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An important part of capturing the action was actually allowing for stunt drivers to control the cars. Several camera cars, chase cars, camera platforms, aerial assemblies, GoPro mounts, crash cams, helmet rigs and other rigs made the shots possible on Need for Speed. Hurlbut’s team was also involved in working out where holes and rigging could be fitted to enable cameras, sliders and rigs to be mounted on the cars. Designs came directly from the manufacturers who assisted by providing 3D CAD data. So the production entrusted RCR (Racing Chassis Replicas) to build the chassis, with the picture car, special effects and stunt departments building the car and fx rigging around that. Whilst the film features a large number of Super cars and Muscle cars, the real thing would have clearly been too costly to film and crash. Nothing to cut their emotional connection with the camera.” We didn’t want to shoot through the glass – we did it for some bits but when they were in the heat of the race, we are internal. “The reason for that is we wanted them to feel really powerful and wanted the wide angle lens to see as much peripheral speed going by the windows, and do it in a way that had that intimacy. “The car sequences have wide angle lenses that are pushed very close to our actors,” he says. Lens choices: Hurlbut mainly shot with Cooke lenses on the film. “I think the budget on it was $250,000 and we tested nine formats.” Those cameras were: “I’d never heard of anyone doing a camera test as large as we did it,” he says.
But first, here’s a look at some of the challenges the filmmakers faced in bring the street races, crashes and car sequences to life.īefore embarking on a film that Hurlbut ultimately knew would require 50 cameras for its shoot, the DOP carried out an extensive camera test. Not in a ‘we hate visual effects kind of way’, more in a ‘we want this to look as good as it can possibly look’ way.”īelow, we break down three of the biggest stunts in the film in terms of how they were shot and executed and how visual effects contributed to the final shots.
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“To have a team, everyone from the director down, to figure out how to do the best we could while shooting. “It was so refreshing to work on a project where the default answer isn’t, ‘Oh we’ll just figure it out later – in post’,” comments visual effects supervisor Kevin Baillie from Atomic Fiction. Far from it, as both Atomic Fiction and Cantina Creative helped augment what had been achieved in-camera in several sequences. We wanted to do a very contemporary looking piece with the latest tech and small cameras, immersing this audience and putting them in the driver’s seat at 180 miles an hour.” Aaron Paul and Imogen Poots stay in Need for Speed.Īlthough that meant that each stunt and special effect would be attempted practically, it did not preclude the use of visual effects. “There was a sense of raw energy that just comes across so nicely with those older films. “Scottie wanted the film to be a throwback to the 60s and 70s style of the old race car movies back in the day of say Bullitt and Road Warrior,” DOP Shane Hurlbut told fxguide.
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So when his new film – based on the popular EA video game series – came about, it was clear that Waugh had the knowledge, and audacity, to make the scenes of street racing, crashes and other stunts for real. Need for Speed director Scott Waugh was once himself a stunt performer and co-ordinator.
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