惊天营救2一镜到底怎么拍的

there's a moment when you say to yourself， it can't be done but instead of backing down you push yourself forward into the unknown day one shooting instructions too went back for the title of who behind your name you have to bring at least spice the action where the landscape is ever evolving where everything that got you here doesn't mean a thing unless you can do it bigger and better than ever before for traction one， we had a major action sequence that felt like one continuing shot we call that a wonder for extraction two we're going to push that even further with a sequence more intricate and more extreme than before and we've got a real helicopter landing on the rooftop of moving trains it's pretty damn exotting i'm very proud of what we've done in result it's gonna blood into mine against all odds you find a way to make the impossible three two one four just another target。

there's a moment when you say to yourself， it can't be done but instead of backing down you push yourself forward into the unknown day one shooting instructions too went back with a title of food behind your name you have to bring at least spice the action where the landscape is ever evolving where everything that got you here doesn't mean a thing unless you can do it bigger and better than ever before for traction one we had a major action scene that felt like one continuous shot we call that a wonder for extraction two we're going to push that even further with a sequence more intricate and more extreme than before and we've got a real helicopter landing on the rooftop of moving trains it's pretty damn exotting i'm very proud of what we've done and result is gonna blood explain against all odds you find a way to make the impossible three two one four just another target。

我们来看今天营救当中啊，一个重要的场景，你看这个时候这种动作片，我们在跟拍，还光阴的变化，后面这个时候有一辆车， 这个时候摄影师跟导演一定绑在另一个车上，哎，你看这个车呢，有表现，敌方这个球过了过来以后，你看后面这车往后退 啊，再去跟拍啊，才有这种感觉啊，视觉的变化好跳一次，他用了一个技巧，换了一个镜头，你看这个时候呢，一直是外面，这个时候跳到车的里面， 你看在空间当中有一个变化啊，也是这个长镜头当中常用的一种技巧。你还又在车里面去对话，车里面去交流，以这种视力在拍这个长镜头啊，你感觉 节奏感特别强，能有一种代入感，让我们感觉也能啊，有主人公的这种心情一样啊，你还用这种长镜头试试啊，你看这个时候这是这种追逐，这种啊，撞门这种是这种电影当中常用的一种技巧的手段， 那你要用长镜头在设计的时候，关键是你怎么设计。你看这个时候他在内景又时间又比较长， 导演看怎么样，待会又要到外景啊，他整体的这个手段就是通过内景，外景，哎，你看这个时候划过啊，来去表达 啊，跳到外境当中，跳到外境当中呢，你看这个手就是外面的动作啊，你一看很自然跳过去，如果你在一个角度太 多了的话，那观众的视觉疲劳就会强起来。哎，这个时候再穿越啊，横向的这种前景，包括这种过，这种 门洞啊，这种光影变化，这种群众演员，这种这种路线的设计，其实这个场面不太好拍，你看就这么几个人在去车里面，但实际动用的拍摄的地方，包括人员都很多。你看这个时候又一个技巧， 又到了车里面啊，他是从外面跳到车里，从车里跳到车外，那这样的话形成这个节奏的变化。你看在一个四分四十五秒的我这个镜头当中， 你们看他不能永远在追逐，一会怎么从车里面去停出来，这又是他的一个技巧。所以我们在 电视的发展当中经常说对吧，啊，电影不外乎就是拍追逐啊，拍激情，拍暴力啊。你看像这个场面当中就让你身临其境，有一种这种电影表达的这种 啊，这种时空的好，这个时候一个人物下来，把镜头这个时候也带了下来，你看带了下来以后好跳到内井，哎，从内井跳到了外井 啊。你看这个时候导演又是一个跟拍啊，这种跟拍表现的时候，他一定晃动，呼吸感跟着节奏走。 你看这个车拍这种镜头一定要注意要用广角啊，要不你没法跟焦点，那除了用广角以外，用手持有这种运动感 啊，曝光的时候，我们现场有时候要手动控制光圈啊，如果光太亮太暗，他自己要去控制的。所以你们再去看这个时候的这种表达，他也用的是变焦镜头，他不能用一个定焦镜头，一直跟着走也不现实。 所以要求的摄影师、导演对镜头的把握。你看这个就是此后很暗剪影，但在运动镜头，没关系，你这个时候不能点光的，反而这种质感很好，然后随着你的角度再变，哎，你看到了光线，到了窗户又爆了。 所以这是这种镜头当中的一个一个常用技巧啊，表现的这种状态。那在很多这种商业电影当中，像这种细是常用的一种状态。你看这个镜头，你从一开始的 车外调到车里，再调到车外，再调到车里啊，又调到一个外景当中啊，那你看他这种动静，动静的变化，到了这里，这个节奏整体下 是跟刚才那种节奏有变化，对吧？你不能永远在追逐，你看到了这里面的时候，又是这种表达。在电影表达的这种戏的时候，永远注意气氛，永远注意中明安， 永远要注意声音，注意运动背景的变化。这也是成熟的导演感慨说明。

