InterviewsSenna: Craig Wentworth and Marcelo Siqueira Production VFX SupervisorsBy Vincent Frei - 11/02/2025 Craig Wentworth gave us insights into Method Studios visual effects work on Extraction back in 2020. Since then, he has contributed to shows like The Boys and For All Mankind. In 2022, he joined Scanline VFX, where he worked on Black Panther: Wakanda Forever and Atlas.Marcelo Siqueira brings over 30 years of experience in visual effects, having contributed to countless films and series in Brazil.Today, these seasoned VFX professionals share their insights about their work on the Netflix series Senna.How did you get involved in this series?Marcelo Siqueira // In September 2022, I received a call from Vicente Amorim, the projects showrunner, with whom I had a long history of collaborating on other works. He asked me who in Brazil could supervise and produce VFX for a series like Senna. Vicente understood that the project would demand complete dedication and that, in addition to my family commitments, Im also a partner at Mistika Post, a VFX and post-production company in Brazil, which made balancing everything challenging.Moreover, I was fully aware that Senna was a unique project with the potential to showcase Brazil on the global VFX stage. With the full support of my family and Mistika Post, I accepted the position as it was an opportunity I simply could not pass up.Craig Wentworth // I was first introduced to the production team in February 2023 as a representative of Scanline VFX. Our earliest conversations centered around the challenges the show faced in terms of world-building specifically the several racetracks that would need to be created digitally either in full or as set extensions and the unique challenge of visualizing what Vicente described as Sennas Superpower.Given Scanlines long history in producing complex and creative visual effects, we seemed like a great fit for the series as a whole. In May of that year, I began consulting with (Brazilian VFX Supervisor) Marcelo Sica Siqueira on many aspects of the VFX production.Later, as Scanlines relationship with the production evolved, my Producer partner Vero Lauzon and I assumed responsibility for the distribution and execution of the final VFX in the show. We also supported the LED shoot planned for early December with support from our counterparts at Eyeline Studios.How was the collaboration with Directors Vicente Amorim and Julia Rezende?Marcelo Siqueira // Since the start of the project in 2022, it was decided that Vicente Amorim would focus on the world of racingtracks, pits, pit lanes, and all the grandeur and drama of those settings while Jlia Rezende would handle the more personal aspects of Sennas life. Although both aspects were crucial, it became clear that the races would demand most of our energy and resources. Together with Jlia and Kaue Zilli (DP), we had extensive discussions about how to recreate the luxurious settings of Formula 1s major social events, such as palaces, parties, and hotels in Monaco, as well as planning set extensions for the commentary booths filmed in the studio, where much of the story would be told.With Vicente, the priority was to understand and plan the world of the tracks and pits. We assembled a pre-visualization (previs) team to align our extensive location research and address production and storytelling challenges. Over nine months, a team of four people and a dedicated researcher worked full-time to recreate every historical moment we would film. We also had access to a rich archive from the FIA, which helped us create over 150 beats of the races in animated form.Beyond the tracks, we also conducted previs for all dialogue scenes in the pits and pit lanes. This was crucial for framing decisions, enabling the production and art departments to visualize what would be physically built and created in VFX. During this process, I began generating materials showing all possible angles of the races. We refined the rhythm and tone of the most complex sequences with one of the series editors, Diana Vasconcelos, and Vicente himself.By the end of May, we had all the race sequences edited and a detailed shooting board for every other scene in the pits. With everything in place, we were finally ready to start filming.Craig Wentworth // My time was spent mainly with Vicente, as he was 100% our client for the VFX work on the series once filming had been completed.The collaboration with him is one of the most rewarding experiences Ive ever had. We seemed to be very much in sync visually and creatively we are avid racing fans, particularly of Sennas era, so our visual aesthetic and passion for the subject aligned quickly. I lost count of the number of times I would show him something for the first time, and he would sit there with a smile on his face, with very little to actually comment on because we both knew the shot was great.We also valued honesty in our conversations, particularly how certain VFX choices might influence our tight budget. These are tough conversations to have sometimes Hey, you can have this, but you need to cut here to cover it. But our dialogue was very open in that regard because Vicente was also the Showrunner and had responsibilities beyond just the visuals on the project. Ultimately, we had his complete trust to make the right choices for the show and provide the best VFX bang for the buck.So much so, actually, that in the final couple of weeks of color and sound, Vicente entrusted me to finalize color with Luisa Cavanagh (our colorist) while he left to work on sound and later on another project. I dont know any VFX Supervisor who has been left holding the fort that way, but I think it indicates how great our relationship with Vicente was.How did you organize the work between you two?Marcelo Siqueira // Shortly before filming began, we received news that Scanline would be joining the project, which generated great expectations given their experience with projects of this magnitude. That said, this meant integrating a new team into a project that was less than two months away from filming.I met Craig and Alain LaLanne (VFX Executive Producer). As a first step, we shared and validated our VFX strategy with them. Thanks to our detailed planning and organization, we gave everybody the confidence to forge ahead with production, which was crucial as we were only two weeks away from starting principal photography.Ultimately, Scanlines