Name: F1 電影特效總監揭祕電影製作過程 | BBC News (F1 movie VFX supervisor reveals how film was made | BBC News)
Uploaded: 2026-03-03T11:33:20.000Z
Duration: 4 min 7 s

I was the visual effects supervisor on F1.

Our ultimate goal was for audiences to walk out of the theater not having any idea that we were there at all.

我們的最終目標是讓觀眾走出電影院時，完全不知道我們曾經在場。

When you actually try to film something for real, even if it's not the right thing, even if it's the wrong car or that you have to do extensive aug to that material, there's a foundation to the shot and to the sequences.

當你真的嘗試拍攝真實的東西時，即使不是對的東西，即使是錯的車，或者你必須對那些素材進行大量的增強，鏡頭和場景都會有基礎。

The primary need, of course, sort of capture the world.

主要的目標，當然就是要捕捉這個世界。

We also recreate the cars digitally because we don't have access to the real F1 race cars.

我們也會數位重建賽車，因為我們無法取得真正的 F1 賽車。

The teams obviously protect those assets very closely, keep that very close to their chest.

車隊當然會嚴密保護這些資產，守得很緊。

So what we effectively did is we would go around, oftentimes on the gridwalk before races and take photographs of all of the other cars ultimately, so our team could rebuild those cars digitally, and

所以我們實際上會做的是，我們經常在比賽前的賽道旁走道，拍攝所有其他賽車的照片，這樣我們的團隊就可以數位重建這些賽車，

then we could reskin any other car that we needed to add them into the background.

然後我們就可以重新著色任何我們需要在背景中加入的賽車。

Oftentimes, we would do our stunt racing with our own cars that we had built for the movie, and

我們經常會用我們為電影打造的賽車來進行特技賽車，

then we would swap that car out for, say, a Mercedes or a Ferrari or whatever needed to occur for that particular moment in the race.

然後我們會將那輛車換成賓士、法拉利，或是比賽當下需要的任何車款。

The other aspect of what we did was we relied extensively on broadcast footage, but

另外一個我們做的方法是大量使用轉播畫面，但

當然，我們的團隊並不在比賽現場。

So on the flip side, we would reskin various cars in that material as well, so that Steven Marioni, our editor, could merge that footage with the footage that we had captured stunt driving.

所以反過來說，我們也會用這些素材重新著色各種賽車，這樣我們的剪輯師 Steven Marioni 就能將這些畫面與我們拍攝的特技駕駛畫面結合。

And whether we're putting our car into the broadcast footage or we're putting other teams cars into our footage, you sort of mix and match those techniques.

無論是將我們的賽車放入轉播畫面，還是將其他車隊的賽車放入我們的畫面，你都會混合搭配這些技巧。

So there are overall about 2,500 visual effects shots in the film.

所以整部電影總共有大約 2,500 個特效鏡頭。

And the hope is, is that by approaching each shot, even if it's in a single sequence, each shot in a little bit of a different way, you keep the audience on their toes.

希望透過以稍微不同的方式處理每個鏡頭，即使是在同一個場景裡，也能讓觀眾保持專注。

Here comes Sonny Hayes, ladies and gentlemen, using those warm tires to carve his way through the back of the field.

各位觀眾，Sonny Hayes 來了，他利用暖胎殺出重圍，衝向隊伍後方。

And if you ever need confidence in your car, it's here at Silverstone.

如果你需要對你的賽車有信心，就在這裡的 Silverstone。

Certain situations, we would run a custom array vehicle that we designed to drive around tracks, and

在某些情況下，我們會駕駛我們設計的特製載具在賽道上行駛，然後

then our stunt team actually drove the vehicle around the tracks so that we made sure that we were following the proper race line for the choreography of what was required and that sort of captured the environment and the entire world.

然後我們的特技團隊實際上會在賽道上駕駛載具，確保我們遵循了編排所需的正確賽車路線，並捕捉了環境和整個世界。

We typically would run that during a Grand Prix weekend.

我們通常會在一個大獎賽週末期間進行這個操作。

So the hope was, is that we would have a lot of the crowd in the environment and all the signage and sponsors.

所以希望是，我們能有大量的觀眾在環境中，以及所有的標誌和贊助商。

And then there were situations where, due to a variety of factors, we may not have had a piece of footage at the proper track.

然後，由於各種因素，我們可能沒有在正確的賽道上獲得一段畫面。

So we were able to swap tracks as required.

所以我們能夠根據需要交換賽道。

So if one of our cast or stunt drivers did a sequence at Silverstone, we might be able to change that entire background to Monza to make that work for a different sequence.

所以如果我們的演員或特技駕駛員在 Silverstone 完成了一個場景，我們可能會將整個背景換成 Monza，以便為另一個場景提供服務。

So we really had some interchangeability there in terms of what the environments were.

所以我們真的在環境方面有相當大的可互換性。

And it also helped us for a pretty substantial sequence in Italy, where script calls for rain and it's too dangerous to drive at speed in those conditions.

這也幫助我們在義大利完成了一個相當重要的場景，劇本要求下雨，但在這種情況下高速駕駛太危險了。

So we approached that sort of in a what we call dry for wet situations.

所以我們採取了一種我們稱之為「乾對濕」的情況。

So we filmed it dry and then digitally added all the water, the rain, the spray, the reflections on the surface of the environment and so forth.

所以我們在乾燥的條件下拍攝，然後數位化地添加了所有的水、雨、飛濺、環境表面的反射等等。

If you think about it, you don't really want the production design to really jump out at you when you're watching a film.

如果你仔細想想，看電影時你其實不會希望美術設計太過搶眼。

You don't want the hair and makeup to jump out at you, and

you don't want to think about those things.

What you want to do is you want to be immersed in a story and you want to believe that it's real.

你真正想要的是沉浸在故事裡，並且相信它是真實的。

And so, for us, it's the highest compliment for people to really not even talk about the visual effects at all.

所以對我們來說，大家完全不談論視覺特效，就是最大的讚美了。

If they just feel like the movie was real and they believe the story story, then we feel like we've done our job.

如果他們覺得電影很真實，並且相信故事，那我們就覺得我們的工作做好了。