correcting yourself and crying is for weaklings , you can cry, but you drive away from the coach, turn around quickly, you have 3 seconds to cry, drive on so that no one notices, we can’t skate here, unfortunately, the ice is melting all the time, we tried, but it didn’t work out, so we have a video about alina doing it, let’s all watch it together, tears, oh yes, swallow, yes.

oh, how flexible you are, bravo, you did it all so artistically, just a sight for sore eyes, for such an age you can do a lot of positions in rotation very quickly rotates, actually rolls around very beautifully, we just...

the first thing i wanted to ask is how many containers camille has already collected, many, many, yes, this is a whole separate skill in handling these toys, now i invite you in order to find out. which of you is better at handling them? ready? let's cross the stage! tired of being with the little ones, tired of being with the little ones, tired of being with the little ones, now toys will fly from the hall at us, you need to collect them in your baskets, whoever collects the most wins won the olympics! the champion is generally

a serious opponent, but we will try , you and i will not give up without a fight, at the start, attention, toys have flown, stop, we have run out of basket, stop, let's go, let's see what kind of laugh camilla has, toys, where you are, it’s not visible, there’s emptiness, now let’s see what alina has, this is the result.

before our eyes, you just defeated the olympic champion and european champion, kamilla valieva! the olympic medal is still ahead of you, and the medal of our show will be awarded to you right now. medal to the studio! tired of it being small, tired of being small, cute, tired of being small, the medal is the best, alina nimerro is awarded it, and kamilla valieva will hang a backpack with sweets on you, and this bunny is a souvenir for you, let it bring you good luck, so girls, girls, you are so good, you can't.

on the website of the first channel 1tv.ru, see you on our red sofa and don’t rush to grow up. cognac monte chococa, a product

of the stellar group. the film tells about the girls pilots who began to fight in the first half great patriotic war. about their journey as people, as warriors, about their growing up, about their achievements, the art of pirating , and accordingly, due to the fact that the film is fixated on air combat, and the film is fixated,

in many ways, on the experience of the pilot in the cockpit, including overloads , including the reliability of the existence of a check in the frame. then it’s like the whole thing naturally required challenges and required technical solutions in preparation for the filming of the film air, we were given the task of filming air battles in virtual production so so that they were as realistic as possible, i needed it to be somehow similar, so that it was as reliable as it could be and... thirdly, so that it was not clear how it was done, that was the main task, so that it would seem there was such a thing, and so that there was an effect of presence, we knew that alexey alekseevich loves the present, loves texture, life, so that out of chaos some spark of the vital, inexplicable would be born, yes,

it was impossible to prepare what was happening in computer graphics, absolutely not so, but computer graphics, there are specific tasks, well, that is, everything is clear , the artist draws exactly what they said, but... this element of documentary was needed, when the cameraman and director saw and received and the actor also received this element surprises, an element of something that is impossible to predict, we wanted to somehow combine the traditions of soviet cinema, and accordingly bring out, on a technological, artistic, detailed level, a film so that it would not be inferior in general... well, a film from the world's leading studios, which it's natural for us it worked out, first of all, it was decided whether this could be done or not, we were able to somehow find common ground together, and that it was worth not only trying, but that we could definitely do it, from that moment work

on the project began. it all started with tests , we all understood that we needed to do a good test, in these tests we had to check all the reflections, how they work on the flashlight, and we tested in every possible way both with smoke and not with smoke, and how - airplanes that were produced in anrill, look through this canopy, and the most important thing we understood on set was that we would need to work with trajectories differently, because there were a lot of adjustments from the director, from the operator, when it was necessary to move the planes from an angle under the canopy, that is, imagine this that this is tantamount to hitting a needle with a thread at a speed of 100 km/h, it was almost impossible to do,

so after these tests we revised the work on trajectories, the work was enormous and the most important thing is that we wanted exactly, well, essentially the same thing, as well as the director. what happened a very realistic picture and that the air battle did not seem like a computer game, it was important to hear from alexey alekseevich that he believed in the technology, believed in the frame, and... because we all believed it, we saw that it works, and so this phrase was said: after we finished the tests, we realized that we needed to reconsider the screen sizes and it turned out that this is the size of such a four-story building with four entrances, the size is 35x12 e, i honestly admit, when i entered glavkino and saw it for the first time screen, i felt a little... a little scary, the important task

of the background placed on the screen was not only to become the main fill, but also to achieve correct reflections, it was for this purpose that such a complex setup was developed, which involved not only the main screen, but also suspended front screens, side ceiling screens, which gave the correct reflection on the fuselage, on the canopy of the aircraft, on interior details and even on the pilots’ glasses, for example, in complex maneuvers... in some maneuvers we even added planes flying from above, which were projected on the ceiling, they were reflected in the pilots’ glasses and served as a shadow filling for the picture, we began to develop a gimble, gimble are those things that these life-size planes hold in the air and turn there this way and that, this way and so on, and we started by making three-dimensional models that gave the basis

