Speaking to ARRI following his Berlinale win, Rosi noted, "The quality of sound was wonderful. In general it is not easy to record audio in-camera, and having the chance to directly record the sound with the AMIRA was great. The viewfinder is wonderful too. I always look in the viewfinder and almost never use a side monitor. It really is like a scientist with his microscope, I begin to discover the world inside the viewfinder and everything stems from there. So I shot a lot with the camera on my shoulder; we were just one body."
At a press conference following the film's Berlinale screening, Rosi specifically cited the AMIRA as being vital to his approach: "This time I also had the privilege of using a camera which is quite light but is a fantastic camera -- the AMIRA from ARRI. It made a huge difference because with this camera I was able to shoot at night, with little or no light; I was shooting with a small torch, and that gave me enormous freedom because being just one person filming...sometimes it looks like we had an incredible amount of light in order to be able to shoot at night or when we shot in the middle of the forest -- it was only one torch. So I think that the technology helped me a lot on this film because being able to work with a small camera -- a tiny camera -- by myself, was an incredible tool."
During his subsequent conversation with ARRI, Rosi reaffirmed, "The AMIRA was absolutely great...when I had to film during the night the images were amazing, with the blacks really black and the light standing out with unbelievable depth. As a matter of fact, the best scenes are those I filmed in the evening or during the night; they are so beautiful that everyone is surprised and asks me "what camera did you use?" This was fundamental, because I was alone, and having a camera that in no-lighting conditions allowed me to keep shooting even when my eye was not able to see things anymore, while the AMIRA could still see and record beautiful images, was amazing."