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Last weekend at the Dolby Theatre in Los Angeles, F1 took home the Oscar for Best Sound at the 98th Academy Awards. Here’s a look at the sound team that brought the high-octane sound of Formula 1 racing to the big screen, plus the equally talented sound teams behind the other nominees.
Formula One racing has exploded in popularity in recent years, and Joseph Kosinski’s F1 delivers fan service in high gear. Because the sport has a very distinctive sound that fans are deeply familiar with, Supervising Sound Editors Gwendolyn Yates Whittle and Al Nelson had to make sure every little detail was authentic while still delivering the larger-than-life sound audiences expect.
Vital to the effort was Production Sound Mixer Gareth John, who oversaw the recording of real F1 cars on real tracks using both onboard and external mics to capture the nuances of different manufacturers’ engines, tire formulations, specific gear shifts, and even the roar of the crowd. Re-Recording Mixers Gary Rizzo and Juan Peralta took the soundtrack to the finish line, maintaining the authenticity of the sport while making it feel dynamic and immersive.
Guillermo del Toro’s Frankenstein brought modern-day spectacle and style to Mary Shelley’s 1818 novel, and sound was a huge part of that. From the cavernous abandoned tower where Victor Frankenstein sets up his lab to the lightning that surges through massive capacitors to bring his creation to life, Supervising Sound Editors Nathan Robitaille and Nelson Ferreira successfully matched the eye-popping set pieces with incredible sound design.
Of course, none of it would have happened without Production Sound Mixer Greg Chapman capturing incredible performances on set and Re-Recording Mixers Christian Cooke and Brad Zoern stitching it all together on the mix stage. Like the title character, Frankenstein’s sound team infused an old story with new life and created 2025’s best monster movie.
Best Picture winner One Battle After Another feels like just that. In the first half of its 160-minute runtime alone, there’s a prison break mission of sorts, a bank robbery, a car chase, multiple police raids, a harrowing escape, and a full-on riot scene. But the din of Heat-style gunshots, helicopters, explosions, and sirens is punctuated by quieter scenes, including some deeply sinister moments where subtle Foley is used to great effect.
Even the music editing plays a part, often providing an emotional counterpoint to the visuals and elevating the film from typical action movie fare to something totally unique. F1 may have taken the crown for Best Sound this year, but the work of Supervising Sound Editor Christopher Scarabosio, Production Sound Mixer José Antonio García, and Re‑Recording Mixer Tony Villaflor surely set a new bar for theatrical epic sound design.
Ryan Coogler’s Sinners made history this year with 16 total nominations, and although it didn’t end up winning Best Sound, it’s still a masterclass in musical storytelling. Many of the songs were recorded live on set by Production Sound Mixer Chris Welcker, including a full-band performance with blues legend Buddy Guy and a challenging shoot featuring guitar and vocals recorded inside a moving car.
Music Editor Felipe Pacheco artfully wove these performances into the soundtrack along with Ludwig Göransson’s score, creating a collection of works ranging from sorrowful blues tunes to energetic juke-joint numbers and haunting folk songs. Supervising Sound Editor Benjamin A. Burtt (son of Star Wars sound designer Ben Burtt) contributed sound design for the supernatural elements along with Steve Boeddeker, who also mixed the film with fellow Re-Recording Mixer Brandon Proctor.
Set in the wilderness of the Moroccan desert, Sirāt takes audiences on quite a sonic journey. Supervising Sound Editor/Sound Designer Laia Casanovas, Production Sound Mixer Amanda Villavieja, and Re‑Recording Mixer Yasmina Praderas pulled out all the stops for this one, using creative techniques to give the film a unique sonic identity.
To recreate the intensity and character of the massive DIY sound system, the rave music was re-amped through hand-built speakers after plug-ins proved inadequate and studio monitors too clean. Crowd sounds were built from stealth recordings of the crew arriving on location, and many hours of Foley work went into creating the Mad-Max-style sound of vintage vans rattling across the treacherous desert. Even the background sounds are crucial to the story, especially the brutal desert wind, some of which was deliberately recorded without wind protection or by blowing directly into a microphone.
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