F1 – 4K Italian Edition Review

F1 confirmed Joseph Kosinski as one of the few contemporary directors capable of transforming a hyper-codified genre into a high-voltage sensory experience. After the triumph of Top Gun: Maverick, he returned to play the "classic" blockbuster card, built on pure adrenaline, magnetic characters, and a meticulously calibrated technical apparatus. The result is a film that doesn't pretend to reinvent stories of motors and rivalry, but knows how to exalt every single cliché until it shines like new.

At the center of the story is Sonny Hayes, played by a Brad Pitt in a state of grace: a racing veteran who moves from one circuit to another like a mercenary of the wheel, driven more by instinct than by a desire for glory. His life changes when an old friend, an executive of an F1 racing team, offers him the chance to mentor the young phenomenon Joshua Pearce, played with surprising charisma by Damson Idris. The dynamic of the pair is the classic collision between experience and arrogance, between "old school" romanticism and modern technicality: nothing new, of course, but told with contagious energy.

The film lives primarily through the race sequences, shot by Kosinski with a mastery that borders on obsession. Cameras mounted on the single-seaters, wide-angle lenses that caress the asphalt, overtakes experienced as small earthquakes make every race a fragment of immersive cinema. The IMAX visual concept (with a vertically extended image format, 1.90:1) enhances the experience almost physically with vibrations, noises, accelerations, catapulting you onto the track.

The sound department is another protagonist. The mix of engine roars, abrupt gear changes, and strategic silences is meticulous work, crafted to heighten tension and accompany editing that offers no respite. Hans Zimmer does not disappoint with a soundtrack that alternates electronic epicness, callbacks to old scores, and musical pieces designed to win over an intergenerational audience. Between Led Zeppelin, contemporary pop, and a ballad destined to be talked about, a playlist has been created that functions as an emotional glue.

The supporting cast further enriches the picture: Javier Bardem brings an unexpected dose of elegant humor, while Kerry Condon imbues her character with incisive and modern determination, transforming her into one of the freshest presences in the entire film. The dynamics with Pitt, both on and off the track, create some of the most successful moments.

A blockbuster of yesteryear packaged with the tools of the present: long but incredibly smooth, spectacular but not empty, emotional without descending into melodrama, aiming not for complexity but for impact. For those who love "big" cinema, the kind for the theater with a screen size (im)possible to recreate elsewhere and a race impossible to miss.

F1 4K - How it looks

Shot entirely digitally at variable resolution between 6K and 8.6K with an extensive hardware rig (DJI Ronin 4D, Red Komodo, Sony CineAlta Venice 2 Rialto Mini, Sony CineAlta Venice and Venice 2, iPhone 15 Pro Max), the final 4K master was then used for the creation of the UHD edition (3840 x 2160/23.97p), HEVC encoding on a triple-layer BD-100. The substantial difference between the Home Video and cinema versions is in the image format, 2.39:1 for the former and 1.90:1 IMAX for the latter.

Technically, we are at a reference level for images, made even more faithful to the cinematography of Claudio Miranda (Life of Pi, Top Gun: Maverick) by virtue of Dolby Vision. In this sense, it was possible to approach the original dynamics of light and colorimetric intensity, especially in the presence of native 10-bit screens, preferably OLED as in the case of our Panasonic Z85 55" inches. Deep blacks, overall solidity, high detail even in the background, and a spectacle that grows exponentially with screen size. A solid visual experience.

F1 4K - How it sounds

The experience also continues in the sound department, with the Dolby TrueHD 7.1.4 Italian and English offering (always 16-bit), which despite the limitations, supports the spectacle to an at times even thrilling degree, with panning effects, some vertical elements, dynamics, and the constant roar of engines supported by the subwoofer. The original would be preferable for the strength of the direct dialogue and further overall sound refinement.

Unless you have a true HT system with real separate channels, going far beyond a soundbar+subwoofer, it is not possible to experience all the adrenaline of the on-road challenges to the same extent. The nervousness inside and outside the single-seaters becomes palpable through lateral and rear movements, perceiving vibrations and the psychological pressure of the moment. There is plenty of "power" and presence when needed, leaving one to only imagine the result in 32-bit.

F1 4K - Discovering the extras

Very interesting extras, starting with the short behind-the-scenes (5'), with footage of the script reading and brief interviews with cast and crew. The Anatomy of a Crash (6') sees director Joseph Kosinski and special effects supervisor Keith Dawson discuss approaches to dramatic events. Reaching the Speed (5') features sequence choreographer Craig Dolby, actors Brad Pitt and Damson Idris, lead sequence choreographer Luciano Bacheta among others talking about the intense training required to prepare drivers to get behind the wheel.

APXGP Innovations (5') with the director, executive producer Tim Bampton, and others shedding light on the multi-angle shooting approach. Making It to Silverstone (5') Pitt, Idris, Kosinski among others express their gratitude for the unique opportunity to film at the renowned Silverstone circuit in the UK. Lewis Hamilton Producer (5') is a tribute to the driver and co-producer of the film. APXGP Sets and Locations Around the World (9') Overview of unprecedented access to multiple locations. APXGP and F1, the level of realism (6'). The Sound of Speed (5') and the realistic approach to sound design and Hans Zimmer's sonic contribution. Italian subtitles included.