ready and action 啊啊啊啊啊！ i come three two one go。

that's not just any stunt cameraman that's sam hargrave the director of netflix's action movie extraction to create this one shot required a complicated maneuver first， he unstrapped himself from the hood of a car， then he ran over to another car to film inside and then he had to repeat the same shot from two different positions precisely to allow for a seamless final edit the result was this a shot that goes smoothly from outside a fast moving vehicle to inside the car without any visible interruption and that's just three seconds of a twelve minute long sequence film to look like a single shot which required camera moves by foot and by harness complex stunts invisible cuts and a cast that could endure extended fight scenes the director wanted the audience to see the complicated act of mercenary tyler rake extracting the kidnapped ov happen in real time and felt that one long take was the way to do it the entire sequence consists of a car chase then a chase up some stairs a fight in the building a jump from one rooftop to another a tumble off an awning a fight in the street and one final car chase which amounts to about thirty six different segments attached together creating an impressive twelve minute seemingly continuous scene from planning to shooting it took approximately four to five months to bring this one sequence to life first， they looked at large maps of the location in india and highlighted roots where they would be shooting the scene then they choreographed the chase shots using toy cars labeling each one carefully what are the logistics because it's not just me and a camera and you know chris hemsworth and a car there's hundreds of people involved in making this happen so where do you stage them？ it was a really intense technical puzzle to solve par grave is no stranger to big one take action scenes on top of being a stuntman and coordinator from multiple marvel movies， he famously choreographed a memorable ten minute one take fight scene in atomic blonde while most movies might require one or two location scouts this movie required seven to eight during scouting crew needed to find the most narrow and claustrophobic streets possible as well as buildings that provided passageways for easy continuous shooting sometimes they would alter the location to fit the sequence and other times the location would alter what the script looked like for example， while this one building offered the perfect balcony for chris hemsworth and ron de poda to start fighting it did not have an awning that allowed their characters to tumble off the building so the crew constructed one before actually shooting the scene all of the stunts were rehearsed and filmed on location we were testing improving everything so that when we got there， there were no unanswered questions we knew exactly where stitches were gonna happen how are we going to you know throw this person over a balcony and and capture that the sequence begins with a car chase this is when hard grave strapped himself to the hood of a vehicle， the small vehicle allowed him to squeeze through some tight spaces like this tunnel most movies film car chases using a pursuit arm， which is a camera mounted to a vehicle meant to follow action you can see one use during the chase scenes through the streets of busan and black panther so why do this instead stylistically， it allowed them to switch more seamlessly to a handheld style when they needed to practically， it allowed promobility for shots where the camera switches perspective from outside tyler rake's car to inside par grave's vehicle had to pull up directly alongside brake's car then par grave unclipped himself and put the camera as far inside the car as possible， then once he could get inside the car he leaned out the window and then pulled the camera back in to reshoot the same action and the same background this allowed the two shots to be stitched together hargraves said that he had to replicate it precisely and fuse off by even a few degrees， they would have to shoot it all over again eventually， they have to get the two main characters out of the car and onto the street in order to get the camera to leave the car without a cut the window needed to shatter during this crash the camera was hard mounted inside the car and then put onto a slide where could then be pushed through the now empty windowspace so hard grave could grab it and continue the shot up a flight of stairs as he chased a group of cops and then eventually met back up with the two main characters that's where things got complicated， because the hallways were only about three and a half feet wide he had to avoid stepping over fallen bodies or running directly into the fight and when you see the camera back off and eventually follow ov away hargrave had to count the exact number of steps he was walking backwards， so he wouldn't crash into a wall get that right i think we had to do i think it was twenty one takes and because the crew was so mobile they had to rely unnatural light as much as possible to light scenes lighting kits were only