Secrets of Filming Cars: Behind the Scenes | Capturing the Lambo Huracán STO and Sián

Secrets of Filming Cars: Behind the Scenes | Capturing the Lambo Huracán STO and Sián

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Lasers, flamethrowers and the best editors in the game. Series Director Jon Richards explains how the production team captures static footage of cars in the studio. Featuring the Lamborghini Huracán STO and Sián and the Dallara Stradale. Want to watch a bit of on the internet? Welcome to the most comprehensive collection of official clips you’ll find on YouTube. Whether you’re searching for a caravan challenge, Ken Block in the Hoonicorn, cars versus fighter jets, Stig power laps or the latest Chris Harris Drives, you can find all the iconic films here.Want to share your views with the team?

welcome to a little behind the scenes on our top gear statics so yesterday we’re with chris harris we’re at silverstone and we’re with the hurricane sto he gave it a proper seeing too but now it’s a quiet day we’ve got it in the studio at calverts and we’ve brought it in here and basically we’re gonna create a beautiful well hopefully beautiful sequence so i’m taking a bit of a risk with this one because i want to create a sense that the car is moving so we’re replicating these motorway lights with these dmx controlled lights that are run by a computer it’s all very cool hopefully to get the reflections on the car body and stuff to make it feel like the car’s moving quickly but also to give it just a bit of pop so we’re just setting for one of my favorite shots which is the exhaust shot exhaust on proper loud noise hopefully we’ll get the water and moisture like eject out of it so the guys just giving it a clean um set the lights and we’ll give it a go jay’s doing a bit of playback nice one dude next set up beautiful the trickiest thing for me is to keep the ideas fresh but thankfully every car is different and they’re also different colors so straight away you’ve got a different car you’ve got a different color and then you’re going to go well what kind of a car is it is it like a hyper car is it a muscle car is it a beautiful graceful car and so you kind of take the cues from what the car is to kind of go oh do you know what it’s a lambo i’m going to throw flame in it it’s a perfectly chiseled porsche i’m gonna do lasers you know so i kind of trying to find concepts that reflect the essence of for me what the car is about other times i just throw some lights at it honestly it’s now 12 o’clock and we haven’t really even done wide yet so i’m getting a little bit ants my pants if i’m honest but we’ve got the concept dialed in now so we should be able to crunch the shots pretty pretty quickly so what i’m trying to achieve in this is moving statics so anything that kind of feels like the car’s moving in this actual shot we’re actually gonna have it moving it’s gonna drive out this is one of my favorite static sequences it’s the lamborghini sienna we shot it here at calverts in a in a wet room so we put water all over the floor in a tank and i basically had these flame throwers and we were coming in with flame guns and torching kind of around the car so it starts with a bit of abstract stuff and it goes into the fire and you’ve got flame in reverse you’ve got puddles and then you’ve got liquid reflecting mirrored stuff and the heat haze it was edited by jim hilliar and shot by toby wilkinson they’ve made it stellar absolutely stellar job favorite shot would be it’s got to be the three-quarter boom three-quarter reveal just love the way that flame reveals the car and you’ve got the ripples you’ve got the flame absolutely love it that all happens so quickly but the reality is we’re in here dialing in a shot for about an hour each time like to get that rear three quarter there you’ve got to park the car you’ve got to line it up you’ve got to bring the lights in you’ve got to prevent the reflections from happening you then dial in the flame the flame doesn’t work and then the flame comes in the wrong settings and then the lights aren’t on then the car lights turn off and you’ve got to reset it it’s like it is non-stop oh redo it get the timings right but you know once you get it it’s so rewarding so this film was one of my all-time favorites it’s the dalara and it’s a totally obscure italian manufacturer who’s done this incredible car and i was like how do i light this what do i want to do and i was like right i want to pick the shape of the car and i want to do it with like line paints like painting it with light so it kind of looks a bit like this okay so the way we do it is normally i find a shot that i like like this one for example i then wave the lights across it i cut i do a new shot which is called a plate and then i light the plate the editor can then combine the two shots together and dissolve through like mix through to the layer and it kind of creates a resolve like this and there’s the color and here you go you can see again there’s three plates on that and as the color comes in oh look at that oh that’s joyful again genius editing just got the best editors in the game i absolutely love it one of the big things for me about top gear is that we do things for real and we try and capture stuff as real as possible we don’t do big fake cgi things we don’t do speed ups we don’t do kind of big graphic sequences what we do is we try and capture as in camera as possible and this is one of those examples where we’re blending a live action capture with our lights fading up and the editor then turns it into kind of well you can see for yourself like beautiful shots so when we shoot our engine shots to kind of cheat into the chase sequences or the speed sequences we kind of wave lights over the engine bay we do a bit of pull focusing we shake the camera and we also rev the engine we rev it you know like crazy to kind of get those revs going and then we shake the engine mounts and you can hopefully see that motion of the engine to give it that authenticity here we go turnover and action right so it’s last shot of the day it’s the killer shot it’s the side profile which i think is probably one of my favorites you get to see the whole car and it’s flank and the shape of it the silhouette not many shots beat this in terms of the frame for the car guys let’s go for full lighting setup we’re going to dial down from black to what we’ve got here please love it that is beautiful nicely done guys thanks that’s a wrap what um beautiful beautiful you

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