The "X-Men: Reversal of the future" in the "Fast Silver Time" production

In the "X-Men: The reversal of the future" appearance of the mutant, the new role of "fast silver" has undoubtedly become the brightest one, especially his dazzling performance in the kitchen to make the audience unforgettable. This article will reveal the bright eye of the "fast silver Time" paragraph of the production behind the scenes ...

Before filming the kitchen scene, the operator first simulated a large number of technical problems in the computer, such as camera position, lighting settings, scene layout, and so on to determine how many parts of the play can be achieved with real film.

This is necessary because they were worried about having to use digital doubles in too many lenses, but they finally figured out how to do most of the shots with Ivan Peters, a real actor who plays the fast silver.

At the time of the formal filming, the person responsible for the real-time preview of the shooting in the field came to the studio to test the camera to see if it could be filmed with a real actor.

Prior to the formal filming, the operator measured the entire kitchen to ensure there was enough room to achieve the desired effect. They created a virtual kitchen in the computer, then placed a virtual camera in it, and if they found something that needed to be seen in the shot, they told the scene master to change the position of things in the kitchen a little bit.

As mentioned earlier, before the formal filming, the visual operator first simulated some of the technical problems in the computer, including the camera setup problem in slow motion. Typically, the camera takes a slow motion at a speed of 24 frames per second, and the more frames per second, the slower the lens. So when they were shooting at 3200 frames per second, everything in the kitchen was almost stationary (except for the fast silver, of course).

In the slow motion, the visual person wants the lens to be as slow as possible and to ensure the sharpness of the picture (the slower the screen becomes blurred), so they need to strike a balance between the two, so they do a lot of testing to determine the appropriate degree of slowdown.

In such a slow shot, what things or things in the picture is the best play, the most good-looking? To this end, the production team really moved a lot of brains. The stunt team did a lot of testing, such as letting the guards punch themselves, let the vegetables fly, and create the airflow generated by the fast Silver supersonic movement.

In order to shoot the fast silver shot on the wall, the operator made the actor run on a treadmill running on the green screen and then synthesized it with a computer.

The close-up of the fast silver grin is taken at 250 frames per second, achieving good hair with the wind fluttering and face ripple effect. Although the wind and rain are not real, but the use of CG added up, which requires very fine facial animation and complex rain simulation.

In another shot, the quick silver came down from the wall, and in the process his body turned 90 degrees. The camera was used in a tricky way to change the angle and light of the camera, and the actor, who played the fast silver, jumped from a treadmill to the lower side of the table at the right time. This method is very good, but the visual person still has to make his CG feet, so that the feet can fall in the correct position.

As soon as the silver ran in the kitchen, his speed made the objects in the air seem motionless. Since these things are basically done with CG, just shoot them at normal speed.
In addition to the CG object, the visual-effect team lets the art department make some solid models of soup from the pot, and then mix them in some freeze-frame lenses.

In making rain and bullets, the operator first referred to a number of slow action clips, such as a large number of bullets out of the barrel of the picture, 3000 frames per second video, but they still feel slow enough, so the speed slowed down a little, as far as possible to make the effect both believable and cool.

In addition to rainwater and bullets, the crew also made detailed modeling and rendering work for other elements, such as kitchenware, cutlery and vegetables. They also have to find ways to illuminate the kitchen and the items in it, light from the overhead hoods, stoves and tile reflectors.

In contrast to the astonishing speed of the silver, the guards, like puppets, were put into various postures by the fast silver. When the picture returns to normal speed, these poses cause the guards to either bash or fall, and the scene is rather funny.

These lenses are shot at 120 frames per second, to achieve slow motion. The operator tested the effect with a camera to make sure that the method was feasible on the day of filming.

In post-production, they have to stabilize the guards ' bodies to ensure that each person is truly motionless and not blown away by the flow of the silver when it passes by.