participation and support allowed me to focus exclusively on on-set VFX supervision and second unit direction. Vero assumed all financial and production responsibilities with the vendors, while Craig handled creative supervision and technical communication with them.Craig Wentworth // The division of responsibility between Sica and I happened quite naturally and organically. The very high level of planning that had been put into the production at the outset gave all of us every confidence in Sica and his teams ability to manage the on-set needs of VFX.As Vero and I got deeper into the financial side of things, however, it seemed logical that I also take on more direct creative and technical responsibility for the successful execution of the work during post. This worked well because I was in the same time zone as Vicente, which really allowed us to maximize our day and his valuable time.How did you choose the various vendors and split the work among them?Craig Wentworth // It was very important to everyone involved in the production that Brazilians play an influential role in the work. So, in some respects, our decision was made for us but not without first testing and vetting several potential vendors from the region.Sicas invaluable connection to the Brazilian market meant he had already curated and tested several vendors who had the potential to meet the projects demands by the time we came aboard. He had challenged them to produce examples of what they could do with very early test footage of our cars lapping a historic track in Balcarce, Argentina. Across the board, those tests primarily set extensions of the streets of Monaco were very impressive, and we immediately had the confidence to engage local talent without fear.One of the companies that stood out was Miagui a small house based in Porto Alegre, Brazil, specializing in car commercials. They took the initiative to produce their test entirely in CG, and based on that knock-out effort, we committed to using them for the races in Monaco, where we knew we could not film and for which we knew we would not have plates.Marcelo Siqueira // It became clear that having each vendor take responsibility for one race or a group of races would benefit the overall VFX schedule. In addition to Miagui, Picma Post handled the junior racing categories Formula Ford and Formula 3 as well as the iconic Imola 1994 race, marked by the tragic accident that ultimately took Sennas life. The Quanta team, which also handled virtual production, online, and color for the series, was tasked with all of the burn-ins and the restoration of actual FIA footage of races, which was used extensively throughout the show.This production was also a great opportunity to leverage the power of Netflixs resources. We had a literal army of people working for NetFX all over the world who assisted in a variety of shot types, such as press booth window comps, simpler or one-off set extensions, clean-ups, and makeup fixes.Scanline assumed the work of digitally recreating Suzuka, Japan (across 3 time periods), the historic race at Interlagos in 1991, along with Estoril 1985 (in the rain) and the on-track shots of Sennas last race at Imola. Last but not least, Eyeline Studios came to our aid with several shots we called whooshes (cars rushing past the camera that serves as really useful editorial transitions). They also supported us with the scanning of all the production cars and chassis, as well as offering tech support to the Quanta team for our LED shoot.What is your role on set and how do you work with other departments?Marcelo Siqueira // As the VFX Supervisor, I oversaw three VFX teams operating throughout 156 days of filming. Each unit had its own dedicated team. The main unit included an on-set supervisor and a data wrangler/assistant. The performance unit had a VFX supervisor, (Niko Casilho and Marco Padro who took turns) a data wrangler, and three assistants responsible for placing tracking marks and piloting the drone, which acted as a witness cam for every shot involving cars on the track. (Luca Rassi and Renato Hoyda ) Additionally, we set up a chroma key studio for capturing sprites and plates led by Patrick Hanser Altogether, our team consisted of 11 people dedicated to meeting these specific demands.I believe the VFX department plays a unifying role, connecting all other departments. In a production of this magnitude, its essential to know when to ask and when to compromise. From the start, I established a strong relationship of camaraderie and collaboration with all departments, especially art, production, and photography. They knew the VFX team would always be available to assist, and in return, our needs were promptly addressed. There was no my problem or your problemjust a problem that we all worked together to solve.For example, we secured a dedicated space at one of the locations to set up an exclusive studio. This studio was used by the Eyeline data acquisition team to scan all the cars and helmets in controlled conditions. We created a closed environment with black drapes and diffused lighting, ensuring high-quality and efficient work. This organization was widely recognized and praised by the Canadian team, who commented that they had never been so well accommodated as they were on Senna. To achieve this, we had to mobilize production, electrical, photography, gaffers, logistics, and transportation for the cars. The strong relationships between department heads made this possible, allowing us to work collaboratively and efficiently.Craig Wentworth // This was a unique project for me as my on-set involvement was quite limited, mostly due to the timing of when Scanline began partnering fully with the production. However, I was present for tech scouting of the location in Buenos Aires chosen to stand in for most of our race tracks, and I went again to Argentina for performance unit filming of racing that directly affected Scanlines Interlagos and Suzuka work. All of which is to say that what might be a supervisors typical interaction with the crew in those situations was mostly (and already) handled by Sica who did a stellar job of setting the VFX table for Vero and me.At the end of main unit photography, however, was a 3-week LED shoot (including a week of prep). Sica became consumed with on-set duties, so it made sense for me to get involved with the LED shoots prep, and I worked closely with