Fast Furious 6
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Lin's direction of the action set-pieces was described as lavish and exquisite. The cinematography received a mixed response. Variety's Scott Foundas appreciated the attention to spatial geography and complicated, single, continuous shots which were compared to the best of James Bond and Mission: Impossible films, and Rawson-Jones said that the nocturnal races in London made excellent use of the environment. The Hollywood Reporter's Todd McCarthy considered that the action scenes were cut too fast, failed to provide a sense of speed for the vehicles and were mired by poor angles and nocturnal settings that obscured the view. View London's Matthew Turner considered that the action lacked imagination, with the London-based segments amounting to little more than a geographically inaccurate race past landmarks.
Fast X is produced by Neal H. Moritz, Vin Diesel, Justin Lin, Jeff Kirschenbaum and Samantha Vincent. The executive producers are Joseph M. Caracciolo, Jr., David Cain, Chris Morgan, Amanda Lewis and Mark Bomback. www.thefastsaga.com
After laying waste to a couple dozen cars, seemingly oblivious to the loss of innocent lives, they end up at a modest house in L.A. Holding hands, they say grace, thanking God for their family and, \"most of all, for fast cars.\"
Fast & Furious 6 is a machine running close to peak performance. The Fast & Furious franchise has been stripped down and rebuilt through six iterations. It's gone from racing to revenge to a heist and now it's forced to find its own identity. After finding a good group of characters and upping the stakes in the action scenes, there's finally a level of confidence instead of simply watching fast cars drive around. The new movie struts into the room and proudly proclaims, \"If we're going to be goofy and loud, we're going to be the goofiest, loudest movie we can be!\" It's almost admirable in its own twisted way. After four films, Justin Lin's direction has finally matched the ambition of his set pieces, and aside from indulging in the \"family is everything\" treacle, Fast & Furious 6 is easily the best film in the franchise yet.
To the joint credit of director Justin Lin and Universal Pictures, this isn't in 3-D. That's probably because the amount of fast-cutting necessary to piece together the action sequences doesn't lend itself to the format. Fast & Furious 6's stunt work has largely been assembled in post-production, with machine-gun editing and computer-aided special effects accomplishing things that no live human could achieve. As is typical of this approach, it can be difficult figuring out what's going on during segments of the fight and/or chase scenes, but some viewers deem this visual chaos to be a benefit.
The establishing shot for the scene was an aerial view flying over the city of Moscow.This seemingly straightforward camera move became one of the most complex tasks for compositing as the shot had to be heavily digitally manipulated to achieve a dynamic shot. The original aerial footage was filmed by the production, which sent a crew to Moscow, where they encountered some restrictive no-fly zones. Unable to fly their helicopter over the Kremlin, they filmed using a Red camera attached to a miniature helicopter. When the plates came in it was clear that the helicopter had been unable to fly fast enough to create a dynamic shot, so Image Engine was tasked with creating the desired effect by re-timing and stabilizing the raw footage. 781b155fdc