for the movements, and we began to embody this in metal. first we made the first gimble rocker, which allows you to tilt the plane 45° both forward and backward and do this is simultaneously in all planes. then we made a gimbal hand, with which we can grab the plane by both the nose and the tail and can rotate it. and the combination of these two devices allows, in principle, to close all standard aircraft movements that were ordered by the creative team, as it turned out, there were no aircraft of that time, and there was nothing left but to build them, and this, of course, is a separate powerful detailed work, because i really wanted preserve proportions, shape, etc. after all , right down to the fact that the vents on real planes, they twisted in one direction, namely in

the horizon, and i was curious why, it’s not an accident, after all, this is a consequence, and as it turned out, it’s really not an accident at all, but this also works , including the laws of aerodynamics, and it was important that god forbid, any of the elements, although it would seem a huge machine, but some cogs rather, and even this is important. it seems to me that this is some kind of symbol of our picture, because everything is important, some of the fans, well, most of the fans were filmed on cameras, and we started the movement without having in our hands we have a camera that is capable of shooting 360, initially we shot in one way, then when the titan 360 camera and the xso company appeared, we began to shoot a 360 panorama, at the same time... also shooting pieces of the background with separate cameras, as it were

, with all this, for two battles a digital background was used, created on the basis of the filmed backgrounds, the planes themselves that were flying, the backgrounds were filmed, there were also many, many different ones, the cameras were gripped differently there, there were even some complex, dangerous ones moments when we had the flu camera, that is, pilots are also an unusual story for them, there were cases when we set up a camera, the pilot took off and landed because... he immediately sat down because he said, well, this is very dangerous, we changed the position of the camera, that is it was all an experiment all the time, all the time although we already had an understanding of what we wanted, but then we changed cameras, changed planes, changed so we filmed in different places, that is, we filmed in samara, we filmed in st. petersburg, we filmed in petrozavodsk, in kronshtat, that is, completely different locations, different seasons, it was autumn, winter, weather, not weather, in addition to those filmed in reality. we had to create flights using graphics, for example, for a corkscrew, barrel

roll and other complex aerobatic maneuvers, and a unique hdri was generated, which was adjusted in all respects to the already filmed backgrounds, only the backgrounds were generated by graphics, giving complete freedom when performing any complex elements. the main trick was that we needed to put planes on top of the filmed video, but the problem is that these planes... they weren’t pre-renders, but this was, well, these were trophy models from anril, and in real time they even practiced their reflexes from the background that... was filmed, female pilots and female technicians must show skill and courage and self -sacrifice, this is the film that you were waiting for, military people, i think yes, of course, definitely air, because of course it was a dream to work with alexei hermann, they invited me to audition , then they didn’t call, i thought, probably not, and i thought so in despair, well, there it was

opportunity, unfortunately, probably not , look how the buildings fly, it means everything is not in vain , this technology, a completely unique technology that we tested, one might say, a pioneer in this matter, my hero makes five rotations of the barrel, the person who claustrophobia is impossible in this , and this is exactly where you are, when alexey asked how long you could stand it, i understand that the girls were spinning, it was difficult for them, i think, how many times can you say , we have never had anything like this before, of course, podcast love today on the first. rum, castro, stellor product group. there are six air battles in the film, which had to be filmed on the pavilion. it was for this purpose that we created animatics, which became accurate references on the set, both for anril’s operators and for the entire creative team when adjusting the virtual aircraft relative to the game ones.

this was a full-fledged stage of reproduction, in which the film’s cinematographer konstantin postnikov was directly involved. he acted as the main expert on the structure, maneuvers and trajectories. aircraft mock-ups our team i saw it directly on site, and then the final texturing and finishing of the battle stars on the fuselage began. the air battles in the film took place at different times of the year, so the planes in different seasons had their own unique camouflage. the virtual planes had to meet all the parameters of the plot, the color, the number of the plane belonging to a certain pilot, the principle of painting and the design details of the fuselages were studied.

in the painting we used, it seems to me, all possible ways to create air. special effects, for example, a screen, yes , a screen, there is a filmed background in the screen, then there is a three-dimensional plane, then after the screen we have a smoke machine , after that there is a body of the plane, after that there is smoke again, when you look at it, you you understand that it's like layers in a composition and it all adds up and it... everything works, it was an amazing feeling when i realized that we were composing graphics, uh, with real layers that we see in the camera, and it's very cool effect, this is exactly what we did during the entire shooting together with alexei alekseevich, started, our task in virtual production

was to make sure that... an enemy plane in the content was shooting somewhere in the distance several hundred meters away, we saw how a bullet in the form of a tracer, and this is such smoke, flew into the camera, and you you understand that the camera moves a little to the left, a little to the right, and the bullet will go, yes, right to the side, so these are very fine settings, our task was to adjust exactly this trajectory, the synchronization of the shot, the synchronization of the special effects shot, because in this moment... when a projectile was fired from a virtual plane, a special effect could be used to catch the shot, and accordingly there were hits in the plane’s surface with sparks, with flights, under a wind blower so that it all flew off with air , we also worked cool with smoke, creating air currents, or, for example, we we did things like shooting down planes, that is , we had explosions happening right in the frame, that is

