Do actors shoot while driving? The comprehensive shooting technique of "interior scene" is open.

Since the birth of the automobile, whether it is romantic and private trysts, exciting racing cars or leisurely riding, this movable private enclosed space is not only a means of transportation, but also an important place in people's daily life. Therefore, in the movie world, indoor space has become a common and important scene.

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When shooting the scene inside the car, the most intuitive method is to let the actor actually drive the car, shoot the real scene of the car driving process, and install a camera on the hood or door of the car with a sucker bracket. However, in order to prevent actors from being unable to concentrate on their performances and even causing accidents, many crews will turn to trailer shooting or indoor shooting to complete this difficult task.

0 1- trailer shooting, giving consideration to realism and security.

Trailer shooting mainly uses special synthetic trailers to shoot real scenes. By installing a low-chassis shooting platform on the trailer, the vehicle to be shot can be placed on the platform and move forward with the trailer, so that the actors don't have to actually drive, just concentrate on the performance, and the surrounding street view and ambient light can still change with the trailer, creating the illusion of vehicle driving.

For example, almost all the story scenes in the movie "Locke" took place in the car driven by actor Tom Hardy, and the shooting process was completed with a synthetic trailer. Director Steven Knight first put the vehicle on the photographic platform, and then removed its wheels to make it closer to the height of normal driving, creating a safe and realistic driving scene.

Make full use of natural light on sunny days.

In order to prevent the windshield from reflecting the surrounding scenery, when shooting scenes in the car, you should avoid shooting on cloudy days, and sunny morning or noon is the most suitable shooting opportunity; But if you need to shoot at night, you need to grasp the residual sunshine after sunset, or look for streets with sufficient light sources, or use lamps to simulate the surrounding street lights or car lights.

How to eliminate driving noise

Whether an actor is actually driving or shooting a trailer, it is inevitable that there will be uncontrollable noise such as engine sound when shooting scenes in the car, which will affect the radio quality of the actor's dialogue. To this end, the crew usually installs a collar clip or directional microphone inside the actor's collar or near the visor of the driver's seat to make the radio station as close as possible to the actor and reduce the surrounding noise interference.

After the radio station is over, the sound post-production department will use denoising software such as iZotope RX to eliminate the background noise of sound files. If the noise cannot be eliminated through the post-production stage, the crew will adopt ADR (dialogue dubbing) to let the actors enter the recording studio and dub with the sound engineer according to the shooting picture.

02- Shooting in the shed is economical and convenient.

Shooting in the shed is to put the vehicle in the studio, and cooperate with background synthesis, light and shadow changes and other technologies to make the picture look authentic. Because it is not disturbed and restricted by the external environment, shooting in the shed can control the picture more effectively, master the radio quality, and at the same time keep the actors and staff in a safe environment, reducing the chance of accidents.

Correct shooting of synthetic foreground

If you want to synthesize the scenery outside the window, in order to avoid the reflection interference of the blue screen and green screen of the background on the actors, vehicles and other prospects, the synthesis effect is not good. Usually, the distance between the foreground and the background should be at least 4.5 meters, and they should be polished separately to see clearly and not affect each other. In addition, if the synthetic street view outside the window is a sunscape, in order to make the background reflection close to the color of the sunscape, it is usually shot with a green screen; If it's a night scene, shoot it with a blue screen.

Simulate the details of vehicle driving.

By shaking the camera moderately, or making the vehicle slightly shake and tilt, it is helpful for the actor to sit in the moving vehicle; Controlling the change of light source is also helpful to simulate the driving process, such as covering the light source with hands or cloth in time, which can cause the illusion that the light is covered when the vehicle passes by street trees and street lamps.

If shooting at night, you can use lamps such as fill lights and happy lanterns, and cooperate with street lamps and traffic signs to increase the lighting effect. If realistic driving details can be created, some crews can even save the cost of background synthesis.

A bloody and simple opening driving map

The opening driving photo of the movie "Simple Blood" was taken by Joel Coen and Ethan Coen (Cohen brothers) in the garage. Because it happened on a rainy night, they put a plastic hose on the windshield to simulate the rainy scene, and moved the spotlight on the push rail back and forth to create the illusion that there were other vehicles outside the window. However, the application of single-lens low-angle shooting, shallow depth of field and backlight technology also prevented this scene from happening.

03- six basic lens positions, master the shooting skills of the scene inside the car.

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180 degree rule is one of the important concepts in film photography. Through the imaginary line between two subjects, the photographer can keep the positional relationship between them consistent with the position of the mirror on the same side, which helps the audience to have a clear understanding of the spatial direction and size in the scene.

However, the scene in the car can't be limited to this. Because of the narrow space and seat direction in the car, the audience has the ability to quickly identify the position relationship of the scene in the car within one or two shots; Therefore, when shooting scenes in the car, photographers can usually use some basic lens positions flexibly and break the 180 degree line principle at any time.

The following is the image equipment company Aputure, sharing six basic lens positions for shooting scenes in the car:

Windshield: Whether using a wide-angle lens or a telescope lens, the driver, passengers and the scenery outside the window can be completely photographed in the picture, and the position relationship of the actors can be presented. This lens position is not only suitable for shooting the main lens of the scene in the car, but also can lock a single character and capture the expressions of different actors from the same position.

Over-the-shoulder shooting: When shooting the dialogue between two people in the car, as long as a camera is set up next to the door, and a shallow depth of field or a deep focus lens is selected, so that the two actors can become the foreground and the background respectively, the dialogue in the car can be smooth and clear.

Close-up passenger POV: If you want to simulate the perspective of people in the car, you can set up a camera near the seat in the car and shoot directly with a close-up lens, which can create a subjective lens of passengers.

French over: When shooting from the back seat, the camera can shoot the actors and some seats at the same time, and use the light source in front of the vehicle to make the characters in the side light or backlight position, so that their outlines become clear, and through the presentation of light and shadow levels, the dramatic tension of the image scene is enhanced.

Rearview mirror shooting: Because the rearview mirror has a small visual range, this lens is helpful to show the loneliness of a specific person in the car, or to capture the interaction between people in the front seat and the back seat. When shooting the rearview mirror in the car, the camera is generally close to the front seat and directly shoots the rearview mirror.

Side mirror shooting: This lens can capture the facial expressions of people in the car and the surrounding environment behind and on the side of the car at different camera installation positions through the rearview mirror outside the car. If the camera is installed on the seat of the car, it can shoot the front and rear scenes of the car at the same time; If the camera is set next to the door, the driver or passenger can be displayed through the left and right rearview mirrors.

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The above basic lens position is the main shooting method used in most movies, but in order to create a special lens language, some crews even destroy the vehicle structure, such as removing the roof or windshield, so as to realize complex lens movement in the narrow interior space and break through the limitation of shooting scenes in the car.

For example, in movies such as "Human Children" and "Atomic Blonde", the scene in the car is to remove the roof and design an openable windshield, so that the lens can freely shuttle around the actors and complete amazing image narrative techniques.

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