Latest news with #ClaudioMiranda
Yahoo
03-07-2025
- Automotive
- Yahoo
On and Off the Track, ‘F1' Cinematographer Claudio Miranda Kept the Camera on the Limit
Joseph Kosinski's racing drama 'F1: The Movie' has been justly celebrated for its high-octane racing sequences, which incorporate cutting-edge filmmaking technology to convey a visceral sense of what it's like to drive a Formula One car. However, those set pieces would not work if the entire film were a constant blur of speeding cars. The film's quieter moments — focusing on actors Brad Pitt, Damson Idris, Kerry Condon, and Javier Bardem — also needed to have the same level of tension, beauty, and artistry, even when a starting grid was nowhere in sight. For this, Kosinski turned to his longtime collaborator Claudio Miranda, the cinematographer who has shot all of the director's films going back to 'Tron: Legacy' in 2010. When it came to those character beats, the filmmakers were guided by the same principles as the racing scenes: Make them as grounded as possible. 'There weren't many sets on this movie,' Miranda told IndieWire. 'The locations were our sets.' More from IndieWire You Can Now Buy Tickets for Angel Studios' Founding Father Biopic 'Young Washington' Before It's Even Shot Brad Pitt Says His Generation of Actors Were 'More Uptight': 'You Didn't Sell Out' with Franchises And so, in a big way, were the cars. Although Miranda admired John Frankenheimer's 1966 film 'Grand Prix,' he felt that many of the other racing films he looked at were lacking when it came to capturing the actual speed and intensity of the sport. ' One of the things we really wanted to improve on was speed,' Miranda said. 'A lot of movies use process cars or biscuit rigs, and those things only go maybe 60 miles an hour. And knowing that these cars go 200 miles an hour, that's just way too slow.' Miranda and Kosinski resisted suggestions to shoot scenes with a car on a platform. 'That's not our movie,' Miranda said. 'We watched movies that were done in that style, and they do tricks like speeding it up or putting the vehicle on a gimbal or in the volume… but that seems a little bit sad. I think the audience can recognize that stuff, and they just feel when it's AI or the volume, and it's not real. The excitement level probably drops because of it.' With that in mind, Miranda collaborated with Sony, Formula One, Mercedes, and other companies to create a system for filming the actors as they drove their cars at 200 miles per hour – no easy task given that even the slightest amount of extra weight slowed down the vehicles. 'The smallest cameras that existed at the time were just way too big,' Miranda said, noting that this created a challenge he didn't have to face on 'Top Gun: Maverick,' where the planes he was mounting cameras on could handle hundreds of extra pounds — and didn't require the same kind of visibility for the pilot. 'This wasn't like 'Top Gun,' where I could block up the whole front view and it doesn't really matter,' Miranda said. 'These drivers really needed to see where they were going; that was critical.' Ultimately, Sony designed cameras that Miranda described as 'sensors on a stick,' which could capture high-quality footage and relay it across the track to recorders via state-of-the-art radio frequency tech. Miranda was able to capture up to a dozen unique angles at a time on each car, and could pan and tilt rather than being constricted to a fixed camera position. All of this led to the most kinetic and realistic racing movie ever made, but the methodology didn't stop on the track. 'The thing I love about Joe is that he'll always try to shoot in a real place, a real environment,' Miranda said. That meant that not only did the racing sequences avoid process shots and green screen, but the more intimate moments did too — even when they theoretically could have been shot on a stage with much less expense and effort. At one point, Pitt's character opens up about his regrets and failures to Condon on a hotel balcony in Las Vegas in what is the movie's most emotional scene; it also, thanks to Miranda and Kosinski's approach, is the most visually beautiful. 'We did that with just one camera — multiple set-ups, but one camera,' Miranda said. He noted that a dialogue scene like the balcony exchange could easily have been done on a set and would have looked convincing, but again, being on location in Vegas created an emotional effect that might otherwise have been elusive. 'The city lights come from underneath, and it feels like they're really lighting that scene. Sometimes, signs will blink and it lifts the whole scene up, but you probably wouldn't make that choice on a stage where you're trying to make things more consistent. And the fountains in the background give it a great view.' The balcony scene is also emblematic of one of Miranda's greatest and most underrated strengths, his talent for showcasing movie stars. While it's not necessarily difficult to find a way of shooting Tom Cruise or Brad Pitt in ways that display their charisma, in 'Maverick' and 'F1' Miranda takes their star power to an extra level through his careful lens selection and lighting. Simple images of Pitt walking toward a long lens take on a mythic grandeur in Miranda's hands; it's the kind of pleasing classical style that used to be more common in the glory days of the Hollywood studio system but which has become more and more rare in recent years. The precision of Miranda's visuals is all the more impressive given how often he had to grab them on the fly, as the drama was staged in between breaks during real races where Kosinski and his crew were piggybacking on Formula One events to take advantage of their resources and scale. 