At this time, the camera suddenly got on the rocker arm somehow (there must be some device), the big rocker arm shook up, the car started to leave, the rocker arm took the camera to the street outside, the car stopped at the intersection, and the camera continued to move backwards ( I suspect that the rocker arm is installed on the car). A policeman is directing traffic at an intersection, and a peddler is pushing a car across the road. At another intersection, the male and female protagonists appeared and walked across the zebra crossing. The car passed by them. The protagonist continued to walk forward. About this time, the camera moved from the rocker arm to the push track.
The protagonist is walking on the busy street, and the car is moving slowly beside it, because there are constantly pedestrians crossing the road and shepherds. Finally the camera stopped at the border checkpoint, here is the US-Mexico border. At this time, the camera stopped, allowing everyone to finish the conversation. After the car left, the camera followed up and took the protagonist and kissed. Then there was a loud noise and the car exploded.
In 36 minutes, there was an indoor shot. Sheriff Quinlan and Vargas came to the hotel room to catch Sanchez. The key to the indoor scene is to capture the position of the characters. You can't use the panoramic view to collect them, so the movement and positioning of the people must be effective. Wells probably laid a push rail about 5 meters from the living room to the bathroom. This section is also a long shot, just on this push track, about 5 minutes. The protagonist walks into the bathroom, then the camera enters the bathroom, shakes slowly, and then the supporting role enters the bathroom, then two people walk out of the bathroom to the bedroom, and the other two also enter the bedroom. This is the scheduling. Perfect scheduling can make the movie appear extremely smooth. Although there is not much movement in this 5-minute long shot, the scheduling in a narrow space requires more precision, the precise position of the characters, the precise movement, and the precise placement of the camera.
Another point is the shooting angle. Liu Bieqian said that there are a thousand ways to place the camera, but there is only one correct way. At 20 minutes, Quinlan, Vargos and others were talking about Vargos being thrown with sulfuric acid, and Vargos's wife was accosted. The camera position is very low, with a slight elevation angle, so that part of the character's face is bright, and the expression is a bit stern. Think about it, this lens is taken from above, and the expression is not clear. It is taken from the front, and the light and shade on the face are not enough. When it is completely upside down, only the chin can be seen. At the same time, his expression was closed in the camera. So, when the actor is standing in front of the camera, you only have one angle that is appropriate.
Wells answered a question I thought about more than a year ago, how to ensure the wonderful performance of the story and create some extra value. In other words, some people think about what to shoot for how to shoot, and some people think about how to shoot for what to shoot. Wells can rule out both of these situations. But the answer Wells gave us was desperate, because he used talent, surpassing the talents of almost everyone on the stone steps.
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