our Eyeline team and the Virtual Production team at Quanta to help facilitate a smooth couple of weeks from a technical perspective. Then, once we were back in So Paulo for the LED shoot itself, I stayed mostly quietly behind the scenes, helping to update Unreal projects, make adjustments as needed, and the little things that largely go unnoticed but keep the shoot days running smoothly on a VP stage. During that shoot, we really started engaging creatively with Vicente, since we were there with him in So Paulo and could present a lot of work in progress and ideas in person.What was your initial approach to recreating Ayrton Sennas iconic moments through visual effects?Marcelo Siqueira // The recreation of Sennas races was driven by an unwavering pursuit of historical accuracy. Whenever possible, we used real footage as a reference to ensure every curve, overtake, and detail was faithful to what actually happened. In rare cases, such as Sennas overtake of Keke Rosberg at Monacos Rascasse corner in 1984, where no visual record exists, we allowed ourselves some creative freedom. However, these moments were always grounded in detailed research and eyewitness accounts. Our primary goal was to recreate Sennas iconic moments exactly as they happened, enabling the filmed sequences to be seamlessly intercut with original broadcast footage, ensuring a perfect record and historical validation.The second approach was to innovate in how the races were presented to the audience. Instead of the traditional distant, third-person perspective of Formula 1 broadcasts or productions like Drive to Survive, we sought a closer, more immersive viewpoint. Our aim was to make the audience feel what Senna and other drivers experienced, delivering a unique emotional and cinematic visual proximity. These two approacheshistorical fidelity and immersive experiencewere fundamental pillars in crafting the series race narrative, striking a balance between authenticity and emotion to engage viewers in an unprecedented way.With the knowledge accumulated throughout the project and my deep familiarity with all the captured material, after filming, I dedicated myself to editing the racing scenes alongside senior editors Diana Vasconcelos and Guilherme Porto. We brought the same obsession with historical accuracy but now applied to selecting the right shots and perfecting the match cuts.Craig Wentworth // By now you know that a great deal of thoughtful and detailed planning went into this production.Sica, Vicente, and the Brazilian editorial team had created these things called Monsters (or Montros, in Brazilian), which were essentially previsualizations of every race but not just the race itself, they included all of the action and commentary that took place AROUND the race, too. Family points of view, the action in the pits, press booths, along the action on the track everything was represented, often with footage from other movies. So it played like a complete scene, and really set the tone in terms of what needed to be filmed, and how, and not just for VFX.Every significant moment in history that we wanted to cover in the series was prepared in this fashion, and these Monsters were referred to constantly on set, right up to the last day of shooting. They werebuilt, of course, around the historical accuracy of what really happened and, very smartly, intercut with FIA footage from the day, to which the production had unprecedented access.With these scenes in hand, and available long before filming began, we could really break down and assess what we faced in VFX in terms of challenges very early in the process. It wasnt like we had to imagine something based on a conversation it was staring us right in the face, right there on screen, exactly what we needed to achieve to tell our story. And we could use these visuals to inform all departments of our approach and needs on set to help execute the work.What specific aspects of the project excited you the most from a VFX perspective?Craig Wentworth // Honestly, the races! As a fan of F1 of the 80s and 90s, and of Senna himself, to have the opportunity to bring his highlight reel to life in VFX was at once daunting, but also a particularly thrilling challenge. I also loved the scope of world-building the series needed the number of races we planned to portray, and the significance of those races and key moments in Sennas career. What a gift to be able to contribute to bringing all of that back to life.Marcelo Siqueira // Recreating Ayrton Sennas story, from karting to the tragic accident at Imola, was already an extremely challenging project for the world of VFX. However, it also presented unique challenges. Each racetrack had its own distinct characteristics, such as the placement of pit boxes, signage, team uniforms, and specific architectural details. Attention to these elements was crucial to ensure historical accuracy. The sheer number of components that needed to be recreated was staggering, and even with two races in Monaco and three in Suzuka, there was little that could be reused from one to another due to changes between the years.Another major challenge was finding new ways to capture the adrenaline of the races. We worked with cameras placed extremely close to the track, recreated conditions like intense rain, and sought innovative methods to convey the speed and intensity of Formula 1. These elements, combined with the opportunity to construct a unique high-speed visual narrative, made the project an immense challenge and, at the same time, an extraordinary opportunity for the world of visual effects.What were the biggest challenges in recreating the look and feel of the 1980s and 1990s F1 era?Marcelo Siqueira // Recreating the atmosphere of Formula 1 in Senna was a complex challenge, especially given the modernity of todays racetracks. It was impossible to recreate Suzuka or Interlagos from the 1980s using the circuits in their current configurations. To capture the essence of the era, we researched over fifteen racetracks across Latin America, seeking locations that could host the production and match historical characteristics. It was a true puzzle, selecting track segments from different racetracks to represent the iconic sections of the originals.At the Buenos Aires circuit, for example, we found the S do Senna and the famous Casio Chicane from Suzuka. Interestingly, the same engineer who designed Interlagos was