How to Film a Fast Driving Car

Tim: We wanted to—the classic sort of time lefts nothing, Scott captured that pretty well to set the morning up. Scott: Then I you know peak performance, what it’s all about it—in two different ways and they told me about the answer, the performance of the drive and the vehicle and— Tim: And so instead of common introduction, then I wanted—we wanted to apply a little bit of homage look. The movie plays homage today the full show film, this is a little bit plays homage to draw on this ground for a—trying to level it, so it touched off. And then once again back to the previous show, our idea of the dust clouds which Scott capture pretty well and sees a—there’s so many cars who passes by. Scott: And then the next shot supposed to really make you sit back, this next shot coming up right now. Tim: So the calm serenity into the brutal power from these cars. And there she goes, struck right at top of the camera. And then we’re into the onboard stuffed in. And you can actually this whole thing here, this is one of my favorite shots here because it’s so low in the front wing. It really captures the—display in it and where the place that Marcus is driving there. Scott: None of us was sped up either. We haven’t changed the frame rate or messed with anything, this is real. This is how fast they’re going. To capture the speed of the car, it’s really good to get the camera as low as you can and shoot in a lens. And I was crawling to driving and all sort of things to get as low as I could to just really make the car look fast. Tim: And it does a crazy job wasn’t it, really. As you feel it, you mount this camera pretty much all to see is—to feel as you can but you think it’s going to be a fair bit of rattle. To be honest with you, the one we mounted with tape and pretty much— Scott: And he’ll process a little bit. Tim: Here we go, it’s from the camera —actually the car—it clips the edges of the dirt and you’ll see here a dirt bring for run off. Scott: So they have to hang on tight that it’s velcroed, get the tape and a whole of the lock to take them in. Tim: Yeah. And then we had to touch where he had—no, which run any camera as far as like how long it is. We want to slow this down. Here, this kind of an idea we had—the roles of the beauty and power. We want to slow this down who’s struck a great image there of the sun in the background back into the car. I want to slow that down then show the majesty of the car as well. So almost left—it was the stages for the cars where most of the time they mount the onboard and Scott have been a bit of experience on something. Scott: Yeah, I was up with the people in morning and all I thought I was going to die. I felt that bad. After searing up a few times, I feel a bit better that it was sort of just to get the shot and then I just collapse again until that car did it the next round. It was just to conserve energy. It was really tough work up there as should I’ve never been that hard before and you know I’m not without being applying in pressurized but this is just unbelievable. I couldn’t believe what it did to my body. Tim: Then it was onboard. I think for the viewers to really watch you is—Marcus doesn’t change and lift and it doesn’t do anything between the pipe and the dirt which is brilliant. It’s brilliant driving there really. Scott: I love the shot here because you can see how fast he is going and you see the mountain where he’s going, it’s telling that—yeah, that’s where’s off to conquer, it’s just great. Tim: And there’s really range shots that pretty is sturdy too. And so this is almost—and replacement of that chuckle shot where is like this is long range stuff on top of the hill from Scott which is brilliant through here. Gives some sort of majesty of the whole mountain isn’t it. And the small—we call that background massive peak. Scott: The high shots don’t—they take away a look from the car. Actually it looks like it’s going a lot slow than it is, which is a bit of disappointed but it sort of like I had you know the thing that to toss up whether you want to show the speed or you need to show that, you know just what—and you know what’s going on with the mountain and everything. It’s a fear to the danger when you do so many shots but you’ve got to sort of understand which way to go in to go with something goes wrong. Try and—I used to try to have something like a big obstacle like a big rock, or a tray or something where it might take a bit of impact just in case things get wrong or hard in the ditch. But yes, it’s pretty dangerous but you know you could have experienced just sort of know where they’ll go when they wrong and— Tim: I think that’s what you did on the day before the practice day wasn’t it? Exploding all the areas and the corners where you stand swiftly that— Scott: Way to go, they got a good shot too. Tim: Yes! Scott: But you know. Tim: Because I got a good shot. Not put yourself at risk and not for the driver’s risk. Scott: Yeah. Coming up through here, this is just fantastic. Look over the edge—you can just see—you know how far he’s down, how closely this guy’s get. Tim: I mean, we plugged a little bit as this throw Marcus yesterday. He watched this with the other guys, “Huh! Pretty scary, huh!” I think it was sort of you know he just watches the edge of the cliff himself. About motorizing and to show the majesty of cars, I did a project with a company called the—it was the re-launching, a rebirth of a rising legends as the Ford GT project for discovery channel. I was very proud of that, he was bringing back a classic car. Some of the opportunities we had there was with them driving the original Ford GT with—to Jeffrey Stewart around. Taking down journey for instance in the car the he want at Lamont in 67 and coming back again in 2003 in driving a new car. Those sorts of the ones that are more improved and this will be as well. I mean this is—I saw it’s a classic automobile rising in America. And I think, you know America should be very proud of this. I mean to hype more people from Europe as a result of what the guys at Ford Fiesta done coming this time, comeback and grow this rise back to the statute that really deserves. Also I think the one thing we want to play here is, was in this onboard shots. I mean homage to the guys who did this when it was totally do, I mean it’s 50/50 at the moment and do it and paid Tom Mack. And then the guys that looks like Jones in the 60’s they took a Mercury Marauder up here and I think that car runs into these corners, if you think that you had off of this for the people. I mean she got— Scott: This is an old sequel of shooting over this one. I couldn’t believe I even got some shots. I kind of even remember the shots when I got back down altitude, I was trying to remember but I could not remember shooting any of these. I was feeling that crook. Tim: So we’re in the top section of the mountain now. It’s the whole terrain change, I mean the set is up, up to the mountain is brilliant. Through the trace which is pretty dangerous or someone have a plan to go off there. And they’re passing our through instead of shale and rocks. It’s a pretty unforgiving race I guess. You have the crash barriers that are lot of the other events, normal sort of events that the NASCAR Icon Wheeler is, there’s not forgiving points in this tracks really isn’t it. Oh in the timeframe, it’s pretty exhausting. I think there’s—we’re actually going to the top of the mountain now and we got to finish. We go to the top of the mountain and film each day. And then ups the race. And they come back at night and ingest and start cutting the project together. It’s pretty exhausting, we let a good sleep this night for you.