Why the F1 racing scenes look very realistic

Last summer, it was a pleasure to attend Farid’s offer to John Frankenheimer’s “Grand Prix” in Sompellil theater. We were warned in the foreground that the rare print that we were about to see had surrendered to the elements over the past few decades, which led to a purple shine on the entire film. You want optimally watching a movie in the best conditions, especially for the first time. I had any fear about his faded appearance intermittently during the first ten minutes, as it witnessed the sequence of the most exciting racing that I saw at all. It was as if the print was adhering to the life of my dear until I reached the near end line for 3 hours, and by God, I left an impression.

Almost every car movie over the past six decades condemns somewhat honoring the 1966 flare bonus racing Because of how to convert the way in which film makers are depicted by high -speed excitement. “Grand Prix” launched Panavision 65 mm cameras to different formula racing cars that can capture representatives such as James Garner from behind the wheel, as well as its surroundings, by remote control while they are moving at a speed of more than 100 miles per hour. I invited you to feel like you were already there in the car, which was an important step in a broker where the rear projection was the way to go with driving scenes. It was a film feeding innovation, a movie that inspires films like “Le Mans” and “Days of Thunder”. The revolutionary spirit of “Grand Prix” is still in good health in theaters now with the movie “F1® The Movie” by Joseph Kosinski (yes, this is his official title).

Just a few summer, Kosnsky and the d’arvil tom cruise challenged and pushed the boundaries of air photography with the overwhelming journey that was “Top Gun: MAVERICK”. It is very similar to “Grand Prix”, as the fans were placed in the driver’s seats in these metal death machines, with actors inside the vehicles already. Upon hearing that Cosinski will undergo a movie about Formula 1, he made me incredibly excited to find out how he will strike his lessons tirelessly to make this movie look good as.

/Film’s Witney Seibold found a lot of mistakes with “F1” in its review, Mostly with Brad Pitt’s description of Sony Hayes, he could not deny the tremendous excitement of the race sequence. Kosinski understands the attractiveness of excitement at the sound barrier you want from summer films. “F1” may not reach the emotional highlands of “MAVERICK”, but it is similarly characterized by a story of a middle -aged man who recovers the days of his glory by returning behind very dangerous complex controls that can move at light speed. “F1”, however, it is not a completely arrogance project for Pitt, as it is good like his star in Damson Idris, who plays the role of Joshua Pierce. Together, the two start an adventure for the globe trading (Silverstone, Monza, Las Vegas, Suzuka, Mexico City, SPA, Hungaroring and Abu Dhabi) to get their team, APXGP, from under the bottom. There is no doubt that the film extends the time of its operation, but as soon as these two are behind the wheel, it goes into races. Kusinski believes in making sure that the audience knows that they are doing it in real, as it goes to the point of making the race scenes feel realistic by pushing again with artistic innovations to make it possible.

In the event that this is your first exposure to the Formula 1 race, you rarely get a glimpse of actual drivers from inside the cockpit during broadcasting. Similar to “Maverick”, Kossinsky and Claudio Miranda’s cinematic photographer wanted to bring a similar show “in the seat” that gave you a direct narration of Pitt and IDRIS behind the steering wheel. Do this requires a similar technology that they used in the “Top Gun” supplement, where they managed to place the small Sony Rialto cameras inside the cockpit in the F-18S.

Looking at the formulas they were put in a more compact place, Koosinski knew that he had to pay the envelope and build his “F1” vehicles from A to Z to make it the ideal machine (via the ideal device (across Screencyush):

“We worked with the Mercedes-Aamg Formula One team to build our race, and while we build it, we worked in the design 16 different points of our cameras and special bays below radiators to hold batteries, residents and receptors. So it was a dedicated race car designed to shoot this movie.” We made six of them. “

The custom Cinema Sony 6K camera is not only the smallest that has been produced at all, but it was able to withstand the exceptions of G-Forses. (via YM Cinema magazine). Like “Grand Prix”, Kosinski enables work with Panavision to create a camera capable of capturing a lot of flexible perspective and surrounding drivers (across Screencyush):

“The pan’s snapshot is somewhat similar to the heart of your head. It is a very natural way to enjoy it in the world. But what I liked about it was when you look at the nose of a car walking on a path, then pay 180 degrees and see that Brad Pitt is looking at you with the presence of his hands, you realize that he really controls this thing. Transfer the wheel, then cut another angle from outside the car.

Looking at the exorbitant budget of the film, which is rumored to be in the vicinity of $ 300 million, it seems that Kosinski used the money well to increase the refinement of his craft. It is very similar to how James Cameron puts a wealth of resources in his “Avatar” sequence. Because it is a pioneer like all this equipment, a large part of which makes the “F1” very exciting is to watch actors who occupy the vehicles themselves.

The “Mobile” team has gone through a strong training program in order to prepare to go in the sky, so the chance of “F1” stars must have a similar thing to be ready for the path. Kosinski Pitt and IDRIS will put a four -month course in order to prepare to shoot actual Formula 1 circles (across The highest gear):

“We have photographed all the races you see in the movie for a real, then we use the small Hollywood magic, weave them all together and make it feel that Sonny Hayes and Joshua Pearce are the eleventh team in the network race alongside all these drivers.”

Idris was particularly lucky because he was able to shoot 14 different events in the Grand Prize race after all this training (across Sharp Magazine):

“The beauty of this was that we should advance in the grand prize race. We were training on the track, after which we had these 10 minutes during the weekend for the race to get our clips with the crowd, with chaos in the first formula,”

The production reached some extent when it entered the Silva Afra blow in 2023, while the team and the crew were in the British Grand Prix that year. But instead that caused a disability, it was in fact a convincing blessing for a house, as it allowed him to lead for a full year (across Gq).

In an era in which the use of the visible CG to simulate the danger appears, it speaks to Kosinski, Pitt and IDRIS, along with the entire “F1” crew, to the extent that they were committed to capturing a lot of excitement in the camera. Certainly, amplification budgets are a problem with many Hollywood projectsBut this was not an ordinary movie. “F1” is designed from A to Z to return the masses to the high -real realism that was operated by “Grand Prix” while moving the average forward so that other directors can build what they did here. Whatever you end up thinking about the movie itself, this is very special.

“F1® The Movie” is now playing in the country’s theaters.