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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Frontload Editing To Kickstart VFX & Sound
- Early editing accelerates VFX and sound work by giving teams usable sequences long before final photography ends.
- Stephen Mirrione organized provisional edits from race footage to let VFX and sound begin a year-and-a-half pipeline.
Use Low-Res Broadcast Proxies First
- Catalog low-res broadcast feeds with clear labels so editors can find exact track, turn, and car moments quickly.
- Then replace chosen clips with high-res plates before delivering to VFX for reskinning.
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.