, on the screen, in order to create the feeling of a plane flying through the explosion, we... also supported this with light, that is, in addition to the fact that the explosion was on the screen, more i worked on the lighting on the set and got a cool effect when a flash of light came on from the explosion, first on the pilot, on the plane, and then we saw that it was an explosion from behind on the screen, a symbiosis of shots, explosions, smoke and the work of all these special effects and workshops, allowed us to create this illusion of a real battle, a person sees the earth rushing by, a person - a person sees another plane. that is, he should not sit and think and imagine - i’m afraid, i’m afraid, here, here is a terrible enemy, who will then draw, he will see it, he knows how to react, he knows how to look.

according to the design, it was scary when mr. schmidt began to attack, it was just real, there was a real feeling that this was about to really happen, well, this is such a toy, of course, but it is so realistic, plus these the wind blows everything, the wind blows, shakes you, and it seems that you have really been hit, very realistic and safe, which is important, it really helps you immerse yourself. into the atmosphere, into the scene, into the nerve, well, because that we still have flights, we have a war, when you really see space in front of you,

planes, the sky, clouds, some explosions, pyrotechnics and your gimble sways, shakes, well, sort of turns over, and naturally, it’s all very helps to immerse , helps to experience genuine emotions there, like fear. our tasks, they are unrealizable just on a film set, relatively speaking , firstly, we don’t have a plane in which we can put a pilot who will fly, and secondly, we can’t land him, even if he will be, we cannot put an artist there , because he does not know how to fly, but even if we teach him, he will be able to fly, then we will be faced with the fact that the connection between the artist and the director, it seems to be absent, yes, the artist is there somewhere in the air, the director. somewhere down on the site, then you need to watch this take, make corrections , fly again, that is, technologically it’s completely unrealistic, especially since we can’t shoot at this plane, we can’t set it

on fire in the air, that is, film it similar things, well, in different conditions it’s impossible, but here there is a feeling of presence , that is, you are really spinning in the plane, a barrel is really happening, you really experience overloads, that is, you know, a cinematic centrifuge for me is m... the sensations in the frame as well as the stage and the authenticity of the sensation are not very important to play in state of overload or experience overload when they say to return it, of course, avoid responsibility, i won’t, it’s very important for me to experience this, because my hero is really an ace, a pilot who has a lot of downed planes, so at least get a little closer to those same difficulties and at least a little. to experience a little bit of what it is, it seems to me that this is always pleasant for an actor, always, so what i experienced here, you know, it only contributes, helps to penetrate into the character,

you know, when everything is real, when you are truly there is real turbulence shaking when you are spinning, this, of course, is very important for the feeling of acting. we, the pioneers, we encountered a huge number of things that were impossible to predict, that is. from everything, from textures body, from lighting, from aperture

, from, as it were, source materials, which, that is, many , many, in principle, all this can be overcome, but we still shot it quite quickly, we only had a few there, well, on the big one already screen of these same ones, like tests, then 20 shifts . i don’t remember five, in principle it’s fast, considering the volume and considering that a lot of material was included, we did it in a hurry, we did it very quickly, we, in my opinion, had 60 hours of material, 60, preparation, namely preparation, precisely the scrupulousness of each worker who is responsible for each wire, for each screen , for each, it seems to me that this is a matter of the team, in this case the team worked, so we are here, thank god, everything works, of course, to convey these emotions if we can do it through technology , to convey these emotions of this grinding, creaking of this plane, yes, how it was spinning, how the overloads were there. to say that our grandmothers,

grandfathers, our parents, participated in such feats, yes, and do not forget about this, remember this, this is a great movie that raised the bar not only for our studio, but for the entire virtual production industry in russia, in the sensations it certainly worked out. into this huge cool picture that we fought so hard for, they actually did something that no one had ever actually done, they did it, so there was some excitement, and it was very hard, very physically difficult, but there was some... then there was passion, there was a desire to do well, and there was, so to speak, well, the human component was good, that is, i understand that when the picture goes into the air, people

there will be such a slight shock, just like that, it ’s very expensive, it takes a lot of time, there is a feeling of complete reality, this is an absolutely real situation, well, people who are not initiated will generally have a question, how?

dear friends, the creative industry podcast is on the air on channel one with you , as always, its host elena kiper, producer , music video director and roman karmanov, general director of the presidential fund for cultural initiatives and media manager, our guest today is the people's artist of russia, artistic director of the moscow gubersky

from the situation, it would seem that this is not happening to you, this is happening to your hero, but you imagined this situation, this hero, imposed yourself, and these tears become your tears, this is the moment of empathy, compassion, compassion, which in one might say, on a global scale it really helps the development of personality in general, which is why i recommend

watching it for my students.