'They don't give you grace,' Miranda said. 'If you're not done in 10 minutes, you have to get the car off the track. There were scenes we shot that we had one chance to get, and that was nerve-wracking.' The company's ability to execute difficult shots in tight windows was thanks largely to careful rehearsal and planning. 'We just had to have everything really buttoned up,' Miranda said. 'It was a collaboration between many people across different spectrums, not just my grips and the camera department and the art department, but Formula One and Mercedes and more — half the people helping us weren't even in the film industry.' The camaraderie between Formula One and the 'F1' crew led to some of the movie's most extraordinary shots, images that Miranda said would have been unachievable otherwise and which spoke to the special nature of the cross-industry collaboration. 'One day, there was a red flag moment and they said some of the teams would help us,' Miranda said. 'They all did. They all brought their cars out, and they were all out there for real — that's not a CG shot. I was almost crying, it was such an emotional moment.' Best of IndieWire The Best Lesbian Movies Ever Made, from 'D.E.B.S.' and 'Carol' to 'Bound' and 'Pariah' The Best Thrillers Streaming on Netflix in June, from 'Vertigo' and 'Rear Window' to 'Emily the Criminal' All 12 Wes Anderson Movies, Ranked, from 'Bottle Rocket' to 'The Phoenician Scheme'
Indian Express
25-06-2025
- Automotive
- Indian Express
This is how Apple created a custom iPhone camera to shoot F1 movie
If you have ever watched a Formula One race, you may have seen clips showing the angle from behind the cockpit, capturing the top or side of the driver's helmet. Traditionally, onboard cameras fitted in the car are used primarily for broadcast and record at lower resolutions using specific colour spaces and codecs. However, to film certain sequences for the long-anticipated F1 movie, Apple's engineering team replaced the broadcast module with a camera built using iPhone components. The idea to use a custom iPhone instead of regular broadcast cameras was to capture authentic, high-quality point-of-view footage from inside Formula One cars without disrupting the vehicles' performance. This aligned with the vision set by director Joseph Kosinski and cinematographer Claudio Miranda. They wanted footage that went beyond traditional broadcast quality, which is typically low-resolution and optimised for live TV. That's when Apple's engineering team stepped in and designed a custom module that looks identical to a standard F1 broadcast camera but is built using components from an iPhone. In a Wired report that detailed the custom iPhone camera used to film sequences in the F1 movie, Apple created a special module that looks virtually identical to a standard broadcast camera. However, inside, it's essentially an iPhone camera system, featuring an A-series chip, an iPhone battery, and a neutral density filter to control exposure. The camera module reportedly ran iOS—the same operating system that powers the iPhone—but had to be customized specifically for this use case. While Apple hasn't disclosed full specifications, the camera system appears to match the 48-megapixel setup found in the iPhone 15 Pro. But Apple went far beyond just swapping parts. The team ensured the custom iPhone camera met all requirements and adhered to strict conditions to match the car's specifications. In fact, Apple had to ensure the camera module could withstand extreme shock, vibrations, and heat. Footage was recorded using Apple's ProRes codec in a log format, capturing flat, low-contrast visuals ideal for extensive post-production color grading. The module lacked wireless connectivity, so Apple developed a custom iPad app to control the system via USB-C. This allowed the production team to adjust the frame rate, shutter angle, white balance, and exposure gain, as well as start and stop recording. YouTuber Bobby Tonelli has also shared a detailed look at the custom iPhone camera. Here's the video. Apple is going all-in on the F1 movie, starring Brad Pitt and directed by Joseph Kosinski, who previously helmed the box office smash Top Gun: Maverick. Apple has also developed a haptic trailer exclusively for iPhones, leveraging the smartphone's Taptic Engine to let viewers 'feel the action' in the palm of their hands. The movie is receiving a full theatrical release, including an IMAX rollout. Apple also featured the film prominently at its recent WWDC event and held a special screening for attendees at the Steve Jobs Theater. F1: The Movie marks Apple's first attempt at producing a big-budget summer blockbuster for theaters. Cupertino has been bullish on its Apple TV+ streaming service over the past few years, expanding its original catalogue and delivering several hit shows, including Severance, Slow Horses, and The Studio. F1: The Movie, an Apple Original, releases worldwide on June 27 including India.
