F1 sounds as if he had one of the most difficult pictures of all time

Having spent so much time in the dangerous zone, director “Top Gun: Maverick” Joseph Kosinski must be able to move from wings to wheels with his new movie “F1” reminiscent of “Top Gun: Maverick” but in the car. In the future movie Brad Pitta as a rider down and on the street, united with “snowfall” by Demson Idris, a hot driver to win the race against the sport that demanded that the actors spend a lot of the movie on the track. In this case, this meant a live racetrack with real riders and a growing audience, watching as it unfolds.

/The film participated in the pre-viewing trailer for the new film earlier this week, where the director revealed how he thought every second and came out because of the track, removing the rapidly developed sequences shown on new shots. “We couldn’t just shoot the track without continuing the race. It would be the wrong dynamics. So, we were actually there in the racing weekend, and hundreds of thousands watched us, finding these temporary intervals between practice and qualification that the formula -1 gave us,” Kosinski explained.

From there the race continued. “So we get these 10 or 15-minute slots, where we would have to be ready Brad and Damson in machines, preheated hot tires, ready to go, and as soon as the practice ended, they will pull on the track.” The trip on the road was one, but then came to shoot high-speed races in a new way-and do it in 180 km / h.

Even after use up to 27 cameras that shoot “Top Gun: Maverick” that has gathered 800 hours of framesJoseph Kosinski still collided with restrictions, he hoped to move from “F1”. “I mean, we needed to develop a brand new camera system that we have learned on” Top Gun: Maverick “and pushing it much further,” he said. “You can’t put 6 pounds of transfer on a racing car and expect it to do the same.”

Fortunately, working with Sony, the cameras used in Maverick declined to a quarter of the original size to place the new trip they attached to. From there, the crew was able to operate and move cameras while firing with motorized mounts (something impossible on “Top Gun: Maverick”), which allowed Kosinski to seize a larger range of motion when the machines were rocked around the track. “I am sitting at a base station from Claudio (Miranda), our cinematographer, looking at 16 screens. I have camera camera operators on cameras control and (i) call the camera moves like a live television show while they are shooting.”

With these successes, they did not just break the new land, but also burning rubber. “So much research and technology and development fell directly to the ability to tell the frame, except for the preparation of actors and logistics shooting in a real race,” Kosinski said. “So there was a lot of preparation to be removed.” Given the tiny shooting windows they had available, intense pressure to get what they need at these moments, actors actually go at ridiculously high speeds at real tracks, and make it all for the crowd over 100,000 random people, it does not seem hyperbolic that it may be one of the most stiff films. See how they did it when “F1” arrives on June 27, 2025.