Progress Indicator. The rooftop chase across favelas was filmed in Puerto Rico, where the production could have more control over the area.
The main and second filming units began filming in and around the capital, San Juan. The island's mixture of tropical greenery and wide streets allowed the production to re-create the densely populated favelas of Rio while completing the larger action and external scenes without incident. Production designer Peter Wenham had the task of transforming Puerto Rico and Atlanta into the previously scouted Rio locations in four weeks, as the production deemed Rio unsuitable for filming many of the larger scenes.
Wenham had to reinforce buildings to support the heavy camera equipment, and to alter the colors of more than 30 buildings in the city to make them suitable for filming. His team needed to alter the buildings and strew debris to make the area look disheveled and appear as a Rio favela. Wenham remarked that, though the development was difficult, in part due to the heat, it was "a walk in the park" compared with filming in the Rio favelas themselves.
He only chose to add a multitude of colors in the favela set. Navy base pier 60 miles outside San Juan stood in for the bridge for scenes involving the vault smashing cars. A foot pursuit in which Diesel, Brewster and Walker are chased across favela rooftops by Johnson and his team was filmed over the course of a week in the small hillside town of Naranjito, Puerto Rico. The scene was considered difficult to shoot, as pathways were slippery from moist tropical heat and the scene involved actors and stunt doubles running while avoiding dogs, chickens and other stray animals loose in the area.
To capture the scene, a foot cable-camera rig was used to allow for a fast moving, birds-eye view of the action, and cameras on cranes were set up on rooftops and in alleyways. Filming moved to Atlanta, Georgia for the final phase. It was required to allow enough space for stunt drivers to drive into the building, and it had to include an integrated lighting system. The design team removed walls, hauled out old railway cars, suspended rusted car parts and auto-plant car rails, and constructed smaller buildings within the main building to transform the site.
With twenty-five pages of script to shoot in a limited time, cinematographer Stephen Windon and his team spent three weeks setting up a series of high-powered, motorized lights in the rafters of the building, that could be controlled remotely to allow lighting to be altered quickly while fully illuminating the set. A brawl scene between Johnson's and Diesel's characters was considered difficult to choreograph.
The characters were written to be equally formidable, so the fight was punctuated with moments of character development, as Moritz felt this made the fight more exciting. The scene required several weeks of rehearsal and more than a week of filming by the actors and their stunt doubles, who incurred several minor injuries. The climactic vault heist required four weeks of preparation with every scene and camera angle determined in advance. Filmed on the streets of Hato Rey,  the chaotic scene demanded specific timing that had to be synchronized with the various character interactions also occurring during the scene.
Razatos chose to use a series of camera cars including a crane-mounted camera atop a Porsche Cayenne , which allowed him to film from a variety of angles and heights while the vehicles were in motion, and a Subaru Impreza with a steel cage built around it that allowed for tracking shots. Padelford also developed a top-mount dual-drive system for the Chargers that allowed a stunt driver to control the vehicle from the roof, while the actor focused on their performance inside the car.
Six versions of the 8-foot high vault were built, each with specific uses. Another vault was a reinforced, four-wheel self-drive vehicle that was connected to foot 9. This stunt was abandoned when it was determined that even the powerful Chargers would not be able to support the vault's weight.
The train heist presented several challenges. The filmmakers were required to effectively purchase a length of working railroad for filming and the trains necessary to ride the tracks.
Then trucks had to be built that could race the train and meet the needs of the heist itself. Lin also required that the cars being carried on the train be able to jump out of the train at full speed. The scene took precise execution. That goal is accomplished with this beat-heavy music and the gruff, aggressive Latin rapping. The first trailer for Fast Five was released on Diesel's Facebook page on December 14, , in what was believed to be the first ever use of this marketing approach.
Following this debut, other members of the cast with personal social media platforms released the teaser trailer to their own fans. Car Town allowed players to view the trailer for the film in an REG-branded , in-game drive-in theater and race around a virtual Rio de Janeiro. Agilizza Meetup: Tackling Startup challenges. Desarrollado por mvnForum. JustWatch GmbH.
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