Entertainment: Start with Succubus and play Hollywood

Jessica Elba stood in front of a huge LED screen, looking at the simulated cosmic light and shadow in the picture, relying on the camera in front of the LED screen to capture the light and shadow reflected in her eyes.

Because the area of ​​the eye is very small, this lens does not require high accuracy of the picture. Even if the low-pixel LED screen reflects light and shadow, the picture quality can still be guaranteed.

And this kind of reflected picture and light effect collection is not only used in the reflection of the eyeball, but also in other places that require mirror reflection-such as astronaut helmets, such as Hubble telescope lenses, etc.

The next shot requires a more complex camera movement.

"Hey, man, I need the shot to start from Jessica's subjective point of view, looking out from her helmet, with reflections in the picture, then passing through the helmet glass, and ending with a wide external angle of view."

"The main point of view effect?"

"Yes, the feeling I want to express is that after the disaster, the audience still follows the heroine Ryan Stone, and uses an objective perspective until it switches to a POV angle. I want to show the audience Ryan Stone's subjective feelings and enhance the sense of substitution."

"OK, I understand."

…………

"Gravity" can be said to be a one-man show.

And if such a movie wants to achieve good results, then it is necessary to use some tricks in the plot.

So Martin made the heroine Ryan Stone's return journey more difficult than the journey home in the Hollywood epic 603 Odyssey. There are at least nine difficulties, not to mention 9981 difficulties:

The first difficulty: Ryan Stone, the heroine played by Jessica, was first hit by a group of satellite debris in the same orbit and drifted far away from the spacecraft. Another survivor, Matt Kowalski, played by Leonardo, rescued her.

The second difficulty: The oxygen in the oxygen cylinder is about to run out. Ryan Stone and Matt Kowalski must go to the International Space Station a few kilometers away as soon as possible. However, just when the two are about to reach the target, they collide with the space station because of the high speed and are bounced away. So Matt took the initiative to untie the safety rope on his body in order not to implicate Ryan and floated into the depths of the universe.

The third difficulty: Ryan Stone finally successfully found the hatch of the space station at the critical moment when her oxygen was almost exhausted and she was about to lose consciousness, and opened the hatch at the last moment when the last breath of oxygen in her lungs was about to run out. Once in the space station, Ryan Stone curled up like a fetus returning to her mother's womb, and a sense of security surrounded her and the audience.

The fourth difficulty: After Ryan Stone regained consciousness, she immediately called Matt, who was floating deep into space, but the space station caught fire again. At the critical moment, she hid in the lifeboat Soyuz 2.

The fifth difficulty: Just as Ryan Stone was about to let the lifeboat Soyuz 2 leave the space station, she found that the parachute of Soyuz 2 was tightly entangled with the space station and could not move. She had to go out of the cabin to untie the parachute rope, and a new round of debris group attacks was imminent.

The sixth difficulty: After returning to the cabin again, Ryan Stone collapsedShe found that she had no fuel, and the only one who could save her was the Chinese space station Tiangong-1 not far away.

The seventh difficulty: Ryan Stone was quick-witted and turned on the soft landing system, using inertia to float towards the location of Tiangong-1. When he got close, he immediately opened the hatch to leave the lifeboat, and used the fire extinguisher to push back and successfully entered Tiangong-1.

The eighth difficulty: Tiangong-1 was affected by the satellite debris group and was falling towards the earth. The alarm in the cabin sounded, and Ryan Stone immediately entered the Shenzhou lifeboat and operated the cabin separation in full Chinese version based on experience and uncertainty. Soon, the spacecraft entered the atmosphere in the violent turbulence and burned quickly, falling to the earth like a fiery red meteor.

The ninth difficulty: Ryan Stone's escape capsule fortunately landed in a lake and began to sink. Ryan Stone must open the hatch before the escape capsule sinks to the bottom, otherwise the water pressure will make this simple behavior very difficult.

The tension of advancing layer by layer, the approaching death, this is what Martin uses to attract the audience in addition to special effects.

…………

Jessica rotates and rolls under the control of the jib.

In front of her right side, several high-speed cameras are rotating rapidly under the control of the mechanical arm and crashing into her.

Of course, the heavy cameras will not really hit Jessica, but just present a visual effect.

This is the sixth time Jessica has shot this shot.

Because in the previous few times, she always couldn't help closing her eyes when the camera rushed towards her.

In fact, similar shots have been shot before, but the first debris hit her from the side, and the feeling was not deep.

And this time, it was almost head-on.

Human instincts always affect her, after all, she is facing several heavy things that hit her at a speed of 40 miles per hour.

"Don't close your eyes, don't close your eyes, don't close your eyes..."

Jessica's eyes widened in the camera, and her beautiful face looked a little hideous.

"It seems that I have used too much force." Jessica thought to herself.

But Martin thought that it was just right at this moment.

After all, when facing a life-and-death situation, isn't it normal for people's emotions to be magnified? !

This one passed smoothly.

The next shot to be shot is the 18-minute long shot of the vast space at the beginning of the film that shocked countless people.

There is no performance in this section, just pure shots to bring the audience the magnificence of space.

"We need a completely free virtual camera," Martin said after communicating with the special effects technicians. "I have already asked the computer special effects artist to create a virtual environment. Now we have to consider how to synthesize the actors' performances into it."

He thought for a while and said, "We still have to use the light box. I will divide this shot into two parts. The first shot is about thirteen minutes, and then another five-minute close-up shot is connected to form the entire long shot."

The difficulty of this shot lies in how to make the picture smooth.

Long shotThe key is to be immersed in the scene.

For the whole movie, it makes the whole picture more realistic, more relevant and more straightforward.

And the fewer editing points, the more interaction between the audience and the characters, as if the audience is watching everything the characters experience in real time.

In order to ensure that the movement of the camera is as natural and smooth as possible, Martin chose to use a virtual camera system in a small motion capture studio instead of doing keyframe animation frame by frame.

In this way, the photographer can walk around with this small bracket, control the camera parameters and composition, and then make some modifications to the recorded trajectory later to make it more like it was shot in zero gravity.

Martin said: "In this way, we don't need to edit, we can follow Jessica's movement in the same shot, so that the two shots at the beginning can be combined into one shot."

The photographer thought for a while and exclaimed: "Amazing idea."

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