One of the key tasks involved in this process was adapting the film equipment to ensure that it would work on an F1 car, something that saw Kosinski build on his experience from working on the hit Top Gun: Maverick film.
“The big challenge was just the camera system itself,” Kosinski explained. “I mean, we had to develop a brand new camera system, taking everything we learned on Top Gun: Maverick and pushing it much further.
“You can’t put 60 pounds of gear onto a race car and expect it’s going to perform the same way. So we took those Top Gun cameras and we worked closely with Sony, sizing them down to something about a quarter of the size.
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“And then on top of that, something I really wanted to do on this film was actually be able to operate and move the cameras while we were shooting, which was something we weren’t able to do on Top Gun, so we have motorised mounts on the car as well.
“You have transmitters that are transmitting the picture back. We’ve got transmitters controlling the movement of the camera. I’m sitting at the base station with Claudio [Miranda], our cinematographer, looking at 16 screens.
“I’ve got camera operators on the controls for the cameras and calling out camera moves like a live television show while they’re shooting.
“So much research and technology and development went into just being able to roll a frame of footage, in addition to the training for the actors and the logistics of shooting at a real race, so it was a lot of prep to be able to pull this off.”
