Studio No. 18 is the largest studio among Burbank’s shooting bases. It covers an area equivalent to two medium-sized studios. It is dedicated to shooting large-scale scenes in the studio, with sufficient time and funding. , The crew can build a city and even a world here!

This studio is owned by Warner Bros. When other film companies need it, they will also apply for lease, which can be said to be open all year round. Here, countless top commercial blockbusters have been born, and they can be said to be the star of Burbank's shooting base, with a reputation.

Even the staff of the photography base often brought new recruits to the 18th studio to visit, as a rookie training day, and then teased in a joking way: only to work in the 18th studio, can you It's really a walk in Hollywood.

The Los Angeles filming base of "Interstellar" chose Studio 18.

At this moment, the studio looks like a huge physics laboratory, all kinds of models, props, equipment and utensils fill every corner of the line of sight, dazzling, intricate, and even more gorgeous than a kaleidoscope. So that the line of sight does not know where it should fall.

The studio is clearly divided into three parts at this time, and the area and the area are separated by baffles. On the one hand, it is convenient to set up the shooting scene; on the other hand, it is to prevent the overlap of work responsibilities during the shooting process. , But affect each other's work.

On the left hand side, it should look like a laboratory. Model props are placed on the ground and tabletop. There are semi-finished products and finished products, as well as incomplete and failed products. It can be seen that the props team and the visual effects team are experimenting here, trying to create a scene model that best meets the director's requirements, but this is really not an easy task.

Because "Interstellar Crossing" is a work that strictly follows the theory of reality, Christopher Nolan strives for the details of the black holes, wormholes, etc. that appear in the movie, and always asks the astrophysicist Keane Thorne's opinions. , From visual effects to models to props, etc., you must be as close to the reality as possible and make adjustments and modifications at any time.

Therefore, while shooting on-site, the data parameters of the actual model and computer special effects still need to be adjusted continuously to ensure that the movie can present the most realistic picture quality.

On the right hand side, there is a spaceship docked-a real spaceship. The one-to-one model scale is completely built according to the actual situation. The lifelike details are completely presented in the field of view, and the cabin is okay. Seeing the silhouettes of busy staff makes the sense of reality more prominent, as if you are in NASA headquarters.

More importantly, the three sides of the spacecraft are surrounded by an integrated projection curtain wall. Now the on-site staff are adjusting the projection brightness. The cabin and outside the cabin communicate through walkie-talkies, and constantly adjust the brightness and light to ensure that it can be truly Simulate the environmental texture of black holes and wormhole tunnels.

In fact, this is similar to "gravity". Among the crew, it is obvious that they can’t really go into space to complete these shots; and Christopher Nolan and Alfonso Cuarón are directors pursuing a sense of reality. They must create a sense of reality through the use of scenes, lighting, and composition. .

The problem is that the part that the director cannot achieve, the computer special effects can still be completed after all; but during the shooting process, if the green screen is used for shooting, after the actors lack real reference objects, the sense of emptiness of vision and body will inevitably bring a kind of perspective. The dislocation of the shadow effect will affect the completeness of the whole scene.

Christopher and Alfonso used the same method: by building actual scenes, the actors can easily enter the play.

Objectively speaking, the scenes on the left and right sides are still within a reasonable range, and they can be constructed with imagination. They are also common in other commercial film crews; but the scene in the middle is jaw-dropping and completely complete. Can't imagine what this is used for.

In the center is a super weird cube.

Imagine a cube-shaped room hung in the middle of the venue. This cube has six three-dimensional faces. Now, except for the side facing the entrance of the studio, the other five sides are suspended and extended in dislocations. A cube space appeared, which looked like a mutated robot, and different square bumps grew on the square head.

This is not all.

The connecting wall of the five extending cubes and the middle cube is not an ordinary wall, but a linear one. The linear objects of uneven thickness are densely and loosely pieced together, just like the side panels of plywood. I can clearly see the stacking sections where the wooden boards are glued together, it looks like... the cross section of the bookshelf in the library full of books.