used when necessary like inside cars and inside the truck while this was all one long continuous take they still needed to call cut at some point， so the sequence is full of invisible stitches like when the window was shattered sometimes the places the locations weren't right next to each other and they weren't sequentially you weren't able to shoot and move through them sequentially when ov ducks into a room and starts throwing objects that door frame was used as a stitch point in reality they recreated the room in another building down the street， it was like you know ten blocks away， because the room had more access， had more space to shoot if not done correctly， this can create a continuity nightmare so to successfully cobble these shots together they had to recreate the first door frame in the second location， so they looked exactly the same in both places that actual location where he comes out is another place where he had to stitch and that was just a couple doors down from that location because what we're trying to get the person to believe as he goes in that door goes down the room and comes out， you know not far away where chris still was stitches were also necessary for some of the more dangerous stunts when tyler drums from one roof to another， they had to switch from hemsworth to a stunt double， so they put in a stitch right here as the shot switches to the back of the character's head allowing hemsworth to swap out with his double one doubles came in again when hemsworth and who does characters tumble off a balcony and into the street three two one go here's hemsworth watching as his double bobby hall enhanced and took the fall this was one of the hardest shots to capture and was as much as stunt for hard grave as it was for the actors hard graves said that normally a shot like this might if anywhere from four to five cameras， whatever they'd give me as many as i could so that you could if something goes wrong or if the pacing is off， you could cut around it with just one camera i wanted to be close to them to feel the impact of the fall， but also widened up to keep to see the fault so to get the shot hargrave jumped off the balcony and over the awning with them roped into a pulley system it allowed him to hop right behind them as they fell and then got on the ground right on time after five tries， they got it right then the two actors continue to duke it out in the middle of the street， because there are no visible cuts and the camera had to keep rolling and rolling the fight scenes were specially challenging for the actors， because they couldn't cut to different angles there was no way for them to fake it the actors would also have to be ready to move as a small vehicle goes right between them during the fight， a detailed incorporated after location scouting in the final stretch of the sequence tyler and ovy steel truck for one last big chase， they actually did use a special vehicle with a pursuit on for this part this was the only way， they could physically keep up with the one unbroken take illusion we had a camera vehicle， so that we could race up beside the truck and get into the car deeper than i could when i was safety then my arms only go so far， but we could get this action vehicle in a little deeper to the car cgi came in handy for the moment where tyler and ov jump out of the truck according to hargrave the jump was originally just hinted at however in the the editing room， they decided they wanted to actually show it， but this location was no longer available so first， they had to rebuild the street in tunnel on an airport tarmac in thailand there they had the stunt doubles leap out after that they worked backwards by having the two actual actors recreate the moment before the characters jumped out of the truck in front of a green screen so this shot of them about to leap out of the truck and then actually falling out these two different shots into completely different locations connected seamlessly when the truck flips over the continuous take ends， while it was important to keep the momentum going and always have something exciting happening on screen。 hargrave also found the best way to keep the audience engaged throughout was by pulling back in the moments before tyler and ov jump off the roof there was supposed to be a huge fight on the roof hard grave decided to scrap it there's been so much action before and there's about to be so much more and we can't make this decision in the editing room we can't just you know cut around and say well let's speed this up i think right now we're overloading the audience with action we need to take a break we need to insert a little joke here so they settled with this unscripted moment of comic relief can't you trust me no 关注我，学习更多电影拍摄知识！

一 啊啊啊。 哎呦 哎呀。

喂，拍摄马上开始了，你人呢？赶紧把卡送过来！好好好！ where you are upper pet i'm kidding came i don't care who i could play a bear this thing is the higher not know that my whole life for green lighter mowers from the cold i'm a stoppable baby i'm a stoppable baby you're looking like one i'm a stoppable baby！

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