is often used to show the time, environment, scale and atmosphere of the event, such as the open natural scenery, mass scenes, war scenes and so on.


    However, Murphy is not used here for these reasons at all, but to show the character and a series of changes.Usually, photographers don''t use the perspective lens to show the character''s character, but Murphy is willing to do this, and he has a complete plan in a short time, that is, the perspective lens shows the character''s head to toe image.


    Film shooting and production is never a simple copy and paste, if we can pay attention to and develop a lens like this wisely, we can bring more changes to the film.


    In Murphy''s most satisfactory perspective, Liam Nissen''s character stands tall in the picture with a heroic image, while Henry Carvel''s character is at a disadvantage in the environment and seems helpless, which is completely consistent with the situation he faces in the plot.


    This means that the long-range lens is not a single one, and it can give many new meanings. This is why Murphy uses the long-range lens to shoot here. It can make Henry Carville''s character feel very weak, in a delicate weak situation, and then create a clever sense of plot oppression.


    Similarly, the two completely different characters in the lens are also conducive to creating contradictions.


    Murphy''s love of ambivalence, however, comes from ambivalence.


    In addition, this kind of long-range lens can also capture the dialogue between the two actors. Murphy''s long-range lens is used to intersect two medium shot and two close-up. He uses this lens language to put the audience in the position of the long-range lens, so that the audience has a sense of the scene, like watching the people in the picture talking.


    At the end of the day, Murphy didn''t leave work immediately. He went back to the temporary film studio to check all the shots taken today, so as to find out the shortcomings and re shoot them at the first time. The long-range shot is the focus of watching.


    After a while, Gail gado, who was busy with the work at hand, came to me.


    Gayle gado did not speak. He pulled a chair and sat in front of the monitor with Murphy to watch the shooting.


    Of course, she''s not so much looking at the camera as at Murphy.


    Looking at the very serious Murphy, Gail gado suddenly thought of what he said when they discussed the film some time ago: "making a film is to discover things. It''s about investigation and discovery. Turn your eyes into the eyes of a child, get inspiration from everything in life, observe everything in life, when you become a visual storyteller, you will learn to see people''s behavior motivation and some things behind. Or simply speaking, when driving through a field, whether it is natural light or artificial light, to perceive and learn the light there. It''ll make you feel like you''re making a movie 24 hours a day! "


    There is no doubt that Murphy has put 120, 000 of her energy into the film.


    Even sometimes, Gail gado feels that in Murphy''s eyes, the film is the first, she can only be behind the film.


    But she''s not angry about it. A man with career will be more attractive, won''t she?


    Secretly glancing at Murphy''s face, Gail gado sighed softly from the bottom of his heart, "the movie is what you should pay attention to most. Don''t participate in those messy things."


    Even though she knows that some things are difficult, she still has to persuade. After all, people like Murphy, who appear in Rose''s trial, will certainly cause a big stir.


    Gail gado didn''t rush to speak. He waited until Murphy finished watching all the shots and turned off the monitor. Then he asked, "today''s plan is behind, and tomorrow Philip will be back. Do you want to make up for the shots he didn''t shoot yesterday and today?"


    "Tomorrow?" Murphy shook his head and said, "you''re in charge of the cast tomorrow..."


    Gail gado, hearing this, frowned.


    Sure enough, Murphy said, "the shooting will be suspended tomorrow. Let Philip have a day off. And tomorrow will be Ross''s last trial. Robert said it''s very likely to be sentenced in court. I''ll go there. "


    "Murphy!" Gail gado still couldn''t hold back. "Is it OK for you to go there? In the past, you not only couldn''t help, but also let you fall into a vortex of public opinion! "


    She put her arms around her chest and looked at Murphy. "Have you thought about it?"


    Looking up at Gail gado, Murphy could see that she was really angry. She raised her hand and pinched her shoulder. "Honey, I know you''re worried, but there are some things that can''t be measured by reason."


    Gail gado, who had little temper, turned away from Murphy and did not speak.


    "Ross is my friend." Murphy knew very well that it was difficult to understand the brotherhood between men without his original experience, but still said, "we helped each other in prison, and he helped me through the most difficult period of time."


    "You..." Gail gado gave a long sigh, bit his lip and said, "I''m going to call bill now. I have to be prepared."


    Murphy took her hand and walked out. "I''d better fight when I get home." (to be continued). )