Film Sets Are Supposed To Be Controlled Environments
Does it really make sense to risk high profile celebrities lives when Hollywood and stage magic special effects have been making people fly on stage and on screens for years? Consider Tom Hanks, Ron Howard and the rest of the famous cast of characters who would also have other contractual projects in the pipeline. Does it really make sense to needlessly risk the lives of all of these important film makers during the filming process, when Hollywood special effects and photographic illusions have long been the tools used to fool the eyes and minds of audiences for years? These films have millions of dollars invested in them. It is not logical to believe the studio would risk their stars in this silly manner when special effects are the more obvious solution to the problem.
Film sets are supposed to be controlled environments.
Does the zero-g flight really make sense in terms of actual real world film production?
Most do not know that Hollywood is run by the same international banking interests that world governments serve. Hollywood is the propaganda arm of the U.S. Military and Government. Layers of lies protect the truth that the Military might of the United States and other so-called "Super Powers" are little more than childish saturday morning cartoon hoaxes.
Zero G is Fake
NASA Vomit Comets Are Part of the Scripted Show
What we could simply be seeing is a combination of a rotating Hollywood studio set combined with some pretty sophisticated harness and wire work. There are many ways to achieve this illusion.
Apollo 13 Test Shoot - Playing Catch in Zero Gravity
Film and Photographic Compositing Is An Old Art
"Compositing is the combining of visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene. Live-action shooting for compositing is variously called "chroma key", "blue screen", "green screen" and other names. Today, most, though not all, compositing is achieved through digital image manipulation. Pre-digital compositing techniques, however, go back as far as the trick films of Georges Méliès in the late 19th century; and some are still in use."
Dancing On The Ceiling
Imagine this done with a flight harness.
Astaire Unwound (ceiling dance from Royal Wedding)
Movie Magic Is Over A Hundred Years Old
"Modelmaking for scenery has long been used in the film industry, but when a model is too small it often loses its illusion and becomes "obviously a model". Solving this by building a larger model introduces a dilemma: larger models are more difficult to build and often too fragile to move smoothly. The solution is to move the camera, rather than the model, and the advent of compact lightweight 35mm cameras has made machine-controlled motion control feasible. Motion-control also requires control over other photographic elements, such as frame rates, focus, and shutter speeds. By changing the frame rates and the depth of field, models can seem to be much larger than they actually are, and the speed of the camera motion can be increased or decreased accordingly.
Early attempts at motion control came about when John Whitney pioneered several motion techniques using old anti-aircraft analog computers (Kerrison Predictor) connected to servos to control the motion of lights and lit targets. His film Catalog (1961) and his brother James Whitney's film Lapis (1966) were both achieved with John's pioneering motion control system. The 1968 film 2001: A Space Odyssey pioneered motion control in two respects. The film's model photography was conducted with large mechanical rigs that enabled precise and repeatable camera and model motion. The film's finale was created with mechanically controlled slit-scan photography, which required precise camera motion control during the exposure of single frames. The first large-scale application of motion control was in Star Wars (1977), where a digitally controlled camera known as the Dykstraflex performed complex and repeatable motions around stationary spaceship models. This enabled a greater complexity in the spaceship-battle sequences, as separately filmed elements (spaceships, backgrounds, etc.) could be better coordinated with one another with greatly reduced error.
In the UK The Moving Picture Company had the first practical motion control rig. Designed and built in-house, it used the IMC operating system to control its various axis of movement. Peter Truckel operated it for several years before leaving to pursue a career as a successful commercials director.
The simultaneous increase in power and affordability of computer-generated imagery in the 21st century, and the ability for CGI specialists to duplicate even hand-held camera motion (see Match moving), initially made the use of motion control photography less common. However film producers and directors have come to realise the cost-saving benefit of using motion control to achieve the effects in a reliable and realistic way. CGI still struggles to be 100% photorealistic, and the time and cost to achieve photo-realistic shots far exceeds the cost of shooting the live action itself.
With the resurgence of 3D as a medium motion control has also an important role to play, especially in the production of 3D background plates on scaled-sets. Using high resolution still cameras, backgrounds can be easily shot for further use with live action and CGI character animation."
Stage Magic Is Not Real But It Is An Art Form
David Copperfield Flying Levitation
Just Beautiful Patented Stage Magic Illusion
(Just one example of how this can be done.)
"During the trick, Copperfield flies acrobatically on the stage, performs a backflip in midair, and then has spinning hoops passed around him, supposedly to prove that he is not suspended by wires. He then floats down into an acrylic glass box which has previously been examined by two audience members, and continues to float inside after the box is covered. An assistant walks over the top of the box, and Copperfield walks upside down moving his feet under the assistant's feet. He then selects a female volunteer from his audience and flies with her in a fashion similar to Superman carrying Lois Lane. The illusion sometimes ends with a falcon named Icarus grasping Copperfield by the wrist and flying off stage with him.
A blue backcloth is used in the background, and the television version uses fake clouds hanging from the ceiling, taking advantage of a larger stage than is used in theatrical appearances. The performance is accompanied by an orchestration called "East of Eden Suite" by film composer Lee Holdridge, originally written as the theme music for a 1981 miniseries based on the novel East of Eden."
US Patent #5,354,238
"John Gaughan described how the trick works in US Patent #5,354,238. According to the patent, the performer is supported by two fan-shaped arrays of fine wires that remain invisible to the viewing audience. The wires are about 1⁄4 mm thick, and support about 10 kg each; the arrays contain more than enough wires to support the performer's weight. The wire arrays are mounted at the hips, near the human center of mass, to a harness worn under the clothing. This creates a balance point facilitating a wide range of movements while suspended. The wires are attached to a complex computer-controlled rig above the stage that maintains the tension in each wire, and keeps each array of wires perpendicular to the audience's line of sight so that the wires never overlap one another, which might allow the audience to see them.
During the later phases of the performance, two hoops are used simultaneously, which aids the deception as the hoops do not come into contact with the wires. Instead, each ring is brought flush to the wires before being twisted under Copperfield. In the glass box demonstration, the top of the box is threaded between the two sets of wires in a vertical position, before being rotated 90 degrees and lowered into place. The wires remain in place while the performer is in the glass box, passing through crevices between the lid and the sides. Since the box limits movement and he is only able to rotate on one axis, he stays side-on to the front of the audience while in the box. When flying with a volunteer, he holds her in front of him, and she does not come into contact with the set-up."
2001 : A Space Odyssey Pen Floating Effect | Film Tutorial source: BryceMakesFilms
Computers have been used in Hollywood for a long time and before that darkroom photographic fakery could accomplish many of the same effects routinely done with the computer today.
Making of Gravity
Reduced Gravity Aircraft Would Seem To Be A Hoax
The passenger jet would have to point straight down in order for there to be any kind of so-called Zero G effect. Parabolic arcs can't negate gravity. It makes no sense. Everything would have to be falling at once. The passenger jet would have to either be falling or be magically able to match the accelerated effect of gravity while the pilot retains control. Parabolic flights would seem to be nothing but flights of fancy. Layers of deception and lies that protect the truth that Hollywood is the propaganda arm of the U.S. Government and has always been. We are supposed to equate this effect with what happens when we drive a car over a hill, yet the two experiences are not the same. We do not experience weightlessness when the car moves over a hill and the brief moment of the change in direction is just that. It is not some lasting effect that magically allows us to float around as if we were carefully composited photographic cartoons.
F For Fake
F For Fake Ending