Oscars 2023: ‘Top Gun: Maverick Turned The VFX Action Film Upside Down — And Got Nominated For It
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© IndieWire IndieWire The pinnacle of craftsmanshipRyan Tadhope is ready to talk.
Now that the visual effects in Top Gun: Maverick are Oscar-nominated and the team behind them can't tout their incredible work, VFX supervisor Tuhope finally reveals how the team achieved the basics of invisible effects, but most importantly 2400 Frames of CG .
As noted last month in the Academy Museum's visual effects "competition," Art Professionals Method (now part of Framestore), MPC, and LOLA took on different tasks to support the film's hands-on spirit. They combined mosaic visuals with stunning aerial shots and stunts featuring Tom Cruise flying in the cockpit of a Navy fighter jet. The planes are made to look like real planes in aerial photos. Navy pilots removed six Sony Venice cameras attached to the actors' Rialto camera extension system from the plane they were flying. The VFX provided dark art, environments, changes in the sky, and plenty of gunfire and explosions for the final bombardment.
Although it contains a lot of CG stuff like a typical Hollywood tentpole, more than that, it calls for an expansion of such practical filmmaking techniques. "We've always tried to create a very fluid invisible work that people don't even talk about or think about," Tudhope told IndieWire.
"Our approach was to try to do practical moments and capture a real aircraft and then use our resources from the Navy to tell the story and use those objects as a director to tell the story." According to Tadhope, Maverick allowed him to "create visual effects" that could not be done in any other film. These are resources and support.
At least 2020s: VFX. This collaboration between ASC award-winning cinematographer Claudio Miranda (shockingly snubbed by the Academy), naval aviators, flight coordinators and others restored VFX to its former glory. "You're trying to be subtle, you're trying to make compelling photographs," Tudhope said. "It's not that you don't want to be in a great movie with great visuals, but your shackles are in those movies because I think they can bite you."
Watch the opening scene where Todd Hope Maverick (Tom Cruise) pushes the experimental Darkstar aircraft to the limit to show how collaboration uses the visual effects process. The Dark Star doesn't exist in real life: it was designed specifically for the film, and footage of its ride in the cockpit was filmed on set. "We knew that Maverick was really going to shoot with that gimbal, but we still wanted to take it out of the world," as happened with the actors in the F-18 flight.
The solution? "At times we would place this aircraft behind the Darkstar cockpit to create a cleaner rear panel and fly the drone from the back seat," Tudhope said. “The most accurate analogy for that state of history at that time is the F-18, right? It was the plane we had and it did the same maneuvers at the same speed and speed. We chose it. Remove this particular back panel.'
"Honestly, I think in the beginning we had to put a lot of pieces of the puzzle together and try to figure out how to get the facilities and all these things that we needed," he said. "The footage in this movie is about what we do outside and inside the computer."
This marriage of practical and digital was more challenging for the visual effects team than the simple decision to digitize all the images in the post. As a result, accuracy was achieved, as it depends on the equipment and the reality of the flight. It was a top-down process throughout production with the help of the crew and pilots. One of the added benefits of aerial photography is the use of limitations and imperfections. For example, when the pilots had trouble balancing the frame needed to move the somersault, they discovered it in the second take and the VFX team was able to complete the shot without having to redo it on the computer. There were also beautiful moments of joy. One such moment occurred when the Dark Star flew over Ed Harris and crashed right in front of the guard's booth. His first action was to rebuild the guardhouse and shoot him. But he played so well that they sent him back.
The film's most intense use of CGI is the tragic bombings and the road turned into a bowl-shaped valley that requires digital planes, environments and explosions. But it was shot in the Cascade Range in Washington state with newsreel footage and unseen effects, making the disaster even more interesting.
"There were all kinds of investigations going on," Tudhope said. "But it's mostly based on this exact location where we shot and worked with the same constraints as the rest of the film."
Is there a lot of room for happy occasions? - Yes, - said Tudope. That's all we're talking about. On the other hand, maybe with a team of really talented visual effects designers creating all the footage on the computer, it's so complicated that you miss the danger of having fun.
"These shots are too perfect, too real and too good to be weightless," he said. “There are many pitfalls in using this technique. You end up with these wonderful technical challenges of trying to capture a pilot in a real plane with a real pilot, another real pilot, a real operator, and another real plane.
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