This was the first time you worked with TRINITY, how did it go?
Neither Edoardo nor I had ever worked with this tool before, and I had only seen it in demos. It was a real discovery to see how easily it moved in our location, which had a very large room and other very small rooms in which many actors had to move. Two weeks before shooting, we did some tests on location that clarified our ideas, and then we were off to a flying start.
Did the use of TRINITY accompany the visual style chosen, or did it also determine it in some way?
Initially, TRINITY accompanied Edoardo's visual ideas, and then as we became more familiar with the tool, it also influenced them. We went further, we started asking for more and more, so much so that we made several very complex sequence plans that we couldn't have made otherwise. One of them followed a maid as she answered the front door, starting from the kitchen, crossing a narrow external walkway that was only about 65 centimeters wide, entering the main hall and getting to the door, and then coming back.
Crossing the hallway with that agility, with another tool, would have been very complex indeed. I knew Edoardo's way of shooting with the Ronin, with a very dynamic style, and I know that he loves tight lenses and is very close to the actors. Together we figured out how to adapt this style to the TRINITY, which gave us greater elegance, composure, versatility, and cleanliness.