also responsible for Suzuka and the Buenos Aires circuit. Since the Argentine circuit had not undergone updates since 1994, it became our primary filming location, where we shot for two months. At the Pinar racetrack in Uruguay, one curve stood out as a match for Tamburello, along with the tunnel exit from Monaco. For scenes involving the pit, pit lane, and pit wall, we concentrated on four racesEstoril, Interlagos, Suzuka, and Imolaat the Buenos Aires circuit. We utilized the physical features of the location and digitally recreated everything necessary to transform it into our historical racetracks. Regarding the tracks themselves, we added elements such as grandstands, advertising boards, marshals, and guardrails to ensure complete authenticity and allow seamless integration with real historical footage.Another significant challenge was recreating the weather conditions of historic races. Iconic moments, such as those in Monaco and Estoril, occurred under heavy rain, requiring a combination of practical production techniques and visual effects. In Monaco, for instance, we physically reconstructed the main straight and simulated torrential rain using practical effects. This set the foundation for all the VFX sequences for the rest of the track, which had to replicate the same weather conditions, achieving a balance between practical and digital effects.Craig Wentworth // I cant answer that question without first acknowledging the inspired choice by Vicente to use actual FIA footage in the series and intercut it with our recreations to sort of ground everything in reality. So, the challenge, truly, in terms of VFX was finding the sweet spot of being faithful to what REALLY happened, matching that with absolute historical accuracy, and at the same time tying the VFX into what we filmed practically and the aesthetic of the series as a whole.How did you ensure historical accuracy while maintaining cinematic appeal?Marcelo Siqueira // Historical accuracy was ensured through detailed research, which included analyzing hundreds of hours of archival footage to faithfully recreate every curve and moment. As production progressed, each department contributed valuable insights from their respective areas. The art department provided details about sets and props, while the costume team supplied elements for the racing suits and helmets. Meanwhile, the team responsible for the physical construction of the cars focused on the unique characteristics that changed from year to year.To integrate and centralize this wealth of information, we created a database accessible to all departments. This system allowed each team to input and retrieve essential data, such as historical references, continuity notes, VFX reports, and camera data. This unified approach was critical for collecting, building, and utilizing information throughout the project, ensuring that all VFX teams had access to the necessary references. This rigorous process resulted in a perfect match cut between historical footage and the filmed sequences, keeping everything in complete synchronization and ensuring the projects authenticity.Craig Wentworth // As with anything that involves recreating events of the past, the devil is in the details. Our VFX partners spent a long time looking at FIA footage to analyze and extract all of the details that would be needed in our backgrounds, for example, to match up with what we saw on the televisions our actors were watching (which was always the real event, the real Senna). And then there was the visual bar that had been set by the shows production design team led by Frederico Pinto, and cinematographer Azul Serra, who brought so much tactile historical accuracy to sets and developed a real beauty to the main unit photography through its lensing and lighting.It was critical that our VFX, which was filmed with several different cameras for very practical reasons, tied in aesthetically to those rich visuals and had the same look and feel. This is where our partnership with Luisa in color was so helpful. We massaged the final look in DI to bring our production and post-production worlds together.Monaco is a fan-favorite race in Sennas career. How did you approach the challenge of recreating this unique circuit and its surroundings?Marcelo Siqueira // From the start of preparation, we knew that recreating Monaco would be a major challenge. As a circuit located within a city, with elements that were extremely close and distinctive, the task was incredibly complex. The crowd, iconic buildings, and the proximity of the cars to the guardrails on a narrow track made constructing this environment both intricate and demanding.With this in mind, in January 2022, six months before principal photography, I, Azul Serra (DP), and Caique Ferreira (producer) traveled to Balcarce, a small town 200 km from Buenos Aires, where our replicas were being constructed and where a small racetrack was located. We spent two days filming our replicas on this track, aiming to validate the set extension process, which initially seemed the best solution for recreating Monaco.We edited about 30 seconds of this material and sent it to various VFX houses in Brazil, along with a basic model of the Monaco track, to validate the process and demonstrate the capacity of Brazilian teams to deliver such a complex scene. Four studios were invited: Quanta Post, Casablanca VFX, Tribbo Post, and Miagui. The first three immediately accepted the challenge. To my surprise, Miagui declined the initial invitation, stating they felt more comfortable creating the shots entirely in full CGI. We knew that at some point, full CGI shots would be necessary, particularly for wide-angle shots. However, for this particular race, we had planned to use real cars and a physical track, which seemed more practical and cost-effective. Nonetheless, I decided it was prudent to allow Miagui to conduct a test to explore the potential of this approach.Six weeks later, we received the final shots from all the studios, including Miaguis full CGI shots. The shots were edited and combined with close-ups filmed in virtual production. When we presented the material to Netflix, the shots were so consistent that it was impossible to distinguish which technique had been used for each one. The impeccable work of all four studios was widely recognized, and the method was approved.There remained, however, a critical challenge: the 1984 