Khaleej Times
17-06-2025
- Automotive
- Khaleej Times
How Apple made an iPhone-powered camera to film real F1 races for its new movie
Capturing the velocity and intensity of Formula One racing from the driver's point of view is no easy feat. But that's exactly the challenge Apple embraced in its upcoming F1 Apple Original film, directed by Top Gun: Maverick 's Joseph Kosinski and lensed by Oscar-winning cinematographer Claudio Miranda. The filmmakers weren't satisfied with traditional F1 broadcast angles—those familiar shots from just behind the cockpit, with the top of the driver's helmet occasionally bobbing into view. While functional for live TV, those cameras record in lower resolutions and limited colour formats, making the footage ill-suited for the immersive, cinematic vision Kosinski and Miranda had in mind. So Apple built something entirely new, according to Wired. Revealed at WWDC last week beside a real F1 car, Apple's solution is a custom camera module that externally mirrors the standard broadcast camera used in races—but internally, it's a Frankenstein of iPhone parts tailored for Hollywood. Designed to be indistinguishable in size, weight, and balance to avoid compromising the car's aerodynamics or regulations, this stealthy module contains an iPhone camera sensor, an A-series chip (likely the A17 Pro), a battery, and a neutral density (ND) filter to tame exposure in the blinding sun of a racetrack. The module also runs iOS with a custom firmware, allowing it to capture cinematic ProRes footage in log format—a flat, desaturated look ideal for post-production color grading. In fact, this behind-the-scenes work inspired two pro-grade features in the iPhone 15 Pro: log video recording and support for the industry-standard ACES (Academy Color Encoding System) color pipeline. Given the unforgiving environment of an F1 race—screaming engines, brutal G-forces, and scorching temperatures—Apple's engineering team couldn't simply drop in phone parts and hope for the best. The camera module was put through rigorous tests to ensure it could withstand intense vibrations, shocks, and heat. By all accounts, it not only passed but exceeded Formula One's requirements. Since there are no built-in radios, the only way to control the camera was through a custom iPad app. Once plugged in via USB-C, the app let filmmakers tweak shutter angles, white balance, frame rates, and more. They could also start and stop recordings remotely—essential for capturing fleeting on-track moments. The result? Authentic POV footage from real F1 cars, filmed during the 2023 and 2024 seasons, that seamlessly blends into the film's wider visual language. Apple's foray into filmmaking hardware isn't entirely new. The iPhone has slowly carved out a space in the industry ever since Sean Baker's Tangerine (2015) gained critical acclaim for being shot entirely on an iPhone 5s. More recently, Danny Boyle's 28 Years Later and now F1 continue that trend—with Apple backing both projects. But while it's tempting to celebrate these as 'shot on iPhone' milestones, it's important to understand the context. Film sets are meticulously lit. Third-party lenses are often bolted onto the phone. Stabilisation rigs are involved. Still, the power and flexibility of smartphone cameras have come a long way. They've opened the gates for emerging filmmakers who don't have access to big-budget equipment. They've also allowed even the most seasoned directors to think outside the conventional lens—sometimes quite literally. F1 stars Brad Pitt, Javier Bardem, and Damson Idris, and is set to release on June 26 in the UAE.
