And we've got one shot.

There was one type.

Welcome to Top Gear's Pro driver Auditions is like a Google 360 projects.

So what we've got is we've got our stage here.

This is what our pro drive is gonna be jumping over and we've got these fixed rig these fixed virtuality 360 rigs, which we are effectively creating a single shot take.

So because we've got a first person perspective of you being a driver, we're putting a camera inside our camper van.

So we're gonna fix it to this rig inside here.

We've traded the remote control rig that will steer, accelerate and brake.

It will be controlled by a driver who's gonna be in a chase car.

We're gonna rig a 360 camera to the front on the front end on, and they're going to start the same time and work down the runway, and then the Senate will peel off for the jump.

We're gonna be overkill in the center from being honest.

It doesn't need to be that mental, but we thought, Hey, give it, Let's get it down here.

Why?

No, the tricky thing for us is.

It's completely unrehearsed.

And we've got one shot.

There was one take, so it is a little bit nerve wracking to say these.

So we are rehearsing it, blocking it, running it through, basically making a bulletproof shoot.

So we know.

We guarantee that when it does go off, it is going to go straight to there.

Hopefully anyone failed.

Surprised all the models.

Who is gonna land you in here?

Unbelievable.

Well, there you have it.

Day one jump is done.

I can't believe it went that far.

Nobody predicted that it was deemed totally impossible driving down that runway and seeing it's skewed left and right.

I mean, it could have been so I'm proper happy.

The goal of this scene is to have a petrol tanker drive down the runway, hit the ramp and land somewhere in here.

But he's gonna fly through some giant pyro that's being caused by the stick.

He doesn't know how to fill up a car.

Right?

So he splashed petrol everywhere.

As the vehicle slides into the petrol station, we're gonna set off everything.

Everything.

It's gonna look like something out of transformers.

When everything blows up.

We've got kerosene We've got petrol.

We've got solid fuels were even using bags of flour.

They're gonna be wrapped around some explosive charges because it seems that vaporizes is gonna go bang and create lots of places.

The weather's really been playing games with us today on the seven elements that are, whether dependent, not only just the stunt itself, the cameras that are in the air, the drone that's flying around, but also things that this is a very busy scene for pyrotechnics on.

Obviously, we're looking at the wind direction where the wind blowing and the effect that that's gonna have on all our cameras.

And while people way have a a 30 minute window to D bag of the camera rain trigger, the explosives set the car at the end.

It's like an impossible situation.

There we go.

We're done it.

Son came out.

It went a little bit for but we'll live with that.

Not bad.

Not bad.

What a day I worked alongside the director.

We sit down, we look at the script, we work out the story and then we draw it out on paper, literally diagram of where everything is gonna be.

And then we bring in the stunt coordinator.

We bring in the pyrotechnic people.

We bring in our driving crew.

We just make sure everybody's on the same page and understanding of what what we want on also what's achievable.

We've got a large car park with about 20 cars in on the plan is for our stunt driver to leap off the ramp, no dive in and get the last car space in that car park.

Problem we've got is we can't actually predict where the car's gonna land, because we can't guarantee the speed of which is gonna hit the ramp.

It's a remote control car, so it's a total guesswork.

So we've arranged a sweet spot for a landing.

Where I'm standing right here is where we projected the Carter to land right here.

53 meters.

It's 65 miles an hour.

In that mix, though, is a granny, and Granny is gonna try and beat our stunt driver to that last space.

360 is tricky.

We're used to looking in one direction, looking through your eyes and what you see there.

But 360 obviously, is what it says we see everywhere.

So in an environment like this, it's really complicated cause we got a very big sets up, very wide set up, lots of elements, lots of crew, lots of cameras.

And it's being certain that we're we're seeing what you want to see, but at the same time not giving too much away.

Well, wow.

Whoa!

What?

It's more than twice the distance of any model that we had a big jump, wasn't it?

You'll be all right in there.

Dear Waken, solve it.