Nic has a lot of respect for the FX artists he worked with on some of the film’s most technically challenging shots, like the gut-wrenching moment Tom Cruise’s plane takes a missile hit for his wingman Rooster. “Sometimes during the initial flash of an explosion it lights up and then darkens the exposure of the shot, tiny details like that are essential to making everything look life-like.” Shae said: “We spent hours watching real explosions on YouTube to make sure our work was as real as possible. “It was the perfect marriage between real flight action, cinematography and invisible visual effects.”īut the pressure of working on Top Gun: Maverick, the long-awaited sequel of one of the most iconic movies of all time was not lost on either of them, as they hoped to impress the film’s director Joe Kosinski and on set visual effects supervisor Ryan Tudhope. “I was particularly awed by one shot where a jet that we reskinned later to be the Darkstar, flew over a security hut leaving an epic shockwave in its wake, blowing the roof off. Nic said: “How could you not be? Real jets, aerial stunts, the US Navy helping out and Tom Cruise! “We replace the green screen with buildings, sky, clouds, wind, computer generated characters, the lot, to make it look like that was the way it always was.”īoth agree that Top Gun: Maverick is the highlight of their careers and were excited to work together with an incredible array of talent across the production. Shae said: “The way I describe it to my friends is you know when you see Spider-Man behind the scenes acting against a green screen. They also helped create the worlds of Gravity, Guardians of the Galaxy and Blade Runner 2049. Their careers have taken them all over the world, including Malaysia, India, Singapore, China and Montreal.Īnd they now work for Framestore, the British Oscar and BAFTA winning, global visual effects studio famous for bringing characters like Paddington, Rocket Racoon and Iorek Byrnison to life.
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