Monaco race occurred under torrential rain. During initial tests, we realized that 100 meters of rain towers, with cars traveling at 250 km/h, were insufficient to create the necessary impact. With the success of Miaguis full CGI test, we requested a new simulation of the 1984 race with heavy rain. The result was spectacular. The full CGI recreationbrought the perfect atmosphere for the intense battles between drivers while enabling innovative camera movementsthough we avoided impossible or overly artificial camera angles. Moreover, it resolved the significant production challenge of replicating rain over extended stretches of the track.We redesigned our approach for this sequence, investing substantial resources in physically constructing the main straight. Using an old airport parking lot in Montevideo, we repaved the asphalt, recreated the straight with all its elements, covered a large area to avoid sunlight, and poured over 30,000 liters of water during the filming. By combining real scenes shot on the main straight, close-ups of real cars on our tracks, full CGI shots produced by Miagui under Craigs supervision, and close-ups captured in virtual production during the last four weeks of filming in Brazil, I believe we achieved something extraordinary. We were able to transport the audience not only back to 1984 but directly into Sennas car, allowing them to feel the full intensity and emotion of the moment.Craig Wentworth // As Sica says based on the test work of the Miagui team, we made the commitment to producing Monaco races in CG very early on. This helped in a couple of ways: one, it started to direct our choices financially and organizationally for the balance of VFX work, and, two, it freed up the performance unit to focus on all of the other racing in the series, and not have to worry about the time and expense of wetting down large sections of racetrack.So, with the exception of the pitlane, the entire circuit was digitally recreated, with special emphasis on the famous tunnel (in which we spent a lot of racing time both in 84 and 88), the first turn, and sections of the track leading to the pitlane.The real focus in terms of the level of detail and look development centered on the track itself, barriers, and midground crowd. One thing in our favor was Vicentes passion for shallow depth of field, a photographic quality that permeates the whole series. So, we could afford to work our way from front to back in terms of leveling up building assets.The team at Miagui created digital twins of our production cars, which were scanned by Eyeline in Balcarce. The full field had to be created for the start of the 84 race, which then needed a healthy dose of rain effects, atmospherics, rooster tails, tire tracks, and so on, to look authentic. For the 88 race we needed both Senna and Prosts Mclarens, along with the cars Senna overtook during his trance. The race ends with his crash. The Scanline team handled the shots of Senna exiting his car and walking back to his apartment, which was filmed in live action against bluescreen and extended with digital matte paintings based upon Miaguis assets.What techniques were used to recreate the racing sequences, especially those that featured iconic cars from the era?Marcelo Siqueira // We used virtually the same techniques for all the races to ensure realism and flexibility in production.Filming real cars with environment replacement (performance):We filmed the real cars in specific locations, replacing the background and environment with VFX to recreate the historical racetracks.Use of placeholder or naked cars:With 22 cars built but only 15 chassis available, we often used placeholder cars without shells. Thesecars featured black chassis with tracking marks, allowing us to film the choreography and dynamics of the races. In post-production, we applied the necessary shells and details to represent the specific models for each race, as well as replaced the backgrounds.Full CGI shots:We incorporated full CGI shots throughout the races to create expansive and dynamic views that were often impossible to capture physically.Close-ups using Virtual Production:For the close-up shots of Formula 1 scenes, we adopted Virtual Production technology. We used nearly 360 LED panels surrounding the cars, which were positioned on a motion base developed specifically for the project. These original cars, without engines, were mounted on the base to simulate the sensation of movement.Additionally, we developed an integrated system using Unreal Engine, synchronizing the motion base with the animations we had previously created for the environments displayed on the LED panels. This combination ensured an exceptional level of realism, immersion, and control during the capture of these scenes.Craig Wentworth // Sica sums it up very well. We pretty much used every trick in the book in racing sequences, and Im a firm believer in mixing it up in VFX. Performance was filmed at 4 different race tracks, chosen based on how their location or specific turns reflected those of the real tracks we were creating. Weather conditions varied a lot from location to location. In fact, in the edit, we would sometimes cut between footage shot four or five months apart, and the differences in plates were quite stark.The challenge was making this material feel cohesive, which started with making sure the geography in the background made sense. We laid out our set extensions of racetracks in the background, along with digital cars as needed in the midground, and would show this to Vicente to be sure he was happy with the continuity of things.From there, the work shifted focus to integration. We embraced lighting changes for what they were thats just part of filming life the light is different in every take, so dont fight it. But the historical details were sweated on profusely: Do we have the right signs? The right density of crowd? The right cars in the background with historically accurate liveries? We consulted extensively with the productions resident F1 expert (who was also a writer on the series) to ensure everything even the RPMs on dashboards in steering wheel closeups was as accurate as possible.Intermixed with the real driving shots were several all-CG moments the kinds of takes that we just couldnt get in camera when filming the cars for real. These CG shots went through the same exhaustive authenticity process as a performance