Joseph Kosinski provides a guide to the voice behind his latest feature “F1”: It hopes to be as immersive as potentially, and he hopes the audience can really feel that they are already inside the car.
Furthermore, no movie actually recorded the real sound of Method 1. Re-recording mixer Juan Peralta explains: “Method 1 is so shackled in power, so in automatic power, in dramatic atmosphere, especially the F1 automated script, we have a little different race, and it's a different race. We've been playing all the time.
Apple's real movie star Brad Pitt plays former method 1 race car driver Sonny Hayes, a retired driver. Javier Bardem performs Ruben, the owner of a weak racing crew who convinces Sonny to return to the race and date rookie driver Joshua Pearce (Damson Idris). The film takes the ball through the way 1 season and by bringing Sunny into the group, Reuben hopes that the staff will be on the podium.
To grab the sound of the car, Supervising Sound Editor Al Nelson said that making sound mixer Gareth John strategically plugged the MICS into the car the Mation 2 Pitt and Idris have been driving. Nelson said that despite buying some nice sounds, the staff knew that the sounds would eventually have to be changed with the correct F1 material. “It’s a great introduction to determine how people mic because they’re so loud.”
Manufacturing used Mercedes AMG (Method 1) employees and their engineers to build actual race cars that might have the movie’s Digicam Gear (record and transmitter). Pitt and Damson have been driving actual cars on the Practical Method 1 track. “Garres is leveraging a very special DPA microphone, just like they use in the exact F1 race. From there, we can get the microphone on the car, go through the monitor, and get all the different turns to give it real potential.”
John worked with the mechanic to reveal the zipper ties of the microphone bag. “They put them close to the exhaust, just like the dangers you're craving with your gear. We've been trying out air ducts and just the best locations, which is the best place we might actually capture some full-fat sound and immerse the audience on the planet.”
In addition to capturing the sound of cars and turns, the atmosphere, environment and crowds are just essential.
The film ends in Abu Dhabi on the entire Method 1 World Tour from Silverstone to Las Vegas. Each monitor wants to have its personal role and personality.
When the driver reached Las Vegas, supervising voice editor Gwen Whittle observed that the crowds there were largely non-English audiences, especially in the main stands. “Every different language is Spanish, Italian or French. You hear all the sounds. I think it's a little new to the United States, so it's just a follower who participates in all these competitions.”
In terms of differences, Whittle observed that the employees in the pit lane were not discussed. “You would think they're all talking because they're walking so quickly. But these pits are ninjas. They don't say anything. They've done their own factor in two seconds and then it's started.”
The staff also spent a lot of time at the residence of the British Grand Prix in Northamptonshire, England. The storage space for Apex racing crews was built there, and many monitor work was recorded there as well. “We're mostly stationed there with a lot of monitors working. Since then, we've recorded two Grand Prix there in 2023 and 2024. We've been there for a long time. We have microphones throughout the monitor.”
Kosinski may only shoot earlier than the exact match, meaning manufacturing rolls between application and eligible races. When Pitt and Idris bought behind the wheel, the 30th round camera was already able to roll and grab high-speed motion.
John recalls that in a sequence, crimson Bull racer Max Verstappen crashed into McLaren driver Oscar Piastri. “Actually, all the real chaos happens in our actual time. Most of the problems that happen in this movie actually happen, so they are stolen from precise F1 occasions. When you see Sergio Pérez getting rid of Mexico in Mexico, while the exact video is, it's the classification of F1.
Besides capturing the sound of cars and atmosphere, Hans Zimmer’s inspiring rating hopes to work hard. Re-recorded blender Gary Rizzo said they need to browse in Zimmer's association. “We are always looking for the best components and are the best components of the association’s orchestration, as well as the best components of the association to enhance and focus on the speed of the car while maintaining adrenaline and emotional momentum.”
That was real-life F1 commentators Martin Brundle and David Croft. Whittle said it took a lot of time to pin everything on ADR. “One of the many bigger challenges in the modification is that you're giving a lot of information to people who don't know something? After that, you've got the reasons for the individuals watching F1. So, the reason for starting from the start time. So, it's a practical stability, that you clarified a lot through the way these people. They might simply watch the game because they're down, because it's down, and they're well-known.
The most difficult sequence to bind is silver ketone, because there is no music in this sequence. There is music in Hungary, and the sound of Las Vegas shifts to Sonny's idea. Abu Dhabi has music and cars and is promoted. “Silver Stone has no music; it is trying to maintain that power with reasonable results,” Peralta said.
