Now it has been confirmed that for the F1 movie, Sony engineered a brand-new camera system. For months, Y.M.Cinema Magazine investigated the mysterious cameras rigged inside F1 cockpits during the filming of Joseph Kosinski’s Formula 1 feature. While others speculated they were just smaller VENICE variants or reworked FR7s, A New Action Sony 6K Cinema Camera Spotted at the Set of Upcoming Joseph Kosinski Formula 1 Film revealed something different. Now, Sony has officially confirmed what we first suspected—these were not off-the-shelf cameras. They were prototypes. Built fast. Built from scratch. Built for IMAX.
A Camera Built from the Sensor Out
At the heart of this breakthrough is a new concept: a detachable “sensor-on-a-stick.” Sony engineers, led by Nobutatsu Takahashi, Head of the Cinema Line Division, collaborated with cinematographer Claudio Miranda and 1st AC Dan Ming to radically adapt the FX6. The result? A sensor module that could squeeze between the tight confines of the F1 car’s bodywork and halo, while still delivering full-frame 6K cinematic quality.
This custom rig—originally glimpsed in Sony’s Mysterious Smallest Moveable 6K Camera Ever Designed Spotted Again, was no recycled VENICE Mini. It was a ground-up re-engineering effort. Sony developed 21 working prototypes in just eight weeks, complete with a drop-in ND system and remote capabilities derived from the FR7.
According to Sony, the “sensor-on-a-stick” approach used the same back-illuminated Exmor R CMOS sensor found in the FX6 and FX3. These prototypes recorded in 10-bit 4:2:2 using the efficient XAVC-I codec at up to 600 Mbps—more than enough for IMAX exhibition, and verified during production tests at Willow Springs Race Track.
Built for Speed—and the Screen
The F1 film’s behind-the-scenes cinematography reveals a complex challenge: how to embed up to four 6K cameras inside a race car. As shown in Four 6K Cinema Cameras Inside a Formula 1 Cockpit: A TGM on Steroids, these setups demanded miniature form factors, heat tolerance, long run times, and consistent image quality. Sony delivered on all fronts.
Dan Ming praised the flexibility and efficiency of the system:
The prototype cameras… had the same sensor as the FX6 and FX3s so we could mix them all in as needed and maintain consistent field of view and depth of field.
Even during the grueling 24 Hours of Daytona, the prototypes ran uninterrupted. Thanks to the XAVC-I codec and dual native ISO, the crew could record continuously—even after sundown—without sacrificing image fidelity.
Color Matching Made Simple
Color science was never compromised. Because the same sensor and S-Gamut3.Cine color science were shared across the FX6, the prototypes, and the Sony VENICE 2, (the film’s main camera), grading remained seamless. As discussed in Behind the Scenes: The Cutting-Edge Cinematography of the Upcoming F1 Movie, this integration enabled filmmakers to move fluidly between systems without color shifts or mismatched dynamic range. Sony’s involvement went far beyond shipping a box. Takahashi’s team traveled to tracks around the world, ensuring the prototypes delivered under real-world racing conditions. It wasn’t just a camera: it was a partnership.
“It was a true honor to work alongside the filmmakers to bring their vision to life,” said Takahashi.
Will the “Sensor-on-a-Stick” Reach Consumers?
The biggest question now is: Will Sony bring this innovation to market? While the prototypes lacked the high-end X-OCN recording of the VENICE lineup, their compact design and FX6-grade performance make them an enticing prospect. Many professionals may see this as an affordable Rialto-style unit, one that could unlock new creative opportunities for sports, automotive, documentary, and even drone cinematography.
With growing interest following the F1 Teaser Released: Filmed for IMAX on an Unknown Sony Action Cinema Camera, demand for such a system is likely to surge. It combines cinematic quality with surgical versatility, a combination filmmakers crave.
Takeaway:
Sony’s engineering feat for the F1 movie is a reminder of what’s possible when filmmakers and engineers align around a bold vision. The “sensor-on-a-stick” may have started as a custom solution, but it could soon become a new product category, bridging the gap between compact cinema cameras and full-featured modular systems.
Y.M.Cinema Magazine would like to extend sincere thanks to Tanya Lyon, Sony Cine’s reporter, for her detailed and insightful reporting that helped bring this story into focus. We’d also like to thank Rachel Aberly for the tip and email that initiated our deep dive into this groundbreaking technology.
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But fx6 is not 6k…