Aircraft Used In Top Gun - Advanced flight simulator. YouTuber Forest Rat took the DCS World simulator and footage from the classic 1986 film and recreated the flight scenes by placing them side by side. The results are quite impressive:
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Aircraft Used In Top Gun
, in fact, is the story of a brave young US Navy sailor named Pete "Maverick" Mitchell, portrayed by Tom Cruise. A man named Maverick breaks the law as easily as a sound barrier, eventually earning the respect of his fellow pilots after an unexpected battle with a mysterious enemy. (We can't wait for next year's series.)
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The footage was shot with the support of the US Navy, and except for the exploding aircraft, all footage is of real aircraft. The F-14 Tomcat is the star of the show, alongside the US Navy's F-5 attack squadron, painted black with a red star on its tail, and MiG-28s. (Real MiG fighters, such as the MiG-27 and MiG-29, are assigned numbers, not numbers.)
Recently, DCS World came out with the flying F-14A/B Tomcat, the same aircraft that appears in the film. The MiG-28 flew the Tomcat for three years.
, and that's exactly what the forest does here, in a remarkable way. It helps that DCS World also has US Navy aircraft. (A little note: the carrier in the movie is a one-off, recently decommissioned USS.
The model airplanes in DCS World look better than the YouTube videos, but still work well. That said, it holds up well to actual used aircraft
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It came like a veil out of the blue, a gift from heaven. In 1986, audiences flocked to the theater to see Tony Scott's
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, with new face Tom Cruise as Pete "Maverick" Mitchell, a top Navy aviator destined for stardom. They kept coming for seven months. When the dust settled, the film had grossed over $176 million. Unlike its sponsor, which placed second at the famous aviation academy, the film ended 1986 with the highest gross of the year.
A recruiting station was set up outside the theater that kept aspiring flyboys pumped up with adrenaline and vibes. Others have registered. Interest in the military, particularly the navy and air force, increased that year, although it is not clear by how much. The Navy's endowment is said to have increased by 500 percent.
Portrays the life of a famous pilot as a real video game and the boys who compete to top the charts in education. (The rankings are a fictional story created for the film, though the school is real.) In a sort of coda to the story, the pilots actually engage in combat—but we don't know. the enemy is, receiving information such as the message and often distract them and they are afraid to receive a lot of praise. In 1986, the US was not involved in an actual war. Vietnam is becoming more and more memorable for young people. Who doesn't want to be a hero?
It was more than a gangbusters for Paramount; It's a coup for the Pentagon. In exchange for giving up the recording and the sexy and exciting ideas about the life of a pilot to be given to the public, the military gave a lot of help to the production, from the location to the equipment and personnel. Producer Jerry Bruckheimer had this to say
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The American film industry and the US military have had a long, well-documented, and generally beneficial relationship since before World War II. In fact, films have been made about war and its effects without the help of the military. But the military saw many opportunities in the movies: to raise public morale, to change the popular image of war and soldiers, and to encourage young men to enlist. In a film industry that is often more concerned with profit and technology than with ideas — that is, one that is primarily conservative and organized — this collaboration is often the best game.
But the nature of the partnership has changed over time, changing with US military operations around the world and Hollywood's ambitions. Movies like
Entering a very different world than its predecessor, coming from a company that aims to take advantage of not only America, but the entire world. It's not just entertainment. It is the culmination of a long and complicated history.
What happens when large groups of people immerse themselves in the same details over time? They begin to guide him by what he wants to say, to see what he is telling them as, of course, the truth. In the case of movies – for several decades
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The kind of entertainment in America - that means there is truth about cinema about the hero of the army, the cause of the fight, the justification of the cause. That made Hollywood more attractive and powerful to the US military - and vice versa.
What happens when large groups of people immerse themselves in the same details over time? They begin to see what he is telling them as actually being the truth.
, a World War I civil war film directed by pilot William Wellman and with extensive support from the War Department (the Pentagon of its era). Wellman dedicated the film to "the young heroes of the sky whose wings surround forever." It's a big crop.
As a result, standards were set, with actors concerned about accuracy—hoping to use some of the tools—asking for the military's help.
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The relationship became more difficult when World War II began. The War Department wanted to sell the war to the public, boost morale and make a case for the Allies. They understand that Hollywood is what can be used. Mark Harris, film critic and journalist, wrote the book
About the contributions of five legendary figures - Frank Capra, John Ford, John Huston, George Stevens and William Wyler - to the government-ordered World War II propaganda effort. The work came from those intended for the military (such as Capra's
Process, which is later presented to the public) and newspapers made for the public with the aim of influencing public opinion. It is effective.
And the government is the driving force behind these movies - which is called the media for short, before the word starts with a bland idea - to our ears, it's beautiful. But as Harris explains, things were a little more complicated back then. The military saw an opportunity to prepare "moral films" or "educational films" that would help the American people understand what we were fighting for and against. of Capra
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"Let's emphasize again and again that these three institutions, Germany, Japan and Italy, are interested in dictators and that those guys are trying to create a world of slavery and what we are fighting against is the free world," he explained. Harris, so this is the ideological goal, which Hollywood and the military department combined.
Although the War Department rarely articulates the exact message the filmmakers want to convey—they are not "doers," as Harris puts it. That means military support right now is mostly a handover, with little input into the bottom line. "All they could do was tell John Ford, 'We're going to send you to Midway and we want you to film this war,'" Harris said. But they didn't say, “This is exactly what we want you to do. That's the message we want you to get across."
- shot in 1946 and showing soldiers in hospitals living in the chaos of war - was banned by the army, which feared it would have a depressing effect on post-war recruitment.
The faces of the men in John Huston's 1946 novel Let There Be Light were suppressed by the US Army until 1980. US Army Pictorial Services
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However, during the decades of military occupation, the ideological consensus between much of Hollywood and the military ceased. So you see the pivot, Harris said. "After Vietnam, the Pentagon won't say
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