![]() Another big challenge is that our post budget was only a half or third of what other big-budget movies have, and as the franchise has grown that’s put a lot of demands on our post schedule. We had a huge amount of VFX shots and so much post work that we had to start on it all very early. Through that whole process we we’re also pushing the envelope in terms of the technology and what’s possible for all the action sequences and set pieces. Then we also shot in Tbilisi, the capital city of Georgia, and we ended up back in East LA. While I was doing that, my second unit director and stunt coordinator, Spiro Razatos - who I’ve worked with for a long time on these films - was off in Thailand, which doubled for Central America, doing all the jungle chase scenes and the bridge-jumping sequences. The big one is that we always set out to put every dollar on screen with these films, so we have multiple units shooting simultaneously in different locations around the world - everywhere from London, where we started in 2019, to Edinburgh for the big chase scenes. What were the main challenges of pulling all this together? I spoke with Lin, who co-wrote and produced F9, about making the global phenom, dealing with all the VFX and his love of post. Also joining the team is VFX supervisor Peter Chiang who worked with Lin on the blockbuster Star Trek: Beyond. Windon, ASC, ACS editors Dylan Highsmith, Kelly Matsumoto and Greg D’Auria and second unit director and stunt coordinator Spiro Razatos, who has worked on every Fast film since 2011’s Fast Five. Gentlemen, start your engines.Īlso coming back to the franchise is an accomplished behind-the-scenes team, including cinematographer Stephen F. ![]() His crew joins together to stop an evil plot led by the most skilled assassin and high-performance driver they’ve ever encountered: a man who also happens to be Dom’s forsaken brother, Jakob (John Cena). The setup? Diesel’s Dom Toretto is leading a quiet life off the grid when his past comes back to haunt him. ![]()
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