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 image accuracy. Even if the low-pixel LED screen reflects light and shadow, the image quality can still be guaranteed.

Moreover, this kind of reflection image and light effect collection is not only used in the reflection of the eyeball, but also in other places that require specular reflection – such as aerospace helmets, Hubble telescope lenses, etc.

The following shot requires the use of more complex camera movements.

“Man, I need the shot to start with Jessica’s POV looking out from her helmet with reflections in the frame, then go through the helmet glass and end with a wide POV from the outside”

“Main perspective effect?”

“Yes, the feeling I want to express is that after the disaster happens, the audience still follows this heroine Ryan Stone and uses the objective perspective until it switches to the POV angle. I want to show the audience Ryan Stone’s subjective perspective. Feel, enhance the sense of substitution”

“OK, I understand”

…………

《”Gravity” can be said to be a one-man show.

And if a movie like this wants to achieve good results, it needs to be a little smarter in the plot.

So Martin made the heroine Ryan Stone’s return journey even more difficult and dangerous than the journey home in the Hollywood epic 603 Odyssey. Not to mention the eighty-one difficulties, there are at least nine difficulties: The first difficulty : The heroine Ryan Stone, played by Jessica, was first hit by a swarm of satellite debris in the same orbit and floated far away from the spacecraft. Another survivor, Matt Kowalski, played by Leonardo, rescued her..

The second difficulty: The oxygen in the oxygen tank was about to run out.

Ryan Stone and Matt Kowalski had to go to the International Space Station a few kilometers away as soon as possible.

However, just when they were about to reach their target, they were stopped because of their excessive speed.

After colliding with the space station and being bounced away, Matt took the initiative to untie the safety rope on his body in order not to injure Ryan, and floated into the depths of the universe.

The third difficulty: At the critical moment when the oxygen was almost exhausted and she was about to lose consciousness, Ryan Stone finally succeeded in finding the hatch of the space station, and opened the hatch at the last moment when the last breath of oxygen in her lungs was about to run out (ajbf )open. Once inside the space station, Ryan Stone curled up like a fetus returning to its mother’s womb, a sense of security surrounding her and the audience.

The fourth difficulty: After Ryan Stone regained consciousness, he immediately called Matt, who was floating deep into space, but the space station caught fire again. At the critical moment, she hid in the rescue capsule Union No. 2.

The fifth difficulty: Just when Ryan Stone was about to let the rescue capsule Soyuz 2 escape from 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 to untie the parachute rope, and the new A swarm of debris attacks is imminent.

The sixth difficulty: Returning to the cabin again, Ryan Stone was devastated to find that there was no fuel. At this time, the only thing that could save her was the Chinese Space Station Tiangong-1 not far away.

The Seventh Difficulty: Ryan Stone was able to turn on the soft landing system in a hurry, used inertia to float towards the location of Tiangong-1, immediately opened the door to leave the rescue capsule when approaching, and used the fire extinguisher to push back and successfully entered Tiangong-1.

The eighth difficulty: Tiangong-1 was affected by the satellite debris swarm and was falling towards the earth. The cabin alarm sounded. Ryan Stone immediately entered the Shenzhou rescue capsule and operated the cabin separation of the Chinese version with uncertainty based on experience.. Soon, amid violent turbulence, the spacecraft entered the atmosphere and burned rapidly, falling to the earth like a fiery red meteor.

Ninth difficulty: Ryan Stone’s escape capsule luckily landed in a lake and began to sink. Ryan Stone had to open the escape hatch before it sank to the bottom, otherwise water pressure would make this simple act difficult.

The advancing tension and the approaching death are what Martin uses to attract the audience in addition to special effects.

…………

Jessica spins and rolls under the control of the rocker.

In front of her on the right side, several high-speed cameras were rotating rapidly towards her under the control of robotic arms.

Of course, the heavy camera doesn’t actually hit Jessica, it’s just a visual effect.

This is the sixth time Jessica has shot this scene.

Because in the past few times, she couldn’t help but close her eyes when the camera came towards her.

In fact, similar shots have been shot before, but the first debris impact came from her side, so it didn’t feel very deep.

But this time, it almost came head-on.

Human instincts always get the better of her, after all, she’s dealing with several heavy objects hitting her at 40 miles an hour.

“Don’t close your eyes, don’t close your eyes, don’t close your eyes……”

Jessica’s eyes widened under the camera, and her beautiful face looked a little ferocious.

“It seemed like a little too much force.”Jessica thought to herself.

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

After all, when faced with a life-or-death situation, isn’t it normal for people’s emotions to amplify?!

This one was passed smoothly.

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

There is no performance in this part, it is a pure shot that brings the audience the magnificence of space.

“We need a completely free virtual camera,” Martin said after communicating with the special effects technicians.”I have asked the computer special effects technicians to create a virtual environment before, and now I have to consider how to synthesize the actors’ performances into it. He thought for a while and said:”

We still have to use a light box. I will divide this shot into two parts. The first shot lasts about thirteen minutes, and then another five-minute close-up shot will be connected to form the entire long shot.””

The difficulty of this shot is how to make the painting���Get smooth.

The key to long shots is to be there.

For the entire 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 camera movement 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 stand, control the camera parameters and composition, and then make some modifications to the recorded trajectory later to make it more like shooting in zero gravity.

Martin said:”This way we don’t need to edit. We can follow Jessica’s movements in the same shot, so that the two opening shots can be combined into one shot.”

The photographer thought for a while and exclaimed:”What an amazing idea.”

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