Chapter 1004 Three Heads and Six Arms
“Stuck!”
Sam paused the filming again and looked at the actors helplessly, but after hesitating for a moment, he said nothing and kept his mouth shut. .
Because Sam knew how difficult it was to shoot this scene, they had conducted a sandbox performance taking all aspects into consideration, but there was still a gap between talking on paper and actual practice.
The difficulty of shooting is still beyond imagination. Unexpected situations and performance rhythm during the actual shooting process will inevitably cause problems, and still need to be adjusted.
In front of him, it was already the fourteenth NG, and Sam was inevitably impetuous.
Just now, it was still a matter of coordination. Four people were fighting on top of a model train. Faced with many difficulties, the cooperation of various departments must be meticulous; however, deviations between the four people were inevitable, so that The entire action scene doesn't flow together -
To put it simply, it doesn't look smooth and doesn't look good.
For commercial films, it doesn’t matter if there is no depth or theme; but it is fatal if the climax cannot ignite and stimulate adrenaline.
Sam needed them to bring out the intensity and excitement of this scene.
Taking a deep breath, Sam barely controlled himself, and kept telling himself:
The actors are the ones who really work hard. The longer the shooting time, the more serious the actor's consumption, but neither Anson nor Alfred complained. , still communicate conscientiously and concentrate on shooting.
Not only the actors, but also the staff of other departments of the crew were sweating profusely and flushed, and their tense heartstrings could not be relaxed.
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.
"Do it again."
Sam said loudly, and then looked around.
"All units, get ready."
The studio was busy, and all departments were mobilized.
The difficulty of this scene is that Anson also needs to cooperate with Wia to complete the action.
If you have watched diving training, you will know that divers need a belt around their waist, and then use a wire-like rope to tie the belt. The coach next to them pulls the athlete into the air through the rope, stays in the air for a while, and allows the athlete to complete the diving action. time, and then control the rope descent, giving the athletes time to make vertical movements into the water and press the water splash, and complete the entire training of diving technical movements.
Wiya, the principle is the same.
One to two or even three master craftsmen would grab the wire and hang it up, suspending it in mid-air for a short time to facilitate the actor to complete the action, and then control the wire to descend to avoid the actor's time in the air. Too long and unrealistic -
Unless it's Superman or Iron Man.
Here, it is very difficult to control the entire rising, stagnant, and falling rhythm, which depends entirely on the feel of the hand. In traditional kung fu movies, the masters who control the wire are all craftsmen and rely on the feeling accumulated through 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 Wia to complete the shooting in a solid manner.
However, Sam wanted to complete the filming this way, and they found a dedicated wire craftsman to assist in completing the entire film.
However, the difficulty factor remains high.
In this scene, Anson needed to rely on Wia to lift into the air, complete a 360-degree rotation, and then crash into Alfred in a diving posture. After the two people fought briefly, Alfred De relied on his tentacles to suppress Anson again, and the whole fight was completed smoothly.
Now, Anson has four wires tied to his body, one in four different directions, and the control of the wires is used to 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 you didn't pay attention, the tentacles and wires might be entangled, and the filming would be impossible to continue.
After NGing again, Anson did not simply immerse himself in his annoyance. Instead, he discussed with his co-actors, made adjustments according to the mistakes, and looked forward to making progress in the next shooting.
Then, Anson turned around and stepped forward, walking towards the junction of the train carriages, pulling away, preparing to jump out from below.
“Ready!” Anson shouted, telling Master Wia and other staff that he was ready.
After adjusting his breathing and taking a deep breath, Anson entered combat mode, and then -
"Start shooting!"
With an order, the camera started running, but Anson did not start it immediately, deliberately leaving some Leave it blank to facilitate post-editing to find entry points.
One second, two seconds.
H.
Using all their strength, Ansen soared into the air, using the momentum to get rid of the shackles of gravity. His body 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 figure. His eyes followed Anson's figure rising and rising again. He raised his chin high and watched Anson escape into the air, light and unrestrained. His figure makes people unable to take their eyes away. Even though the existence of Wia can be clearly seen with the naked eye, he still enters the world of movie dreams for a short moment:
Spider-Man!
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 to the sky, staring intently at that elegant figure. figure.
Seeing that he had reached the highest point, Spider-Man did a 360-degree somersault, shot out spider silk with both hands, pulled hard, and rushed toward Doctor Octopus in a diving posture like a cannonball to dive quickly.
Doctor Octopus: Hyuk.
Before he even had time to exclaim, Spider-Man's pupils were quickly dilating.
Frontal impact.
Doctor Octopus only had time to stand up with his own hands and try to stop Spider-Man.
The next second, Spider-Man grabbed Doctor Octopus's hands and rolled forward, pushing Doctor Octopus together to complete the roll like a hot wheel. Then Spider-Man had already pinned Doctor Octopus underneath.
One punch, another punch.
Without pausing, Spider-Man opened his bow left and right, punched Doctor Octopus hard on the cheek.
While Doctor Octopus was dazed and confused, he failed to dodge in time and suffered continuous blows; but in the next second, the tentacles on the left and right sides had already taken action to help rescue him.
Similarly, the bow is also drawn left and right.
Unable to continue attacking Doctor Octopus, Spider-Man leaned his upper body back to dodge, faced the tentacles with his fists, and started fighting with his bare hands.
Bang, bang, bang.
Punch to the flesh.
Doctor Octopus finally came to his senses, clenched his fists and smashed them together.
With three heads and six arms, he completely suppressed the opponent's fists, and the situation was reversed.
However, Spider-Man showed flexibility and flexibility. He dodged left and right in the violent fists. He lowered his waist and lost position. Not only did he complete the dodge, but he also waited for an opportunity to counterattack with his fists, forcing the opponent to dodge too.
You come and I go, the bayonet is red.
The two people were completely entangled in each other, and the situation was at a stalemate.
At this moment, Doctor Octopus's two tentacles finally found a gap and hit Spider-Man on the bridge of the nose with a straight punch.
(End of this chapter)