The warehouse is quiet. Murphy stares at the set. The director of photography, Philip Raschel, stands in the bathtub on the other side of the wall. His camera lens, through the muddy water in the bathtub, firmly locks on Seth Logan''s figure.

    There was a violent shaking in the bathtub, and the water splashed everywhere. Seth Logan suddenly sat up. He coughed violently, opened his mouth, spitted out a mouthful of water without any warning, and just sprayed it on Philip Raschel, and the camera lens was not spared.

    "Stop!" Murphy yelled, "what''s going on?"

    Seth logan was still coughing violently. After a while, he stood up holding the bathtub and looked apologetically at filie Raschel. "Sorry, I got up a little fast. I accidentally opened my mouth and water poured in."

    Philip Raschel waved it''s okay, and Murphy yelled, "Jack, make up for Seth. Philly, readjust the lens and do it again in ten minutes. "

    This opening scene will start in the dark, but it will not be shot in the dark. Few of Hollywood''s dark scenes are actually shot in the dark. Light is an important factor that can never be ignored when shooting. For example, this scene shot by Murphy will adjust the background to black through the Da Vinci palette in post production, which is of great significance to today''s film production technology For me, it''s also very simple.

    The first scene was choked by water, Seth Logan adjusted, and the second one was normal.

    However, Murphy didn''t pass the call. He continued to let the fat man get into the bathtub and shot three more in a row, which ended the scene.

    Unlike in the shooting of "fruit candy", Murphy now has more experience. Before taking full account of the difficulties, he let James Franco and Seth Logan do a lot of rehearsals. In addition, the personnel employed this time are no longer the incompetent guys in the previous shooting. The shooting of several scenes in the morning is smooth, and they were called by him within five times Adopted.

    One morning, after six plays, this is the most efficient half day in Murphy''s short career as a director.

    As soon as the shooting started in the afternoon, Du slowed down again. After James Franco appeared, there were three people in the toilet. He played the doctor, Seth Logan''s camera stealer, and a jigsaw lying on the ground in the middle.

    Of course, because there is no need to move, the jigsaw here is an elaborate dummy made by Baker klebert.

    This is the third time that three people appear in the same shot. After shooting twice, they can''t achieve the effect that Murphy wants. He simply stops the whole crew.

    Murphy called in the director of photography, Philip Raschel. "In this scene, we want to deliberately ignore the jigsaw in the lens."

    In the scene of three people appearing at the same time, the camera ignores the vertical saw, and the whole picture will also ignore the vertical saw. The audience will naturally ignore the vertical saw, so as to bring shock to the end.

    The end of this film is very important. It can be said that the whole film has been sublimated and upgraded to a higher level. Otherwise, it is much better than the traditional American plasma film.

    Murphy walked into the set, carefully avoiding the blood on the ground, and said to Felipe Raschel, "in this three person scene, we should highlight two and ignore one."

    "If the three actors deliberately emphasize two of them and try to avoid the participation of the third party, when only a single relationship line is highlighted," Philip Raschel quickly had the idea, "there are two shooting methods: partial highlight and total highlight."

    He said in detail, "partial highlight means that the first main shot shows three actors, but the second main shot shows only two leading actors; total highlight means that the relationship between 3 and 3 turns to that between 2 and 2, showing only two leading actors.

    Murphy thought about it and said, "try both ways."

    Shot in two ways, you can also have more choices in post production.

    When Felipe Raschel goes to get ready for shooting, Murphy finds lighting engineer David Robbie and tells him that when switching the single person facial close-up lens, he will give James Franco and Seth Logan eye light.

    And unlike Kerry Mulligan''s eye light when he appeared in "fruit candy", Murphy needs to be more cold, highlighting the character''s vigilance and panic when he wakes up in an unfamiliar environment.

    Just like Murphy''s two shots, eye light is used in almost all movie close-up shots.

    Generally, when the main light or auxiliary light is at the right angle with the camera, the eye light effect can be produced while the main light or auxiliary light effect is completed. At this time, there is no need to hit the eye light, so as to avoid two bright spots, giving people a sense of distraction.

    However, if the original main light and auxiliary light can not produce eye light effect, you can use the small lamp to supplement eye light near the camera, or you can use a large area of flexible light source to shoot far away. The key is to arrange it without affecting the main light relationship.

    Unless the specific plot needs, Murphy''s eyes should not be too bright to avoid two bright spots in the eye, which will destroy the charm of the characters, and even cause the pathological effect like cataract.

    In fact, this is also the way to shoot blind people''s plays. Generally, when shooting blind people, they will avoid using eye light, which can help actors create the unique feeling of blind people''s eyes.From shooting "fruit candy", Murphy has developed the habit of observing the light and angle, in order to quickly and easily find the shortcomings in the lens.

    After shooting several local highlights and all highlights in a row, the crew turned to shoot the personal scenes of James Franco and Seth Logan again. When the close-up shot was finished, Murphy realized that his money was useless. He could make the lighting engineer signed by CAA, even though he was as unknown as him, he had a good set.

    And photographer Philip Raschel also has a unique way to verify eye light.

    His method is very simple. Standing on the set, he holds his fist and presses a marble under his index finger. Through it, he can observe the reflective effect similar to that of human eyes. He only needs to turn his hand and observe the change of light on the marble to find the position and angle he needs.

    At the same time, the curves and lines of the hand can also show the contrast and backlight effect.

    After a busy day, Murphy announced the end of his work, but he did not leave. Instead, he sat behind the camera and examined today''s shot with the director of photography, Philip Raschel, and the editor, Jody Griffith.

    James Franco wanted to come, but Murphy drove him away.

    Like most directors, Murphy won''t let the actors look at the shot unless they make a big mistake and need to look at the shot to correct it.