Explaining his choice of camera and lenses Duscio said, “I'd seen test images online of the ALEXA LF matched with the ARRI Signature Primes and believed it would be a perfect fit for fashion and beauty work. I think the introduction of larger sensor cameras like the ALEXA LF and ALEXA 65 go some way to achieving that beautiful three-dimensional rendering of medium format stills cameras that I also love to shoot on.”
Duscio’s technology partner on the Target TVC shoot was Australian rental house, Cinoptix. He continued, “Thankfully Cinoptix were fortunate and progressive enough to have one of the first ALEXA LF and Signature Prime packages in the world. Co-directors Adam Murfet and Jessie Oldfield regularly shoot on the ALEXA and were as excited as me to try out the latest addition to the ARRI family. The naturalism of the ALEXA sensor combined with the smoothness of the Signature Primes were an easy sell and we were all thrilled with the results.”
It wasn’t just Duscio and the directors who welcomed the familiar feel of working an ARRI ALEXA, albeit one with a larger sensor, the wider crew also took to the new camera with great ease.
He continued, “The size and handling fit into our camera department seamlessly as it felt very similar to working with an ALEXA SXT body. I was also lucky enough to work with a regular collaborator and extremely fit Steadicam operator, Justin Besser, as he guided the camera relentlessly through uneven hillsides, forests, and creek sides.”