The subsequent step includes taking out the individual doing the hitting and bringing again the individual about to be hit. As Warren defined, this step permits for the physique on the receiving finish of the blow to really react bodily, as if the blow have been actual:
“Then you definately take away that individual, and also you swap. You say to the individual (about to be hit), ‘Don’t react. Don’t attempt to promote this punch. Simply be prepared for the character that you’re.’ I take this pad — it is a very comfortable, sq. pad — and also you jam it at them. You hit them for actual. Anyone — a woman, a man, a baby. It does not matter as a result of it is principally a glorified pillow combat. It’s going to appear to be a UFC fighter getting hit within the face, and making an attempt to maintain their composure. It is wild.”
Then comes the ultimate steps of the method. Liman, Warren, and the crew would movie a slow-motion take with the celebrities performing the combat at diminished pace. “Like whenever you have been a child,” Gyllenhaal added for the sake of comparability. That is then adopted by a “clear go,” that means a shot with nobody in it simply to get the surroundings. Eventually, all of the completely different layers from these numerous pictures are stitched collectively. The pink rectangular pad is eliminated and the ultimate shot is a composite of the whole lot that was filmed.
Composite pictures are nothing new, as they have been employed by filmmakers for many years. It is how Michael Keaton performed many various variations of himself in “Multiplicity,” for instance. However this can be a reasonably creative manner of using a number of variations of a shot to sew collectively a satisfying model of a combat scene.