00:11I've always wanted to be a fighter pilot.
00:14I don't know any young boy that didn't dream of that.
00:18My respect goes off for pilots even more
00:22because that is not a luxury seat.
00:24That is a work seat.
00:27In the live-action series,
00:29you want to see what it really looks like.
00:31You want to stay true to the game.
00:33You can't guess on some of this stuff.
00:35It won't fly with some of the things.
00:39So we were able to source a real cockpit of an F-18 plane,
00:43which was fantastic.
00:45When you're working on a project like this,
00:46you want to be true to its history.
00:50So it's kind of taking all these ideas from the game
00:52and then creating these real people.
00:55It's pretty amazing to be in an F-18 cockpit.
00:59In the full gear, I just became cooler.
01:02So to make this particular one the most authentic,
01:05to have the actors get a sense of realism,
01:08the ground-air communication,
01:09the communication between the air crew, pilots.
01:12Bingo is like out of fuel.
01:13Passing the information on to the pilots
01:16is a lot of what we call left seat, right seat.
01:20And I'll ensure that they are all in line
01:23with current military doctrine.
01:29We also needed to incorporate a lot of elements
01:32that are germane to the game,
01:34but also made sense to a casual viewer
01:37that might not have ever played the game.
01:38We don't know the Endurance's whereabouts.
01:41So before more Satoans show up,
01:42we have to find the Majestic.
01:44She's the only carrier we can land on.
01:47This is a rare scenario where
01:48I've been a major Ace Combat fan
01:51for the majority of my life.
01:52I always lose it.
01:53I keep it professional,
01:54but on the inside, I freak out a little bit.
01:57What we're using for this shoot
01:58is its iCVFX, or in-camera visual effects.
02:02If the production uses an LED wall
02:03and changes perspective or does video playback,
02:06then that is the turn that you will hear.
02:08We have a resolution that is the same
02:10as the Vegas sphere.
02:11The cameras were going to be projected
02:13around the cockpit,
02:14and then doing Unreal Engine renders,
02:17manipulating the images by moving them around,
02:19rotating them, changing the colors,
02:21the lighting intensity.
02:22Okay, action.
02:23They're not acting on a green screen.
02:25It's great that you're able to work off something
02:27instead of imagining that you've got something behind you.
02:31You can't see it. You don't know what it is.
02:32It's way more interactive that way.
02:34Smoke in the air, 11 o'clock.
02:35I'm on two, bandit on plane two.
02:38Let me go.
02:41Badass.
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