PRODUCTION F1
C lear Angle Studios was tasked with capturing 3D scans of several F1 circuits featured in the film. It used a combination of ground-based LiDAR scanning and aerial photogrammetry to ensure every track was scanned with precision. “Each morning, we’d lay out physical markers around the circuit, which allowed us to align the data from both the LiDAR and drone scans,” explains drone pilot Marco Lee. “By blending these datasets, we produced a cohesive 3D model for each track. These scans were then delivered to the VFX teams in order to accurately replicate the real-world tracks in a digital environment.” Yas Marina Circuit stood out as the most challenging environment to capture, especially as the scan was there was a panning angle that we were attracted to. So, we wanted to attempt a more modern take on that as well.” Miranda knew the cameras had to be small for this project and worked with Sony to devise one-off cameras specifically for the film. “They were prototypes of what we called Carmens – these little sensors on a stick,” he adds. “The whole camera system had to fit inside an elongated F2 body that Mercedes made for us. That was a lot of work, and we also had Panavision building these panel mounts. So, there was Sony developing new gear, and then Greg ‘Noodles’ Johnson with RF Films, who made all the telemetry on the track work as well.” POLE POSITION Miranda faced similar logistical challenges while figuring out how to capture cockpit shots in T op Gun: Maverick . “For Top Gun , we had six cameras in the cockpit: four on the actor and then two that were kind of overs to the pilot wearing the same helmet. That was also our pathology when it came to F1 that we didn’t really change. We were
GOTTA GO FAST Filming at real F1 events meant the team had to adapt to several variables
able to do a good variety of moves. They had to be approved by Mercedes and also Graham Kelly, our car fabricator. He was in charge of building all the cars that Mercedes gave them, all the parts too and safety heading. Everything was planned three months ahead. I had CAD models from Mercedes, and all the mounts were stuck in certain places.” Due to Miranda’s background as a gaffer, he finds it hard to let go when it comes to lighting. “I’m very much in charge of lighting,” he admits. “However, I do love input from gaffers. There was a gaffer I really loved – he was one of
my best collaborators; his name was Erik Messerschmidt. He then got an offer to start shooting for Venture and I told him that he had to go and do it. I’m very much a technical gaffer and always involved with 3D, the design of shots and camera design. I like my own way of exploring sets. It’s for myself, but also if you have to sell producers on a certain shot, it just helps me show them what I want to do and it all makes sense. Everyone’s on board.” Lighting choices were often out of production’s control due to filming across numerous actual live races. “As
SCANNING IN THE FAST LANE From ground-based LiDAR to high-flying drones, Clear Angle Studios captured every curve and corner of F1’s iconic tracks for the film’s VFX teams
conducted during the Grand Prix. “Due to event restrictions, we weren’t allowed to use the drones, so we needed to wait until the race was over and then work through the night with ground-based LiDAR scanners,” says Lee. “When we returned months later to complete the aerial photogrammetry, we faced strict flight height restrictions, which meant we had to carefully navigate around large lighting towers to get the coverage needed. It was a real test of skill for the team, but we stayed agile to produce a high-quality scan of an iconic track.” As someone who’s into cars and a F1 fan, being part of the project was an incredible experience for Lee. “Getting to step onto the actual tracks was surreal,” he shares. “Being there during the
FINISH LINE Clear Angle Studios used ground LiDAR to capture 3D scans of F1 circuits
Grand Prix added another level, seeing the teams, their cars and the entire atmosphere up close was something I’ll never forget. The APXGP car looked incredible, and the shots they were capturing were on another level. The crew was great to work with, professional, welcoming and clearly passionate. It made the whole experience not just technically rewarding, but genuinely fun to be part of.”
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