The Best Actor in the Vase of Meiyu

Chapter 1004 Three Heads and Six Arms
"Card!"

Sam paused the filming again and looked at the actors helplessly, but after hesitating for a moment, he finally said nothing and just shut his mouth.

Because Sam knew the difficulty of shooting this scene, they had already used a sand table to take all aspects into consideration, but there was still a gap between paper talk and actual practice.

The difficulty of shooting is beyond imagination. Unexpected situations and performance rhythm problems are inevitable during the actual shooting process, which still need to be adjusted.

This was already the fourteenth NG, and Sam couldn't help but get impatient.

Just now, it was still a coordination problem. The four people were fighting on the train model. Facing numerous difficulties, the coordination of each department had to be meticulous. However, deviations were inevitable between the four people, so that the entire action scene was not coherent.

Simply put, it's not smooth and not good-looking.

For commercial genre films, it doesn't matter if there is no depth and no theme; but if the climax fails to excite and stimulate adrenaline, that is fatal.

Sam needed them to bring out the intensity and excitement of the scene.

Taking a deep breath, Sam managed to control himself and kept telling himself:
The actors are the ones who have the hardest time. The longer the shooting time, the more exhausted they are. But Anson and Alfred did not complain. They continued to communicate diligently and concentrate on the shooting.

Not only the actors, but also the staff from other departments of the crew were sweating profusely, their faces reddened, and their nerves were tense at all times.

So, he can at least stay calm and refuse to let his emotions control his brain.

After all, as a director, he should set the tone of the crew's working atmosphere.

"Again."

Sam said loudly, and then looked around.

"All units, get ready."

There was a bustle in the studio, and all departments were mobilized.

The difficulty of this scene lies in the fact that Anson also needs to cooperate with the wire to complete the movements.

If you have watched diving training, you will know that the diver needs a belt around his waist, and then the belt is tied with a rope similar to a wire. The coach next to him pulls the athlete into the air with the rope, and keeps the athlete in the air for a while to give the athlete time to complete the diving action. The coach then controls the rope to descend, giving the athlete time to make a vertical entry into the water and create a splash, thus completing the training of the entire diving technical action.

The principle is the same for Wia.

One, two or even three masters would grab the wire and hang the actor up in the air for a short time to facilitate the actor to complete the action, and then control the wire to descend to avoid the actor staying in the air for too long and not feeling realistic.

Unless it's Superman or Iron Man.

Here, it is very difficult to control the rhythm of rising, stagnation and falling, and it all depends on the feel of the hand. In traditional kung fu movies, the masters who control the wire ropes are all craftsmen, relying on the feeling accumulated from experience; but now, there are fewer and fewer such craftsmen, because computer special effects play a more important role, and there are not many crew projects that rely on wire ropes to complete the filming in this way.

However, Sam wanted to complete the filming in this way, and they found a dedicated wire craftsman to assist in completing the filming of the entire film.

However, the degree of difficulty remains high.

In this scene, Anson needs to rely on wires to rise into the air, complete a 360-degree rotation, and then dive towards Alfred. After a brief close fight between the two, Alfred uses his tentacles to suppress Anson again. The whole fight is smooth and seamless.

Now, Anson has four wires tied to his body, in four different directions, and the control of the wires can adjust Anson's state in the air.

The difficulty can be imagined.

Especially after Anson landed, the positions of him, Alfred and the two stuntmen became even more complicated. If they were not careful, the tentacles and wires might get entangled and the filming would not be able to continue.

After another NG, Anson did not simply wallow in regret, but discussed with his co-actors, made adjustments based on the mistakes, and looked forward to making progress in the next shoot.

Then, Anson turned around and walked towards the connection between the train cars, keeping a distance and preparing to jump up from the bottom.

"Ready!" Anson shouted, informing the wire master and other staff that he was ready.

Adjusting his breathing, taking a deep breath, Anson entered combat mode, and then -

"Start shooting!"

At the command, the camera started moving, but Anson did not start it immediately. He deliberately left some blank spaces to facilitate finding the entry point for later editing.

One second, two seconds.

heh.

With the help of Wei and Ya, Anson flew into the air, and took a deep breath to get rid of the constraints of gravity. He was as light as a swallow, as if he was really flying.

Harry Pacey was completely stunned. He stood in the corner and quietly hid his body. His eyes followed Anson's figure rising and rising again. He raised his chin high and watched Anson disappear into the air. His light and graceful figure made people unable to look away. Even though the naked eye could clearly see the existence of the wire, there was still a brief moment when he entered the dream world of the movie:

Spiderman!
I couldn't help but look up.

High, high into the air, Spider-Man flew freely without wings. The passengers in the train and Doctor Octopus on the roof all looked up at the sky, staring at the elegant figure intently.

As he was about to reach the highest point, Spider-Man did a 360-degree somersault, shot out spider silk with both hands, pulled it hard, and dived towards Doctor Octopus like a cannonball and quickly jumped out.

Doctor Octopus: Huh.

Before he could even exclaim, Spider-Man's pupils had already dilated rapidly.

Head-on impact.

Doctor Octopus only had time to use his own hands to try to stop Spider-Man.

The next second, Spider-Man grabbed Doctor Octopus' hands and rolled forward, pushing Doctor Octopus along with him to complete a roll like a Hot Wheels. Then Spider-Man had Doctor Octopus pinned underneath him.

One punch, and another.

Without stopping, Spider-Man punched left and right, hitting Doctor Octopus's cheek hard.

Doctor Octopus was dizzy and failed to dodge in time, and was hit continuously; but the next second, the tentacles on both sides had already stepped in to help.

Similarly, it is also about shooting from both sides.

Spider-Man was unable to continue attacking Doctor Octopus, so he leaned his upper body back to dodge, met the tentacles with his fists, and started fighting with his bare hands.

Hey, hey, hey.

Punch to the flesh.

Doctor Octopus finally came to his senses and punched forward with his fists.

With three heads and six arms, he completely suppressed the opponent's fists and the situation was reversed.

However, Spider-Man showed flexibility and agility, dodging left and right in the flurry of punches, bending down and shifting his position. Not only did he dodge, but he also waited for an opportunity to counterattack with his fists, forcing his opponent to dodge as well.

You come and I fight, with blood on the bayonets.

The two men were completely entangled in a fight, and the situation seemed to be at a stalemate for a while.

At this moment, Doctor Octopus's two tentacles finally found a gap and punched Spider-Man's nose hard with a straight punch.

(End of this chapter)