The Next Best Picture Podcast Interviews With "F1" Editor, Visual Effects Supervisor & The Sound Team
Jan 16, 2026
In this enlightening discussion, Stephen Mirrione, a renowned film editor known for his collaboration with Joseph Kosinski, dives into the challenges of editing F1's dynamic race footage. He reveals how he balanced pace and clarity while managing an overwhelming volume of 5,000 hours of content. Sound wizards Al Nelson and Gary Rizzo share secrets on creating an immersive audio environment, tackling everything from live crowd sounds to mixing Hans Zimmer's score. VFX supervisor Ryan Tudhope discusses integrating over 2,500 VFX shots with practical stunts for a seamless viewing experience.
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Real Footage Lets Shots Breathe
- Having genuine high-speed footage lets the editor let shots breathe instead of relying on flash-cut tricks.
- Mirrione used real material to avoid cheating the audience with artificial rapid edits.
Integrate Music Early Into Post
- Bring composers and source-music artists into screenings early so editors and mixers can iterate with actual music.
- Schedule music editors to split stems and deliver ahead of the final mix to build confidence going into dub.
First Access To Modern F1 Sound
- Formula One sounds were previously inaccessible under Bernie Ecclestone, making this the first modern F1 film to capture live track audio.
- The crew recorded garages, pits, and cars while protecting mics with Kevlar and other tricks, sometimes destroying microphones.