Disaster Artist

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Where is the difficulty of shooting the big battle?

Simply put, single-player single-line, multi-player multi-line.

In "Assault", Lu Qian shoots a lone hero with a single-line narrative. All the shots revolve around Artest. Even if the perspective is briefly switched to the enemy's position, Artest is always the center of the circle. Naturally, the layout of all shots is much simpler. Because the center of the circle is always the same.

In "Deadpool", they need to shoot a multi-line narrative, that is to say, Deadpool, Colossus, and Sonic Warhead, all three are fighting at the same time, not something like "Deadpool finishes playing Colossus, and Colossus finishes." "Sonic warhead" wheel battle, the "explosion point" of the battlefield all happened at the same time.

That is to say, in the battle scene, Deadpool, Colossus, and Sonic Warhead, three people, three lines, are independent of each other, but occasionally intertwined, and finally constitute a panorama of the entire battlefield.

So, how should it be presented?

As mentioned before, the scene scheduling of most superhero movies is mediocre and rigid, nothing new, and lacks imagination. Among them, group battles are the most obvious problem.

Three people and three lines happen at the same time. Then, how should the editing be combined, how should the scheduling be coordinated, and how should the scene be composed? Those pipeline works have no in-depth consideration at all, there is no spark collision between action scenes and action scenes, and the scheduling is even more rigid To be lifeless.

This also makes the climax less exciting.

Many times, the climax fighting scenes of these assembly-line movies often look like: A fights first, A fights then B fights, and B finishes and then C fights.

The audience clearly knows in their hearts that the battles of A, B and C happened at the same time, all on the same battlefield, but the problem is that one is composition and the other is scheduling, and the presentation of the shots is completely unimaginative, has no sense of space, and has no time. , this linkage cannot be activated.

In the end, what is presented is the look and feel of a "wheel war", even if the editing is dazzling, it cannot hide the paleness of the whole scene.

"The charm of a sense of film" is also dimmed here.

In fact, in Lu Qian's opinion, the climax of commercial movies is the best platform to present the charm of the movie. The sparks created by the interweaving of light and shadow and the composition of the picture are enough to make one's blood boil. The chemistry of computer special effects and actual shooting is mixed together The reaction is like magic.

Popcorn movies, if the climax isn't great, what should you watch?

You can't just look at your dog food and the brain supplement of humorous jokes, right?

Generally speaking, in the filming method of the assembly line industrial film, the fighting routes of the three people are all separated, and the shooting is naturally separated, independent of each other, without any connection.

The stitching is then done through post-editing, creating the illusion that the three-person battle is happening at the same time, but the other two battlefields are often not visible in the footage.

This is also a common problem with assembly line operations, because it is faster and more convenient. It can not only ensure the shooting efficiency, control the entire scene in a small area, and then apply the template to complete the shooting; at the same time, it can also control the cost. avoid wasting.

However, the scheduling, connection and composition between shots are too rigid and rigid. In order to avoid cross-cutting, they even try to avoid shooting one line and include the other two lines into the scope of the shot to ensure that each line is shot. The shooting of the lines can be truly independent.

It also means that there is no sense of space, no temporality, and no vitality.

The problem is here, the three people are not scattered in different corners of the Sahara Desert, how can they not see the fighting situation of the other two people?

In this regard, Lu Qian refused.

Lu Qian wanted to shoot a lone hero to go to the meeting alone, but Lion Pictures refused to let them. They needed to join the mutant team universe, so the big battle turned into a melee.

Then, Lu Qian gave Lions Pictures a multi-line intertwined all-out melee.

Lu Qian's idea is not only bold, but also crazy——

After all, if it wasn't like that, it wouldn't be Lu Qian, would it?

How to shoot this scene?

Before filming, Lu Qian and the entire Hong family class discussed several meetings in depth:

How did the three characters of Deadpool, Colossus and Sonic Warhead penetrate deep into the enemy camp, how did the enemy camp spread out to deal with them, and what was the situation on the entire battlefield?

In order to ensure that the panoramic view is comprehensive, they even made a sand table, yes, it is a sand table specially used to talk about soldiers on paper, and use toy soldiers as characters to ensure that every character that appears in the picture is real and vivid. Independent thinking ability real human beings.

Therefore, some people will take the initiative to fight, some people will be injured and fall to the ground, some people will be attacked by the enemy, both positive and negative, the whole battle needs to be completely intertwined.

Of course, if the funds are sufficient, Lu Qian can completely expand the entire battlefield, and use the scale of shooting war movies to schedule all the details of the scene. All the characters will become part of the battlefield, showing a magnificent and heroic picture.

However, they didn't, and they were shy, so Lu Qian had to suppress his ambitions and control the situation on the battlefield within a certain range.

This also means that the three positions of Deadpool, Colossus and Sonic Warhead need to be slightly apart to become each other's background boards, but at the same time they will not take away the main visual effects of each other's fighting scenes and reduce the shooting work. It is difficult and can save some money at the same time.

In this way, the three characters and three lines, while maintaining independence, can become part of each other's battlefield, and finally——

The same scene, shot three times.

When focusing on Deadpool, the fight between Colossus and Sonic Slug takes place at the same time.

In the same way, when focusing on Colossus, Deadpool and Sonic Slug fight at the same time; so does Sonic Slug.

So, what is the point of shooting like this?

Sense of space and time.

To give a simple example, it seems that now, Lu Qian is preparing to shoot the first scene of the big battle, that is, "Deadpool vs Little Minion", which kicks off the battle.

The protagonist of a mirror is Deadpool.

The dead servants began to rush forward ~www.wuxiaspot.com~ to fight all the way, kill the ruins downstairs, prepare to go upstairs, save Sasha, the whole scene is completed in one go.

But at the same time, Colossus and Sonic Warhead are also in the corners of the picture, and they appear as part of the background to complete the picture.

In this way, Lu Qian can show different corners of the battlefield through camera scheduling, and the richness and agility of the entire fighting scene are filled.

In addition, the post-editing work not only plays the role of changing the perspective, but also acts as a metronome, making the fight scenes start to breathe, from Deadpool to Colossus to Sonic Warhead and back to Deadpool, and even interspersed with Sasha and Aja's The lens, 360 degrees, keeps rotating and jumping.

In this way, the audience can be deeply immersed in the battle, as if they are in the center of the fire, dazzled through the hail of bullets.

It is very complicated to describe; it is even more complicated to actually shoot——

It is precisely because of this that Lu Qian and the work teams in different departments of the entire crew have been rehearsing and rehearsing repeatedly, and every day is a challenge.