Sony’s Custom Cameras Drive Hyper-Realistic Action in F1 Film

The recent Formula 1 film produced by Apple TV and Warner Bros features breathtaking in-car scenes that immerse viewers in the high-speed world of racing. These striking visuals, particularly the close-ups of actors Brad Pitt and Damson Idris gripping the steering wheels, were made possible through innovative camera technology developed by Sony.

Filmmakers faced significant challenges while shooting these scenes, as traditional cinema cameras could not withstand the extreme conditions inside a Formula 1 car. The high speeds, which often exceed 200 mph, combined with intense G-forces and relentless vibrations, required a new approach to capture the action effectively. Cinematographer Claudio Miranda turned to Sony for a solution that would allow them to film in real-time during actual Grand Prix races.

Innovative Camera Solutions for Extreme Conditions

This collaboration between Miranda and director Joseph Kosinski is not their first. The duo previously worked together on Top Gun: Maverick, where they encountered similar filming hurdles. For that project, Sony developed a prototype camera known as the Venice Extension System, which allowed multiple Sony Venice cameras to fit into the cockpits of F/A-18 Super Hornets.

When approached again for the F1 film, Sony’s head of cinema cameras, Nobutatsu Takahashi, and his team set to work on an even more compact solution. They engineered a camera that was essentially just the sensor, allowing it to fit within the tight confines of modified F2 chassis used by Pitt and Idris. Takahashi noted that this process began in January, with the team presenting two prototypes to Miranda; one shorter and one thinner. Ultimately, the shorter design was chosen to fit under the car’s halo structure, leading to the creation of the Rialto Mini.

The project demanded not only a smaller design but also robust engineering to ensure the camera could endure extreme speeds and vibrations. Takahashi stated, “After using them on the F1 movie, they came back with damage from dust and sand, but they still worked perfectly.” This durability was essential for capturing the intense emotions of the drivers while ensuring their safety.

Remote Control and Versatility

One remarkable feature of the new camera setup is its ability to be controlled remotely. With an iPad, operators could manage multiple cameras simultaneously, with setups involving as many as 20 cameras at once. This flexibility allowed the filmmakers to capture a wide range of angles and perspectives during the fast-paced action of the races.

Sony also introduced a new neutral density (ND) system with interchangeable filters tailored for various cinematic visuals. The combination of high-quality image capture and remote operation has made the Rialto Mini a valuable asset for cinematographers. Despite not yet being commercially available, it has already been utilized by numerous Oscar-nominated professionals in various film projects, including works by Steven Spielberg and Larry Sher, who was involved in the film Joker.

The demand for such bespoke camera technology highlights a growing trend in the film industry, where unique visual requirements often necessitate custom solutions. Takahashi remarked on the rarity of requests like those for the F1 film, given their specific hardware, electrical, and software needs.

The collaboration between Sony and filmmakers showcases how innovation can enhance storytelling in cinema, particularly in genres that demand high-performance visual effects. As Takahashi put it, “Working together with creators, filmmakers and cinematographers will make everything happen.” The innovative techniques employed in this F1 film not only push the boundaries of technology but also enrich the viewer’s experience, making the action feel more real and immediate.