shot, with the added pressure of having to match photographically to production footage around it. This meant matching long lensing, shallow depth of field, and the shimmering bokeh you get from filming down at track level on a hot day. No details were missed, because we had nowhere to hide: the FIA footage was always our ground truth.Were there any specific races or moments that posed unexpected challenges in terms of visual effects?Marcelo Siqueira // Everything was meticulously planned from the start, which allowed us to avoid major surprises during the VFX process. One adjustment that proved to be more efficient, despite being initially envisioned on a smaller scale, involved aerial shots. Originally, we planned to use drone footage to work with set extensions. However, during the editing process, we decided to discard the drone footage and opted to produce these shots entirely in full CGI.Craig Wentworth // And, honestly, we found a rhythm and process for creating the race action that made the work itself surprisingly easy and I dont mean to belittle the amount of effort that went into creating the VFX shots by our vendors. I just mean that things fell into place quite naturally, because the logic of what had happened in real life really dictated what we needed to do in VFX and our primary mission was to provide cohesion and continuity of action. If anything, it was one of our more creative VFX ideas that had the most time spent on it, and by extension could be considered the most challenging to get right.Sennas Superpower this notion that he was someone capable of driving beyond the limits of his peers and that he saw things on a track differently to everyone else was a concept that went through several iterations, and even close to the end of production, while working on the sound mix, Vicente was tweaking the balance of elements that went into his Superpower POV. But as I mentioned earlier, Sica and the production teams in Brazil really did set the table for us in post production incredibly well. The real challenge was pushing our 2000+ shots through in, essentially, 6 months after picture lock.How did you recreate the Formula 1 cars of that era? Were they fully CG, or did you incorporate practical elements?Marcelo Siqueira // 22 production cars were built in total for the series with a special focus on Sennas cars and those of his main rivals However, during each key moment of the races, there was a need to include many additional cars that were not physically constructed. To meet this demand, we used two methods: full CGI and our Nakeds. These Naked cars, which were eventually replaced by CGI models, were present in the scenes to aid in understanding the race dynamics and vehicle choreography.Craig Wentworth // To ensure precision in the details, we not only scanned all the racetracks but also performed 3D scanning and photogrammetry on all the physically constructed cars. Eyeline acquired all of these vehicles along with drivers helmets so we could build digital versions as needed, seamlessly integrating them into the filmed scenes. For wider shots that showed the whole starting line, we would repurpose these scans and redress them with the right liveries to fill out the entire grid. So, the answer to your question is that they were both practical and digital, and hopefully, weve fooled everyone into thinking which is which and when.What techniques did you use to ensure the authenticity of car dynamics, including their speed, sound, and motion?Marcelo Siqueira // We conducted an in-depth study of race dynamics and car movements, working with experienced race drivers who brought the authenticity needed for the performance and framing to convey the sensation of speed. Additionally, we built our own camera car, equipped with a more powerful engine than the replicas, to execute overtaking maneuvers with ease without compromising the speed of the cars on set. Our replicas ran at approximately 100-120 km/h, and all scenes were filmed at a minimum of 48 fps. Later, we adjusted the speed of each shot in post-production to achieve the desired effect.For sound, we had the opportunity to record the original cars from the era on racetracks. A dedicatedteam captured every noise from different points of the cars, including authentic engine sounds, gear shifts, and braking. This meticulous work, led by Post Production Supervisor Gabriel Queiroz, was challenging but essential to the success of the series. The rich sound design ensured that each scene immersed the audience in Sennas racing world.Craig Wentworth // For the VFX, the simple answer to your question really is just watching a lot of footage, both of our own cars (which had certain dynamic properties to them when driving at high speed), and anything we could get from FIA or internet reference of the real F1 cars. In our favor was that everything on the show was shot at a high frame rate not just 48, but sometimes 240fps! What that gave us was the opportunity to look really closely at how wings would flex under air pressure, or how many minute movements you could detect in a cars body when at speed twitching wheels, vibrating suspension, even the main body of the car would ripple due to airflow.All of this was built into the animation rigs of our digital cars so that their performance characteristics would match, at minimum, those of our production cars. Then, of course, in context, some creative choices were made in animation to amp things up a bit, as needed, but always with this real-world reference in mind.How did you handle vehicle wear and tear, such as tire degradation, crashes, or weather effects, to enhance realism?Marcelo Siqueira // Some physical contact between cars occurred during filming. Naturally, we scheduled these scenes for the end of production, when potential damage would pose fewer issues, as we were nearing the completion of the replicas use. However, since we had several chassis available, this did not become a major obstacle. The cars were custom-built by Crespi, the same teamresponsible for driving them. They also maintained an extra crew outside of set hours to handle any necessary repairs and ensure the vehicles were ready for the following day. The more intense crashes, however, were executed using VFX, often in full CGI, to ensure safety and greater control over the visual outcome.Tires were an interesting aspect of the project, as it wasnt possible to