WIRED
16-06-2025
- Automotive
- WIRED
How Apple Created a Custom iPhone Camera for ‘F1'
Mounted on Formula One cars and used in real races, the new movie helped bring features like log encoding and ACES support to the iPhone 15 Pro. Courtesy of Apple Studios All products featured on WIRED are independently selected by our editors. However, we may receive compensation from retailers and/or from purchases of products through these links. You can't mount a cinema camera on a Formula One race car. These nimble vehicles are built to precise specs, and capturing racing footage from the driver's point of view isn't as simple as slapping a GoPro on and calling it a day. That's the challenge Apple faced after Joseph Kosinski and Claudio Miranda, the director and cinematographer of the upcoming F1 Apple Original, wanted to use real POV racing footage in the film. If you've watched a Formula One race lately, you've probably seen clips that show an angle from just behind the cockpit, with the top or side of the driver's helmet in the frame. Captured by onboard cameras embedded in the car, the resulting footage is designed for broadcast, using specific color spaces and codecs. Converting it to match the look of the rest of the F1 film would be too challenging to be feasible. Instead, Apple's engineering team replaced the broadcast module with a camera composed of iPhone parts. Custom Camera Photograph: Julian Chokkattu Photograph: Julian Chokkattu The module looks nothing like an iPhone. It intentionally resembles the broadcast camera module, and Apple even had to match the weight so that its version wouldn't alter a car's specs. The inside, however, is completely different. (Apple gave us a peek during WWDC last week alongside an F1 car.) At the heart is an iPhone camera sensor powered by an A-series chip. Apple didn't specify the exact sensor or chipset, but these were used for a few cars in real F1 races throughout the 2023 and 2024 seasons, so there's a chance it was the same A17 Pro and 48-megapixel primary camera in the iPhone 15 Pro. It also contained an iPhone battery and a neutral density filter over the camera to reduce the light entering the lens, giving film editors more control over exposure. No one expects an iPhone camera to perform flawlessly at incredible speeds or extreme conditions, so the engineering team had to consider this factor. They tested the camera module to ensure it could endure extreme shock, vibrations, and heat—it supposedly surpassed the specs provided by Formula One. The module ran iOS but had a custom firmware for the camera. The videos were captured in log format with Apple's ProRes lossless video codec, delivering footage that looks flat but gives the editors much more granular control to color grade and match the visuals with the rest of the film. This custom firmware inevitably led to two new features in the iPhone 15 Pro: log encoding and support for the Academy Color Encoding System (ACES) color workflow. Since there are no radios in the module, a custom iPad app was the only way the filmmakers could make on-the-fly changes to the camera. Once connected via USB-C, they could adjust things like frame rate, exposure gain, shutter angle, and white balance. This is also where they'd hit record to start or stop recording. The footage captured with the module is sprinkled throughout the F1 film . Photograph: Julian Chokkattu While the vast majority of Apple's customers will never use these capabilities, Apple has long been a proponent of artists using Apple hardware to create. With Apple Originals like F1 , the company now has a seat at the filmmaking level to further experiment and deliver exactly what the filmmakers want, which in turn allows it to develop new features for the iPhone. F1 now joins the growing list of films shot—entirely or partially—on iPhone. That includes Sean Baker's Tangerine in 2015 and Danny Boyle's upcoming 28 Years Later , which also releases this month. It's important to note that while companies tout that a film is captured via a smartphone, it's rarely purely through the capabilities of the smartphone alone. Film sets have significant control over lighting, which is crucial, and these smartphone cameras often have third-party lenses attached to the back and are mounted on tripods and rigs that level them up significantly more than your average vacation videos. Photograph: Julian Chokkattu That said, improvements in smartphone cinematography enable more people to get a start in film without requiring expensive equipment. It doesn't take away from proper film equipment either. Case in point: Christopher Nolan's upcoming The Odyssey , the first blockbuster to reportedly be shot entirely with Imax film cameras. Imax CEO Rich Gelfond recently told members of the press at Cannes that Nolan asked his team to make some tweaks to improve production workflows and they obliged, making them lighter and quieter. When you have Apple bankrolling your film, it's apparently not out of bounds to ask the iPhone makers to craft a custom mini camera to mount on a race car. Anything for the perfect shot.
