DP Danny Vecchione and Second Camera Operator Connor Lawson used two Pocket Cinema Camera 6Ks to capture the film, pairing them with anamorphic lenses and Blackmagic Video Assist 7” 12G HDR monitor/recorders. Shooting in Blackmagic RAW, Vecchione was confident that he could push the image during the darker scenes and make it work in post with the color correction tools in DaVinci Resolve Studio editing, color grading, visual effects (VFX) and audio post production software. The film was then graded by Alex Berman of Goldcrest Post NY with a DaVinci Resolve Advanced Panel.

The Pocket Cinema Camera 6Ks’ miniaturized handheld design allowed Vecchione to be nimble so he could quickly react to the scenes as they progressed. Using a mix of professional and nonprofessional actors and a mostly handheld approach contributed to film’s authentic and almost documentary-like feel.

“To capture the unique approach to storytelling that we were going for, we needed to allow for a lot of space for the actors and have an extremely small footprint for the crew,” explained Diego Ongaro, Director. “We used the Pocket Cinema Camera 6Ks since they allowed us to be as stripped down and flexible as possible while still shooting anamorphic. We couldn’t have achieved the same feel with a different setup because we would have needed more crew, which would have ultimately changed the dynamic. My goal was to have more people in front of the camera than behind it, and we were able to attain that with Blackmagic Design.”