When the staff heard Brian de Palma's instructions, they picked out a copy of the copies of "Lola Run" samples and put them in the camera, press play, and everyone looked at the wall together Big screen.
On the screen, after hitting the board, the first thing that appeared in the picture was an empty shot.
From the fixed-point upward viewing angle, bright golden sunlight is projected from the window with two strings of half-open bamboo curtains.
Under the strong light, the patterns on the bamboo curtains, the Barbie dolls in the corners, and the withered bouquets on the windowsill, all elements give people a sense of quiet and perfect harmony.
The pros and cons of a movie lens are basically judged based on the composition, color, lens and other elements.
The lens in front of me has clearly reached an impeccable level in composition, color and light usage.
There is no outsider in the movie room who does not understand movies. Therefore, although there is no first time to see the performance of the actor, but it is just such a simple empty shot, everyone can not help but secretly admire: beautiful.
The fixed-point empty mirror lasting about 5 seconds lasted three times.
Immediately afterwards, the second lens is still an empty lens.
However, this time it is no longer a fixed point, but a slow forward push.
In the picture, Lola and her boyfriend are pictured together with a red card with a radial heart shape, scattered clutter on the table, and the light and composition are also very good.
Afterwards, the third lens, although still empty, began to move.
Laura's green checkered trousers are on the left, a black beer bottle is on the right, and a little turtle crawling slowly in the middle. Compared with the first two empty mirrors, this shot is more interesting and faintly conveys a kind of restless mood
Everyone also realized at this time that this should be a set of continuous empty shots.
However, the three lenses and three completely different compositions are all full of imagination, showing the creator's profound aesthetic skills.
After a set of empty shots, Laura himself finally appeared in the screen.
Seeing Laura's intense color style combined with fiery red hair, blue vest and green trousers, people who were exposed to this movie in the studio for the first time were a little surprised, this kind of avant-garde image close to a cartoon It is still rare in Hollywood movies. However, due to a set of perfect empty shots just now, these people can't help but regard this alternative as an innovation.
The samples developed from the original negatives are naturally silent.
The silent picture continued for more than two minutes, and everyone in the studio had different reactions.
Ron Macmillan, the producer of "Lola Run," was completely relieved at this time. After spending so many years in Hollywood, Ron can still easily determine the quality of the samples in front of him. Simon's shots are countless times stronger than the best situation he had imagined.
So, it is obvious that Simon's directing style is different from that of other directors in the past few days, and he is not trying to make a fiction at all. This is a young man with very high filmmaking talent.
Catherine Bigelow has seen Simon's various talents more than once. Therefore, she has enough confidence in Simon from the beginning. At this time, she just enjoys the samples with everyone with relish.
Just a thought flashed through David Giller's mind, and he didn't miss that little guy.
As for Brian de Palma.
In the whole room, he should be the one with the highest professionalism.
Although Robert Redford and Catherine Bigelow also have some directing experience before, they have very little qualifications in this area.
Because of his professionalism, Brian de Palma became more and more surprised as the samples were played.
After Simon gave up his cooperation with Orion, Brian de Palma did not withdraw his promise to be the executive producer of "Lola Run". He really admires Simon this young man very much.
However, Brian de Palma's heart is not without worry.
In the film and television industry, the phenomenon of screenwriters transferring to directors is very common, but this is often a gradual process.
Simon's screenwriting aptitude has just attracted Hollywood's attention and he can't wait to switch to directorship. Brian de Palma thinks this is definitely an unwise choice.
Therefore, although promises have been made, if the future production of "Lola Run" is too horrible, Brian de Palma will not allow his name to appear in the subtitle list of this movie anyway. .
But now, Brian de Palma has completely let go of his worries.
The first empty shot that appeared on the screen gave Brian de Palma a very high evaluation.
From a purely technical point of view, if a strong backlight scene is not handled well, there will be glare, fog and other flaws in the picture, but Simon's lens has not found these problems at all.
If only this one lens is perfect, it's nothing. Later, a series of back-lighting lenses that Lola stood in front of the window to make a phone call were impeccable in all aspects of technology.
Moreover, Brian de Palma is also very positive about the warm yellow tone of the film determined by Simon. Warm yellow can be said to be the most relaxing and comfortable color tone. This color scheme also looks more cinematic. .