Yahoo
27-03-2025
- Entertainment
- Yahoo
DJI and SkyPixel Celebrate a Decade of Creativity: 10th Annual Photo & Video Contest Winners Announced
Honoring the Best in Aerial and Handheld Imagery from Around the World SHENZHEN, China, March 27, 2025 /PRNewswire/ -- DJI and SkyPixel, the world's largest aerial photography and videography community, proudly announce the winners of its 10th Annual Photo & Video Contest. Marking a decade of inspiring creativity, this milestone edition has attracted thousands of participants from across the globe, showcasing breathtaking visuals captured from the sky and on the ground. Since its first edition in 2014, the SkyPixel Annual Photo & Video Contest has celebrated the art of visual storytelling through aerial and handheld imaging. This year, the competition saw nearly 140,000 entries, each demonstrating technical excellence and artistic vision. From mesmerizing landscapes to dynamic action shots, the winning works exemplify the limitless possibilities of creative expression. A Decade of Innovation and Inspiration As SkyPixel celebrates its 10th anniversary, this contest serves as a testament to the evolution of aerial and handheld imaging technology and the ever-growing community of talented creators who push the boundaries of visual storytelling. Over the past decade, SkyPixel has grown from a niche platform into a global hub for photography and videography enthusiasts, inspiring millions worldwide. "We are incredibly proud to celebrate 10 years of creative excellence," said Christina Zhang, Senior Director of Corporate Strategy at DJI. "This contest not only highlights the talent of our global community but also showcases the transformative power of aerial and handheld imaging in storytelling. We look forward to another decade of innovation and inspiration." Esteemed Judges Panel To ensure the highest standards of evaluation, SkyPixel assembled a distinguished panel of judges, including renowned filmmakers, award-winning photographers, and industry experts. These professionals brought their vast experience and keen artistic eye to assess each entry, selecting the most outstanding works across multiple categories. The judging panel for the 10th edition in the video category included industry heavyweights Claudio Miranda, Academy Award-winning cinematographer known for projects such as Life of Pi, The Curious Case of Benjamin Button, and Top Gun: Maverick; Chenyu Jin, Director of Photography recognized for Blossoms Shanghai and Like a Rolling Stone; Tianhong Pan, Director of Photography for commercials and founder of the well-known self-media platform MediaStorm; and Sam Newton, a renowned travel filmmaker. The judging panel for the 10th edition in the photography category included Anne Farrar, Assistant Managing Editor-Photography at National Geographic Magazine; Luke Stackpoole, expert in travel and adventure photography; Weimin Chu, a renowned landscape photographer and winner of the 2019 National Geographic Travel Photo Contest, 2023 World Press Photo Award, and 2024 Hasselblad Masters Award; Daniel Kordan, a celebrated landscape photographer known for his breathtaking nature imagery. 2025 Annual Best Video Prize (Aerial) The 2025 Annual Best Video Prize (Aerial) recognizes outstanding achievements in aerial cinematography, celebrating films that capture the world from above with both skill and creativity. This year's winner, The War - My Transformation Journey, directed by Bashir Abu Shakra, stands out for its distinctive approach. Abu Shakra has a unique way of conveying solitude, using breathtaking aerial shots to evoke a quiet sense of loneliness and melancholy. His work places him alone in vast, boundless landscapes, emphasizing the human experience against the overwhelming scale of nature. His footage often features vast, open landscapes — stretching far into the distance — where he appears alone, a single figure framed against the expanse. This contrast between the individual and the limitless surroundings enhances the film's personal narrative of transformation, blending technical precision with a subtle, reflective tone that makes his work memorable and powerful. "The opening shot is truly captivating, marked by its elongated duration, graceful camera movements, and the serene beauty of the time of day. The composition stands out as particularly noteworthy. It's one of my favorites, and the overall quality is exceptional," said Claudio Miranda. "The War is an admirable film. Landscape photography is never a simple record, and every shot taken by this cinematographer is refined, precise, and captivating. The angles, the light all show his persistence and perseverance. It is a film where technique and the creator's inner vision are highly aligned. I really liked the ending," said Chenyu