1612 Hypercube

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

The studio is owned by Warner Bros. Other film companies will also make special rental applications when needed, almost 24/7. Here, countless top commercial blockbusters have been born, and it can be said that he is the head of the Burbank shooting base and has a good reputation.

Even the staff of the photography base often bring new recruits to visit Studio No. 18 as a training day for rookies, and then joke in a joking way: Only after working in Studio No. 18, can they work. It's a real walk in Hollywood.

The Los Angeles filming base of "Interstellar" chose Studio No. 18.

At this moment, the studio looks like a huge physics laboratory, with all kinds of models, props, equipment and utensils filling every corner of the line of sight, dazzling and intricate, even more gorgeous than a kaleidoscope. So much so that you don't know where to look.

The studio is clearly divided into three parts at this time, and the areas are separated by baffles. On the one hand, it is convenient for the construction of shooting scenes; on the other hand, it is to prevent the intersection of work responsibilities during the shooting process. , but affect each other's work.

On the left hand side, it looks like a laboratory. Model props are placed on the ground and on the table top. There are semi-finished products, finished products, and 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 is closest to the director's requirements, but this is really not an easy task.

Because "Interstellar" is a work that strictly follows the theory of reality, Christopher Nolan keeps improving the details of the black holes, wormholes, etc. that appear in the movie, and always asks astrophysicist Keane Thorne's opinion , from visual effects to models to props, etc., be sure to be as close to 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 continuously adjusted to ensure that the film can present the most realistic picture texture.

On the right hand side, there is a spaceship docked—a spaceship in the true sense. The one-to-one model scale is completely built according to the actual situation. Those lifelike details are completely presented in the field of vision, and the cabin can still be Seeing the busy staff members makes the sense of reality even more prominent, as if you are in the NASA headquarters.

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

In fact, this is similar to "gravity". In the crew, it is obvious that they have no way to actually go into space to complete these shots; and Christopher Nolan and Alfonso Cuaron are directors who pursue realism, and they must create realism through scenes, lighting, and composition. .

The problem is that computer special effects can still be completed for the part that the director cannot achieve; but during the shooting process, if a green screen is used, and the actor lacks a real reference, the emptiness of vision and limbs will inevitably bring a sense of perspective. The dislocation of the shadow effect, which in turn affects the integrity of the entire scene.

Christopher and Alfonso used the same approach: by building the actual scene so that the actors could easily enter the scene.

Objectively speaking, the scene construction on the left and right is still within a reasonable range. It can be constructed with imagination, and it is not uncommon in other commercial film crews; but the scene in the middle is jaw-dropping. Can't imagine what this is for.

There is a super weird cube in the center.

It can be imagined that a cube-shaped room is suspended in the center of the site. Then this cube has six three-dimensional surfaces. Now, except for the side facing the entrance of the studio, the other five sides are suspended and extended separately. Out of a cube space, it looks like a mutated robot, and different square bumps grow on the square head.

That's not all.

The connecting walls of the five extending cubes and the middle cube are not ordinary walls, but linear, and the linear objects of uneven thickness are densely and loosely put together, just like the side panels of plywood. Clearly seeing the stacked sections of planks glued together, it looks like... a cross section of a library full of books.

The linear wall can also clearly see the color change. The cool-toned wooden boards such as light gray, dark gray, off-white, pure white and so on are overlapped layer by layer. Through the contrast and connection of colors, the visual effect is further created. The sense of space is only 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 are so weirdly combined to form a huge cube that fills the entire studio from the ground to the ceiling—

You must know that the giant of the No. 18 studio is not only reflected in its length and width, but also its height. The entire studio is nearly five stories high, and it is a proud existence in the entire Burbank photography base.

, even the studio buildings surrounding the base compare favorably.

And now, the cube is touching the ceiling.

Renly took two steps back a little and tried to look at the top of the cube, but the proportions of the entire height were too large to be seen at all, not even some of the gaps in the corners.

"There is a camera track directly above, and there is a working track. If necessary, the photographer can strap on the safety measures to personally go into battle and complete the shot." There was a voice of explanation behind him, and when he looked back, he saw Christopher Nolan With Emma Thomas and his wife.

Renly just gestured slightly with his eyes, and then said, "It's like climbing a rock? How about the penetration of the perspective from directly above?"

"No problem. All those wall boards can be moved and adjusted according to the actual situation of the filming. When we are actually shooting, we will place cameras in key positions, and you just need to hang Wia to complete the performance. "Christopher has taken all the circumstances into consideration. "We build the scene, just want to create a sense of reality."

Emma Thomas stood by and shook her head helplessly: Just arrived on the set, Christopher couldn't wait to start working. He didn't even greet the staff or ask about the preparations on the scene, but... This is Christopher's work. As usual, what else can she do?

Emma and Renly nodded, then walked straight in and started to get busy as producers.

Christopher didn't notice at all, raised his finger and pointed to the scene on the right, "We will take the lead in shooting the spaceship scene in the next few days, and it will be done here. Double-negative has already produced the visual effects of the black hole. The picture is still a rough version, of course, when it is officially released, we will replace it with a further refined version."

Double Negative is the VFX team, Christopher's only VFX team for a long time, and they did all the VFX for the "Batman" trilogy as well as "Inception," and this time was no exception.

"When shooting, you enter the spaceship model, and the cosmic scene outside the window is synchronized with the plot presented in the movie to ensure that you can really feel the image changes of interstellar travel." Christopher's explanation immediately let that side The role of the curtain wall became clear. "We used the same method when we filmed the wormhole crossing. Now the computer effects have already produced the rough version of the time-space tunnel, and you can complete the performance in the real scene."

Jessica and Timothy were still standing beside them, both of them showing unexpected expressions.

Although they had heard of Christopher's style before, the cornfield in Alberta was the best proof; but they clearly underestimated Christopher's dedication, and now they are in the studio, before the scene and the subsequent The shooting plan is still surprising and speechless, and the shock hits the face like this.

Renly was no exception, but he was amazed that Christopher's whimsy, the seemingly impossible task, turned into a reality after all. This is also the reason why people always refer to Hollywood as a "dream factory". In addition to creating top superstars, they can also evolve countless fantasies and dreams into reality.

"This is the hypercube in the center." Christopher went on to explain, "Remember the second half of the script, Cooper's dialogue with childhood Murphy across time and space?"

"Of course." Renly nodded affirmatively. This is almost the most important core scene of the entire 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 different time and space dimensions." Christopher said simply.

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

Just a game.

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