After spending so much time in the danger zone, the director of “Top Gun: Maverick” Joseph Kosinski should be able to manage the passage of the wings on the wheels with his new film “F1”, which looked like “Top Gun: Maverick” but in a car. The upcoming film considers Brad Pitt as a descent runner and outside who joins the star of “Snowfall” Star Damson Idris, the Shot shooting driver to win a race against the Titans of Sport, who demanded that the actors have therefore spent a lot of film on the track. In this case, it meant a live track track with real runners and a roaring audience who watched him take place.

/ Film attended an overview of the trailer for the new film earlier this week, where the director revealed how every second intended to put his stars on and off the track while turning the fast sequences shown in the new images. “We could not simply shoot the track without the race taking place. It would have been the bad dynamic. So we were in fact there at the race weekend, with hundreds of thousands of people who looked at us, finding these time slots between training and the qualification of Formula 1 which graciously offered us,” said Kosinski.

From there, the race was on. “So we would get these 10 or 15 -minute locations where we should have Brad and Damson ready in the cars, warmed with hot tires ready to leave, and as soon as the training ended, they withdrew on the track.” Going on the road was one thing, but came to film the races at high speed in a whole new way – and do it at 180 MPH.

Even after using up to 27 cameras that film “Top Gun: Maverick” gathered 800 hours of sequencesJoseph Kosinski has always faced limits which he hoped to overtake with “F1”. “I mean, we had to develop a brand new camera system by taking everything we learned about” Top Gun: Maverick “and pushing it much more,” he said. “You cannot put 60 pounds of equipment on a racing car and expect it to play in the same way.”

Fortunately, by collaborating with Sony, the cameras used in “Maverick” were reduced to a quarter of their original size to adapt to the new ride to which they attached. From there, the crew was able to work and move the cameras while pulling with motorized supports (something not possible on “Top Gun: Maverick”), allowing Kosinski to capture a larger amplitude of motion while the cars have exploded around the track. “I sit at the base station with Claudio [Miranda]Our director of photography, looking at 16 screens. I have cameras operators on cameras controls and [I’m] Calling the camera moves like a live TV show during their shooting. “”

With these advances, they were not only innovating, but burn rubber on it. “So much research, technologies and development have simply been able to launch a sequence framework, in addition to the training of actors and the logistics of filming in a real race,” said Kosinski. “So it was a lot of preparation to be able to succeed.” Given the tiny windows of the shooting time they had, intense pressure to get what they needed in these moments, actors really leading to ridiculously high speeds on real tracks and doing everything for a crowd of more than 100,000 passers -by, it does not seem hyperbolic that it could have been one of the most difficult filming of films. See how they did it when “F1” arrived on June 27, 2025.