F1 Sounds Like It Had One Of Most Difficult Film Shoots Of All Time – SlashFilm

After spending a lot time within the Hazard Zone, “High Gun: Maverick” director Joseph Kosinski ought to have the ability to deal with the swap from wings to wheels together with his new movie “F1,” which seemed like “High Gun: Maverick” however in a automotive. The upcoming film sees Brad Pitt as a down and out racer who groups up with “Snowfall” star Damson Idris’ scorching shot driver to win a race in opposition to the titans of the game, which demanded that the actors spent a whole lot of the movie on the monitor consequently. On this case, that meant a dwell racetrack with actual racers and a roaring viewers watching it unfold.

/Film attended a trailer preview for the brand new movie earlier this week, the place the director revealed how each second counted getting his stars on and off the monitor whereas filming the quick-paced sequences proven within the new footage. “We could not simply shoot on the monitor with out the race occurring. It would’ve been the mistaken dynamic. So we had been truly there on race weekend, with lots of of hundreds of individuals watching us, discovering these time slots between observe and qualifying that Components One graciously afforded us,” Kosinski defined.

From there, the race was on. “So we would get these 10 or 15-minute slots the place we would should have Brad and Damson prepared within the vehicles, warmed up with scorching tires able to go, and as quickly as observe ended, they’d pull out onto the monitor.” Getting on the highway was one factor, however then got here filming the excessive-pace races in a complete new manner — and doing it at 180mph.

Even after utilizing as much as 27 cameras filming “High Gun: Maverick” that gathered 800 hours of footage, Joseph Kosinski nonetheless confronted limitations he hoped to surpass with “F1.” “I imply, we needed to develop a model new digital camera system taking all the things we realized on ‘High Gun: Maverick’ and pushing it a lot additional,” he stated. “You possibly can’t put 60 kilos of drugs onto a race automotive and count on it’ll carry out the identical manner.”

Fortunately, by collaborating with Sony, the cameras utilized in “Maverick” had been shrunk to 1 / 4 of their authentic measurement to accommodate the brand new experience they had been getting strapped to. From there, the crew had been in a position to function and transfer the cameras whereas taking pictures with motorized mounts (one thing not doable on “High Gun: Maverick”), permitting Kosinski to seize a larger vary of movement because the vehicles rocketed across the monitor. “I am sitting on the base station with Claudio [Miranda], our cinematographer, 16 screens. I’ve received digital camera operators on the controls for the cameras and [I’m] calling out digital camera strikes like a dwell tv present whereas they’re taking pictures.” 

With these advances, they weren’t simply breaking new floor, however burning rubber on it. “A lot analysis and expertise and improvement went into simply having the ability to roll a body of footage, along with the coaching for the actors and the logistics of taking pictures at an actual race,” Kosinski stated. “So it was a whole lot of prep to have the ability to pull this off.” Contemplating the tiny home windows of shoot time that they had accessible, the extreme strain to get what they wanted in these moments, actors truly driving at ridiculously excessive speeds on actual tracks, and doing all of it for a crowd of over 100,000 bystanders, it would not appear hyperbolic to posit that this may need been one of many hardest movie shoots of all time. See how they did it when “F1” arrives on June 27, 2025.