Why F1’s High Speed Racing Scenes Look So Realistic

Last summer I had a pleasure to participate in John Frankenheimer’s “Grand Prix” unique show Somerville Theater. We were warned in advance that the rare 35 mm print we had seen had surrendered to the elements in recent decades, which led to the magenta gloss throughout the movie. You want to optimally see the film in the best conditions, especially during the first time you watch. Any temptation that I had from its faded appearance was cheated within the first 10 minutes when I witnessed the most spectacular racing sequences I had ever seen. It was as if the printing had sticked to a beloved life until it did it over the finish line for almost 3 hours, and through God made it the impression.

Almost every car movie in the last six decades is some kind of tribute to a pioneering 1966 racing melodrama Because it changed the way filmmakers describe rapid excitement. “Grand Prix” installed 65mm Panavision cameras on a variety of Formula -Kilpa cars that could capture Actors like James Garner on the back of the bike, as well as their surroundings with remote control as they moved over 100 mph. It called you to feel that you were really there in the car, which was a significant step up to the medium where the back projection was a way to go to driving scenes. It was a movie fed by an innovation that inspired movies like “Le Mans” and “Days of Thunder”. The revolutionary spirit of “Grand Prix” is still alive and well in theaters with Joseph Kosinski’s “F1® The Movie” movie (yes, it is its official title).

Just a few summers ago, Kosinski and film star Daredevil Tom Cruise defyed the odds and pushed the air photography restrictions on a fascinating journey that was “Top Gun: Maverick”. Just like “Grand Prix”, it placed the audience in the driver of the machine’s deaths of these metals, and the actors really inside the vehicles. After hearing that Kosinski would help the movie from Formula 1, it made me incredibly enthusiastic to see how he would give his lesson tired of working that this movie looks as good as it.

/Film’s Witney Seibold found plenty of bugs with “F1” in her reviews, Mostly Brad Pitt’s characterization of Sonny Hayes, but could not deny the excitement of racing. Kosinski understands the tension of the sound you want about the summer removal. “F1” does not necessarily reach the emotional heights of “Maverick”, but it has the same story about a middle-aged man who captures his honor day tension by returning to a very dangerous vehicle controllers that can move at the speed of light. “F1”, however, is not a completely vanity project for Pitt, because he is only as good as his Damson Idris event, who plays up and Joshua Pearce, the newcomer. Together, they start on the earth’s adventure (Silverstone, Monza, Las Vegas, Suzuka, Mexico City, Spa, Hungary and Abu Dhabi) to get their team under the bottom of the APXGP. The film undoubtedly stretches its driving time, but when the two are behind the bike, it is in competitions. Kosinski believes to make sure that the audience knows that he is doing this to the right by going so far that the racing scenes are once again familiar with technical innovations to make it possible.

If this is the first exposure to the Formula 1 competition, you will rarely get a flash of real drivers inside the cab during the broadcast. Similar to “Maverick,” Kosinski and filmmaker Claudio Miranda wanted to bring a similar “seat” viewing experience that gave you a priority book on a pitiful and idror behind the bike. This would require the same technique they used in the “Top Gun” publication, where they were able to place small Sony Venice rial cameras inside the F -18 cabs.

Given that they put the Actors, there was a much tougher space, Kosinski knew he had to push the envelope and build his “F1” vehicle upwards to be the perfect machine (through Screen collection)

“We worked with the Mercedes-AMG Formula 1 team to build a racing car, and when we built it, we worked in designing 16 different mounting points for our camera and special gifts under the radius and recorders and receivers. So it was a customized racing car that was designed to shoot this movie.”

The customized Sony 6K movie camera is not only the smallest ever produced, but was able to withstand exceptional G -forces. (through Etc. Cinema). Kosinski was able to “Grand Prix” with Panavision to create a camera that can capture drivers and their surroundings so many flexible perspectives (through Screen collection)

“The Pan shot is like turning your head. It’s a very natural way to take the world. But what I liked to look at the car’s nose that solved the track down and then pay 180 degrees and see Brad Pitt to look at you with his hands when you realize that he really controls this. is a truck actor and a shot on the road.

Considering the film’s unreasonable budget, which is rumored to be near $ 300 million, it seems that Kosinski used money for good use of his handicraft. It’s a lot like how James Cameron puts a lot of resources in her “avatar” episodes. For as pioneering as all this device is, much of what makes “F1” so exciting is witnessing the actors using vehicles themselves.

“Maverick” Actors went through a strong training program to prepare for heaven to rise, so it is a coincidence that “F1” residues must perform something similar to be ready for the track. Kosinski sets Pitt and Idris through a four -month course to be ready to shoot in real formula 1 (through Top gear)

“We shot all the competitions you saw in the movie, and then, with a little Hollywood magic, we weave everything together and make us feel that Sonny Hayes and Joshua Pearce are 11th team alongside all these drivers.”

Idris felt particularly lucky to be able to shoot at 14 different Grand Prix events after all this training (through Sharp magazine)

“The beauty was that we had to go to the Grand Prix event. We were practicing on the track and then we would have these 10 -minute departure and arrival times during the race weekend to get a shot with the crowd in Formula 1.”

Production stopped slightly when the 2023 Sag-A-A-Action strike came into force when the Actors and the crew were at the British Grand Prix of that year. But instead of causing harm, it was actually a blessing disguised to Pitt because it gave him the opportunity to practice driving in a completely different year (through Gq).

In an era, when it seems easier to use a visible CG to simulate a danger, it speaks to Kosinsk, Pitt and Idris with the entire “F1” crew that they were all so committed to capturing so much internal tension in the camera. Budget balloon is almost certainly a problem with many Hollywood projectsBut this was not an ordinary movie. “F1” was shaped up from the ground to bring the audience back to “Grand Prix” to connect high octane realism by moving medium -length forward so that other filmmakers can build what they have done here. Whatever you think about the movie yourself, it’s pretty special.

“F1® The Movie” now plays in theaters nationwide.