simply purchase them off the shelf. We found a factory in Brazil willing to take on the challenge of creating custom molds, developed according to the technical specifications provided by Crespi, who also manufactured the wheels. The development process took months, culminating in a tire capable of withstanding 40-50 burnouts in a single day. We had several sets of tires, both for wet and dry conditions, which were swapped depending on the scene. For static shots of cars on the grid, for instance, we used newer tires to ensure an impeccable appearance. For motion scenes, tire details were less noticeable, offering us greater flexibility. However, in some instances, it was necessary to use VFX to clean up unwanted marks or correct visual imperfections on the tires.Craig Wentworth // Our digital cars were built and look developed to withstand extreme close-up scrutiny, so a lot of wear and tear was built into textures and dialed in shading. We also committed to making sure our digital cars always matched the production vehicles built by Crespi. So we took exhaustive numbers of photos of all of the details of those cars, including their tires (which were specially formed for the show).We decided that our cars would generally be pre-weatheredmeaning they did not undergo any look dev evolution during a race. So, a layer of dust and grit was built into their shading from the start. It somehow just made them feel more realnothing in F1 of the 80s and 90s was ever showroom-perfect.We created two digital crashes for the show, Prost and Sennas collision at Suzuka in 1989, and Sennas accident at Monaco in 1988. Ironically, the latter has never been seen on television only the aftermath was captured. So we had some creative license in terms of what happened, but a lot of intelligent inference was based on photographs, witness accounts, and so on.Senna and Prosts other collision at Suzuka, Japan in 1990 was all in-camera. In VFX we helped out by adding some more dust in the air for post-crash scenes, along with the set extensions of course.Many races took place in distinct environments around the world. How did you balance recreating each tracks unique geography and atmosphere?Marcelo Siqueira // Even though the races were repeated, such as Suzuka in 1988, 1989, and 1990, each required special attention as the focus often shifted to different parts of the track. In 1988, Sennas car stalled at the start, and the drama unfolded across nearly the entire circuit. In 1989, Prost collided with Senna at the Casio Chicane (a particularly significant set). In 1990, Senna collided with Prost on the first corner. In other words, apart from the pit area, which also changed every year due to signage and pit box order, very little could be reused from one episode or scene to the next.Balancing not only different locations and years but also a mix of techniques and, crucially, the time gap between filming shots for the same sequence required us to establish a method for daily implementing scenes into the previs. This way, as we filmed, the editors worked simultaneously, replacing the previs shots with updated material. This ensured that we always had an up-to-date version of the edit to guide us in subsequent stages.For example, we filmed an initial round of track scenes for all the F1 races. We then paused these shoots to film scenes for Formula Ford and F3 while the editors and I worked with the footage to identify additional elements we wanted to include in the F1 races. Afterward, we embarked on another four-week phase dedicated to F1, followed by a return to editing to prepare for filming close-ups using Virtual Production. By the time we arrived at the studio for the final three weeks of filming, all the races were pre-assembled, with full knowledge of the weather conditions and sun positions for each shot. This structured approach ensured consistency and allowed us to maintain a seamless visual flow throughout the production process.Craig Wentworth // And by now Im sure most of our readers are aware that one location in particular in Buenos Aires stood in for most of our racetracks in the series, so in terms of the VFX we had to go through the exercise of conforming the digital world to real our location several times. Suzuka, Interlagos, Imola and Estoril all used the same pitlane, with different set extensions applied based on time period as needed.Another technique that worked very well and really helped to define each location or time period was the color grading of scenes that took place at those tracks. Suzuka had an inherent warmth to it. Interlagos was appropriately a bit more golden. And Imola had a particularly cool and stark color cast, foreboding what we all know is coming.What role did modern tools like AI or Unreal Engine play in crafting the environments and crowd simulations?Craig Wentworth // We didnt really explore AI for this project. However, Unreal Engine played a huge part in our work throughout prep, shooting, and post.Firstly, everything had been prevized in Unreal and, as I mentioned, became part of the Monsters that served as a visual template for production.Those same Unreal projects created for previs were then leveled up for the LED shoot. We spent a solid month working on environment details with one of our production designers, dressing the virtual world to match our locations. We animated entire racing beats, for every race in the series, including the cars that Senna was overtaking, all of which were prepped for playback on the VP stage. Cory Geryak, 2nd Unit DP, and Vicente shot the heck out of those Unreal Projects over two weeks.Those project files were then passed to our VFX vendors, forming a solid basis for the digital environments they created. Also, significantly, the Eyeline team created several of the aforementioned whooshes for us in Unreal. As a fan of the tool, Im really pleased to be able to say we have final pixel renders of F1 cars created in Engine peppered throughout our show.How closely did you collaborate with motorsport historians, race engineers, or the Senna family to maintain authenticity?Marcelo Siqueira // During pre-production, we had access to several individuals who had been close to Senna, both on and off the track. Engineers, team managers, and TV crew members all provided invaluable insights. However, our greatest asset was undoubtedly lvaro Mamute, one of the screenwriters and the person who brought