Sony's unique filmmaking techniques unveiled for creating hyper-realistic in-car movie scenes using custom cameras
In the world of high-octane action films, the latest addition to the racing genre, F1, has pushed the boundaries of cinematic innovation. Behind the scenes, a unique collaboration between Hollywood's top cinematographers and Sony has resulted in a groundbreaking camera system that captures the heart-pounding thrills of Formula One like never before.
Claudio Miranda, the cinematographer for F1, called on Sony for a high-performance cinematic camera. The result was a custom-built camera system, small enough to fit inside the racing car cabins of Brad Pitt and Damson Idris, yet robust enough to withstand extreme speed and vibrations.
The cameras used for F1 had a remote control feature that could be operated using an iPad, allowing for seamless, unobtrusive filming. In one setup, four cameras were in one car, and eight cameras were being controlled remotely. At one point, a staggering 20 cameras were used simultaneously in the movie.
Sony had previously engineered a custom prototype for another high-flying film, Top Gun: Maverick, known as the Venice Extension System, or the Rialto. However, for F1, a new, smaller version was created, called the Venice Extension System Mini. This miniature marvel was small enough to fit inside the modified F2 chassis for the film.
The cameras used in F1 have a picture quality similar to that of the FX6 and FX3, but also have a remote feature derived from the FR7. A new ND (neutral density) system with interchangeable energy filters was developed for these cameras, ensuring optimal performance in various lighting conditions.
The Rialto Mini, a custom prototype camera, has been used in over 30 films and TV shows at the time of writing, including by Oscar-nominated and Oscar-winning cinematographers. It has even made an appearance in a Steven Spielberg movie.
Hollywood is increasingly using bespoke rigs and purpose-built camera gear for unique, immersive visuals. Director Danny Boyle, for instance, used an iPhone for parts of 28 Years Later to create a "poor man's bullet-time effect". Miranda and director Joseph Kosinski, who had previously worked together on Top Gun: Maverick, continued this trend with F1, demonstrating the limitless potential of innovative filmmaking.
Despite the harsh conditions and the constant risk of damage from dust and sand, the cameras used for F1 returned with battle scars but still worked perfectly. This testament to their durability underscores their suitability for high-speed, high-action filmmaking.
As we strap ourselves into our seats for the adrenaline-fueled ride that is F1, we can't help but marvel at the technology that brings the race to life on the silver screen. The cameras used in the film have not only captured the raw power and intensity of Formula One but have also given us a glimpse into the future of cinematography.
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