How is the scene where the characters look in the mirror in the movie taken?

Turn off the lights and tear down the movie director and let me play the invisible man.

Yi Zhi bingbing

In the last program, we analyzed it in detail.

"mirror"

Multi-layer meanings given in film context

However, since the mirror can reflect everything.

How can I avoid the camera appearing in the mirror?

Come on, have a look, have a look.

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Looking for reflection dead angle

The simplest way to avoid camera exposure, we have all learned in junior high school physics class, when the camera is placed at a certain oblique angle to the mirror, the reflected image will be within 180 degrees of the horizontal line on the other side of the mirror.

This has many advantages, both simple and economical, but it has more disadvantages.

Finding a reflective dead-angle mirror can only shoot a fixed lens, which is easy to wear out if it is misplaced, and can only be booked in a different scene, and the lens is easy to be dull and boring.

On the other hand, the shooting method using reflection dead angle can only show the oblique side of the subject, and the camera can't be perpendicular to the mirror, which means that the front of the subject can't be shown, and the natural lens language also has many restrictions.

Therefore, finding the reflection dead angle is the most commonly used mirror shooting technique, but it is also the most difficult to impress the audience.

In order to enhance the audio-visual effect, some directors will insert montage paragraphs into the narrative, such as the scene of Danny talking to himself in the mirror in The Shining, and then insert several bloody pictures and the exaggerated emotional gap of the actors to make the play fully present its sense of terror.

Tilt shift lens

It's not impossible to shoot the mirror vertically at will. Just change the lens.

Due to the special internal mechanical structure, the axis-shifting lens can capture the front of the mirror instead of facing it. Isn't it amazing?

In fact, the axis-shifting lens is more widely used in the field of photography to shoot panoramic and distant views. The special lens structure makes the scenery look like a toy model, exquisite and lovely, although it is very huge in real life.

This also directly determines that the axis-shifting lens can only take close-up shots when taking a mirror. Once the scene becomes larger, the distortion will be more serious.

In The Danish Girl, many cameras use shift-axis lenses to take shots, and all of them are close-ups or close-ups of people's faces, just to avoid distortion.

One more thing, because of the structural limitation, the axis-shifting lens does not have the auto-focusing function, and the aperture is large and the focal length is short, which requires high users.

The general crew will have the position of follow focus, and the photographer is also very experienced. There is almost no pressure to use the shifting lens.

But if you are an ordinary movie lover, or a student wants to take a mirror with a shift lens, and want to achieve a touching effect, you will be in a hurry.

Twin Dafa

In that era when cameras were still eating film behemoths, how did directors shoot mirror images?

Duck soup (1933) should be the first movie in the world that can't pass the mirror. Director Leo McCurry took a different approach. Although it was a scene of taking pictures in front of a mirror, he tore down the wall and there was no mirror at all. Two actors who look alike perform mirror images at the same time to simulate the mirror image effect. Let's call this method Twin Dafa for the time being.

Although the actors in Duck Soup are full of loopholes, it also meets the comedy effect required by the film. More importantly, it provides an important idea for making mirror drama, and this seemingly stupid but wonderful method is still being used continuously today.

In Terminator 2, there is a scene in which the camera swaggered past the mirror, but there was no photographer in the mirror. Just like duck soup, mirrors don't exist.

Schwarzenegger is actually sitting behind the mirror interface, and the scene he saw inside is also on the other side of the already built studio. The terminator we see in the back of the head is actually a stuntman. Maybe we should call him brain substitute?

There is a positive sarah connor in both the foreground and the background. In fact, Cameron also invited his wife linda hamilton and her twin sister Leslie to play together.

This shooting method ensures that the camera can move freely in front of the so-called mirror, making the picture constantly changing and getting rid of the dull impression, but there are also many conditions that are difficult to achieve.

First of all, not everyone has as good resources as twins. ...

Secondly, it takes time and money to set up two identical sets.

Of course, the synchronization rate of actors' performances is also the key to the success of shooting. The NG number shot by the double-shot method is often higher than other methods, and efficiency is also an important factor that must be considered in the studio.

Universal green screen

The most talked-about mirror shooting scene appeared in 1997' s Contact with Time and Space.

Young Ellie found her father sick and fell to the ground. She ran all the way to the pool to get the medicine. The whole shot is done in one go. Miraculously, the ending picture was pulled out of the mirror and became the little girl's point of view.

How did a mirror fixed on the wall follow little Ellie all the way upstairs?

Later, the film's photography directors, ken ralston and Stephen Rosenbaum, revealed that the shot of Ellie going upstairs was actually shot in advance. This mirror does not exist at all, and it is a green screen for post-production. In the second shot, just follow Ellie's hand and open the glass door.

The film Black Swan also uses a lot of green curtains to disguise the mirror effect, mainly to fit the theme of schizophrenia and show Nina's evil personality in the mirror. Only through the green screen technology, it is possible to realize different pictures inside and outside the mirror.

Of course, sometimes filming doesn't have to be like a mirror, but it will also encounter thorny problems such as the reflection of the window glass. In addition to the above-mentioned methods such as shifting lens and post-processing, it is more direct to skillfully arrange barriers in physical space.

For example, in the scene of a wheelchair running over the road in Happy Ending, the street is full of glass windows waiting to catch the photographer's loophole, and director Haneck cleverly arranges a shelter to block the glass or passing cars to block the lens.

A good director shoots such a scene without lines, and he will perform it over and over again to ensure that there are no loopholes.

Don't look in the mirror. I'm a regular in movies.

To shoot it well, it needs the deep skill of photographers and directors.

Creativity, talent and serious attitude

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