In addition, the use of various shooting techniques in the samples from a box of quarter-and-a-half-length film films also shows Simon's excellent lens scheduling ability. In particular, the last follower in the sample, Lola, rushed out of the room and turned all the way to the mother's bedroom and then turned to the TV screen again. The trajectory of the mirror was simply wild.
however.
All of this is not what surprised Brian de Palma the most.
Just after the quarter-and-a-half of the sample was broadcast, Brian de Palma immediately asked Ron Macmillan sitting on the other side with some uncertainty: "Ron, is this version of the sample ready? Excessive?"
In the film era, samples developed through the initial negatives, due to differences in lighting, scenery, and the quality of the film itself during the shooting process, each lens has different effects in terms of color exposure. Therefore, after a movie is edited, the samples must be graded one by one by a professional colorist, set a special color scheme for each lens, and then handed over to the laboratory staff to process them one by one according to the corresponding scheme.
Moreover, most movies generally have to go through at least three color matching to achieve the final screen effect that the audience sees.
It is not difficult to imagine how complicated color matching can be for a movie with thousands of lenses at every turn. However, even in the digital age many years later, no movie can escape the complicated color matching process.
but.
Just now.
Brian de Palma found that in the four-and-a-half-minute sample shots of "Lola Run", there is not much obvious difference in exposure and tone between different shots.
You know, although they all belong to the same scene, the color and lighting of each lens in the sample are completely different. Therefore, counting the repetition, it is a miracle that the uniformity of color and exposure can be achieved without color matching between more than twenty lenses.
Ron Macmillan was stunned when he heard Brian de Palma's sudden question, and said with some doubts: "Mr. Palma, shouldn't color matching be done after editing?"
Hearing the conversation between the two, David Giller, who was originally discussing with Robert Redford about the lens-taking technique of the last shot in the sample just now, suddenly reacted, glanced at the darkened screen, and immediately turned to The staff next to the film machine: "Quickly, put the sample just now again."
The screen in the room soon lights up again.
Basically everyone who had realized something turned their eyes to the big screen on the wall.
Due to the shift of attention, after playing it again, everyone found that there are still some color differences between the different shots of the sample.
However, everyone has to admit that this difference is actually very small.
If it were not for the beginning of each shot, the whole sample would feel basically the same as watching a movie.
It is conceivable that if all the shots of the film in the future can reach the current level, this means that after the editing is completed in the future, the film may only need to go through a very simple color matching to achieve a perfect film effect.
Has there been such a situation in regular Hollywood commercial films that only need one color matching to achieve a film?
That's right.
Appeared.
The name of the movie is "The Godfather".
However, it was Gordon Willis, a top Hollywood photographer who was proficient in lighting and setting, who was in charge of shooting "The Godfather". Moreover, the reason why "The Godfather" will only perform color matching once, in addition to the excellent quality of the lens itself, is actually due to the forced deadline.
Now, a new work by a newcomer with a production cost of only a few hundred thousand dollars, just by relying on the quality of the sample shots, one can feel that this film is likely to be able to achieve the final effect with a simple color matching.
How can this not be said to be a miracle?
After the quarter-and-a-half samples were put out, David Giller immediately ordered the staff to play other boxes of samples.
More than twenty minutes later.
As the screen in the studio went dark again, everyone was silent for a moment.
Then, Robert Redford turned directly to Ron Macmillan, with a certain eagerness in his tone, saying: "Ron, this movie, the photographer, the lighting engineer, and the set designer, all introduced to me, I must invite them to participate in my next movie."
Upon hearing Robert Redford's words, David Giller and Brian de Palma also looked at Ron Macmillan at the same time.
They also don't want to miss such outstanding talents behind the scenes. Both of them have been busy in "Butterfly Effect" during this period, and they are not very clear about some issues of the crew of "Lola Run".
Ron Macmillan was stared at by the three big guys, but the corners of his mouth couldn't help but twitch.
This requirement.
It's a bit difficult.
The photographer is the director himself and concurrently.
The setting seems to be made by the director himself.
As for the lighting engineer.
Ok.
This one.
Who is the lighting engineer?