The linear wall can also clearly see the color change. The cool colors of light gray, dark gray, off-white, pure white, etc., are overlapped layer by layer. Through the contrast and connection of colors, the vision is further created. The sense of space is clearly flat but has a three-dimensional effect. The depth and thickness of the field of view have been improved, and the entire space has become endless.

The six cubes were combined in such a weird way to form a huge cube, from the ground to the ceiling, filling the entire studio—

You know, the Big Mac of Studio No. 18 is not only embodied in length and width, but also in height. The entire studio is nearly five stories high, and it is a prestigious existence in the entire Burbank photography base. , Even the film company office buildings around the base are not inferior in comparison.

But now, the cube touches the ceiling.

Lan Li stepped back a little bit, trying to look at the top of the cube, but the entire height ratio was too wide to see, even some gaps in the corners.

"There is also a camera track directly above, and there is also a work track. If necessary, the photographer can go into battle with safety measures to complete the shot." An explanation came from behind, and I saw Christopher Nolan when I turned back. And Emma Thomas.

Lan Li just gestured for a moment with his eyes, and then said, "It's like rock climbing? What about the degree of penetration of the angle of view directly above?"

"No problem. All the wall boards can be moved and adjusted according to the actual situation of the shooting. When we are actually shooting, we will set up cameras in key positions. You only need to suspend the Via to complete the performance. "Christopher has already taken all situations into consideration, "We build the scene in order to create a sense of reality."

Emma Thomas stood beside him and shook his head helplessly: Just arrived on the crew, Christopher couldn't wait to start working, he didn't even say hello to the staff, nor asked about the preparations of the scene, but... this is Christopher's. What else can she do if she has always styled?

Emma and Lan Li nodded for a moment, and then walked straight in and got busy as producers.

Christopher did not notice at all. He raised his finger to the scene on the right, "We will take the lead in shooting the spacecraft in the next few days, and it will be done here. Double-Negative has already produced the black hole visual effects. The picture is still a rough version. Of course, when it is officially released, we will replace it with a more refined version."

The Double Negation Company is the production of visual effects. This is Christopher’s only royal visual effects team for a long time. All the visual effects of the "Batman" trilogy and "Inception" are done by them, and this time is no exception.

"When shooting, you enter the spacecraft model. Outside the window is the universe scene, keeping in step with the plot presented in the movie, to ensure that you can truly feel the image changes of interstellar crossing." Christopher's explanation immediately let that side. The role of the curtain wall became clearer, "We will also use the same method when we shoot the wormhole crossing. Now that the computer special effects have been completed, the preliminary rough version of the space-time tunnel has been produced. You can put yourself in the real scene and complete the performance."

Jessica and Timothy were still standing by, and both of them showed unexpected expressions.

Although they have heard of Christopher’s style before, the cornfield in Alberta is the best proof; but they obviously underestimated Christopher’s perseverance~lightnovelpub.net~ Now they are in the studio, placed in the studio. The scene in front of me and the subsequent shooting plan were still astonishingly speechless, and the shock hit my face like this.

Lan Li is no exception, but what he is surprised is that Christopher's whimsical ideas, seemingly impossible tasks, have evolved into reality after all. This is also the reason why people always regard Hollywood as a "dream factory". In addition to creating top superstars, they can also turn countless fantasy and dreams into reality.

"The one in the center is a hypercube." Christopher went on to explain, "Remember that in the second half of the script, Cooper crossed time and space and had a dialogue with Murphy in childhood?"

"Of course." Lan Li nodded and expressed affirmation. This is almost the most important core part of the whole script. How could he not remember it?

"We are about to finish that scene here. The box in the center is where you are, and the other boxes are in different time and space dimensions." Christopher said simply.

Then Timothy exclaimed, "So... all the models and props in the center are for that scene?"

It's just a play.