Jin. 2025 Annual Best Video Prize (Handheld) The 2025 Annual Best Video Prize (Handheld) recognizes exceptional videography using handheld or stabilized cameras, proving that creativity knows no bounds. This year's winner, Japan Travel Cinematic, created by Henry Yue, captures the essence of magical Japan with a director's sharp eye and masterful cinematic techniques. Through his expert use of composition and cutting-edge stabilization, he transports viewers into a visually rich and emotionally resonant journey through the heart of Japan. "The sound design and use of movement in this film were second to none, absolutely capturing the essence of Japan in the most stunning way. This was one of my favorites, and I felt immersed from the moment I hit play. Keep up the incredible work—this was truly something else," said Sam Newton. "Japan Travel is a work rich in visual elements, combining both motion and stillness without causing any sense of chaos. Henry expertly controlled the pace of the film, with clean tones and precise, appropriate exposure control that perfectly integrates all elements. It is a highly refined and cohesive piece," said Chenyu Jin. 2025 Annual Best Photo Prize SkyPixel's 2025 Annual Best Photo Prize honors the most striking still image captured in the past year. This edition's winner, Mysterious Realm, taken by Gangerqia, exemplifies the power of a single frame, blending technical skill with a profound visual narrative. Through an intricate composition, this mesmerizing image reveals the striking form of a human eye, emerging seamlessly from its natural surroundings — an artistic feat that blurs the line between landscape and symbolism. "This aerial photo works beautifully because it almost tricks you at first glance — like you're looking at a drawing rather than a real landscape. There's a frozen pond shaped like an eye that immediately grabs your attention, and the neat line of footprints from the bird adds a playful sense of movement. It's simple, clean, and has a bit of mystery to it. The minimal colors and subtle textures make the whole thing feel calming but intriguing at the same time," said Luke Stackpoole. Each of these winners receives recognition for their outstanding contribution to visual storytelling, along with prizes that support their creative endeavors. The winning entries have been officially announced on SkyPixel™. Among the Top 10 video winners, We Were Meant to Fly delivered a stunning tribute to the limitless possibilities of flight, while Journey to the Pole captured the raw beauty of extreme landscapes. DREAMS OF PHILIPPINES | A CINEMATIC JOURNEY offered a visually poetic exploration of the islands, and FLIGHT MODE impressed with its dynamic aerial cinematography. Other winning entries included We All Start Somewhere, an inspiring narrative about creative journeys, and My FPV Showreel 2024, showcasing high-speed drone mastery. The cinematic beauty of The Dolomites transported viewers to Italy's majestic peaks, while Dear Friend delivered an emotionally resonant story. Rounding out the winners, MY YEAR 2024 reflected on a year of adventure, and Mysterious Altay revealed the hidden wonders of remote landscapes. For the complete list of winners, please visit: All awarded entries will enter a public review period from now until April 7, 2025. Should you have any inquiries regarding the competition or the entries under review, please email the official competition address at: About SkyPixel Founded in 2014, SkyPixel is the leading online community for aerial photographers and videographers, with millions of registered users worldwide. It provides a platform for creatives to share their work, exchange knowledge, and explore the latest advancements in imaging technology. For more details on this year's winners and to view their stunning works, visit SkyPixel's 10th Annual Contest Website About DJI Since 2006, DJI has led the world with civilian drone innovations that have empowered individuals to take flight for the first time, visionaries to turn their imagination into reality, and professionals to transform their work entirely. Today, DJI serves to build a better world by continuously promoting human advancement. With a solution-oriented mindset and genuine curiosity, DJI has expanded its ambitions into areas such as cycling, renewable energy, agriculture, public safety, surveying and mapping, and infrastructure inspection. In every application, DJI products deliver experiences that add value to lives around the world in more profound ways than ever before. For more information, visit our:SkyPixel website: Please also visit our official DJI channels:Website: Store: LinkedIn: to our YouTube Channel: View original content to download multimedia: SOURCE DJI; SkyPixel Sign in to access your portfolio