the project to the Senna family over eight years ago. lvaro is an extreme Senna enthusiasta true encyclopedia of Formula 1.Throughout the project, we became not only great friends but also collaborators, working in sync with every recreated lap and overtake. While I already had a good understanding of track and race dynamics, I consistently sought his input on artistic decisions, ensuring that no historical inaccuracies slipped through.What was the most rewarding moment for you when you saw the final sequences come to life?Marcelo Siqueira // I closely followed the construction of every race we recreated. With each VFX review, Craig, Vero, and the VFX coordinators team presented us with the progress of each shot, and we saw the scenes integrated into the narrative context. There was immense satisfaction in realizing that everything we had planned was coming together perfectly.However, the true sense of reward came when I watched Episode 2, which features Monaco 84. With the soundtrack, sound effects, and color gradingall finalized and perfectly harmonizedit was impossible not to get emotional. Even after seeing that race over 50 times during the process, it still moves you, touches your heart, and even brings you to tears. Its a priceless experience.Craig Wentworth // I agree 100% Monaco 84 is definitely a highlight. During the final grading period, Vero and I flew to LA to be with Vicente and help finish. There was a moment when we had a chance to watch a WIP grade of Monaco 84 on a large screen in Netflixs Epic building. Even the sound mix was still in progress at that time.It played down, streaming directly from the Netflix service to the theater. Everything looked and sounded awesome. And even though we werent finished, I remember Vicente smiling at me at the end and saying Were going to be ok.I think, though, the most rewarding moment for me on the show happened very recently, at a tech demo in So Paulo, held at Quanta and moderated by Netflix Brazil. I had the pleasure of being a participant, but also a spectator for a vendor panel, and hearing and seeing how proud our Brazilian partners were of their significant contributions to the project brought me almost to tears. It was so beautiful for them, and amazing for Brazil.What were the key emotional tones you wanted to achieve with these visual effects, and how did they influence your creative process?Marcelo Siqueira // Throughout the series conception process, our primary goal was realism. We couldnt exaggerate or downplay the eventsthey had to be portrayed exactly as they happened. This technical balance was crucial: the less perceptible the visual effects, the closer we were to achieving our goal.Another key focus was how closely we needed to stay connected to Sennato feel what he felt, whether at home with his family, in a kart, or behind the wheel of a Formula 1 car. We wanted to convey what went through his mind at 300 km/h, what he saw, how he saw it, and what made him so uniquehis superpower.These principles guided us throughout the project: to bring the audience close enough to feel these experiences without making them seem fake or electronic, as Senna himself referred to Pure Racing.The VFX had to capture these sensationssuch as near-zero visibility in the rain or the view of an opponent through a shaky rearview mirror. Our challenge was to translate this experience for the audience, delivering authenticity and emotion in every moment.Craig Wentworth // I think the driving force behind every decision made on the show, not just the VFX, was Senna himself, his legacy in particular. At all times we wanted to honor that, honor him, and I believe everyone who worked on the VFX brought a little bit more of themselves to the project just because of what we were making. It shows in the results.Looking back on the project, what aspects of the visual effects are you most proud of?Marcelo Siqueira // Leading the VFX team of the largest and most challenging project ever undertaken in Latin America is, in itself, a tremendous source of pride. This isnt the type of project, in terms of VFX, that were accustomed to doing here. However, Brazil has a unique and valuable characteristic: the natural ability to solve big problems creatively, with ease, and at a competitive cost that few places in the world can match.Historically, major companies have sought vendors in countries like India, Korea, and China, but Brazil has rarely been considered an option for VFX. Even so, we have the talent, capability, quality, and ability to deliver projects with excellence. Bringing Brazilian companies into this project, delivering at the same level as any major international vendor, is, for me, the greatest source of pride. Senna was aman who was passionate and obsessed with what he did, deeply in love with Brazil. He is a major inspiration for me. In many ways, I feel I share that same spiritdedication, passion, and love for what I do.Craig Wentworth // Same here. I am so proud of all of it. I am proud of the simplest, throw-away insert burn-ins that were so lovingly and carefully composited to the most complex high-wide aerial all-CG establishing shots of Suzuka. I am proud of how the teams at Scanline and Eyeline were able to share their knowledge and expertise with our Brazilian partners early on, support such an ambitious project from an emerging market, and give it the chance to really shine.I am especially proud of how willing everyone at Miagui, Quanta, and Picma Post was to learn and adapt to different managerial methodologies and how much they grew during our time together. I am also very proud of the friendships we made on this one. This was a very special experience.How long have you worked on this show?Marcelo Siqueira // 2y and 4 months.Craig Wentworth // In total I spent 20 months on the show.Whats the VFX shots count?Craig Wentworth // We had a total of 2089 official VFX shots.What is your next project?Marcelo Siqueira // I have been invited to direct two major action sequences for a period series, scheduled for delivery in March 2025. Additionally, Im working with Vicente Amorim on another upcoming project, however its too soon to share additional details.Craig Wentworth // Currently I am helping out on El Eternauta, for Netflix LATAM. And were spinning up whats next, which I cant talk about yet, but might involve Vicente too A big thanks for your time. Vincent Frei The Art of VFX 2025