Short Film All That’s Left Shot with URSA Cine 12K LF
Intimate drama edited and graded in DaVinci Resolve Studio.
Blackmagic Design today announced that the short film “All That’s Left” was shot using the Blackmagic URSA Cine 12K LF digital film camera and finished using DaVinci Resolve Studio editing, color grading, visual effects (VFX) and audio post production software.
Written by Rachael Watson and adapted for the screen by Director and Cinematographer William Hellmuth and J. Scott Worthington, “All That’s Left” stars Amber Stonebraker and Clint Jordan and follows Maria, a woman in an abusive relationship, who finds unexpected comfort through her friendship with her elderly neighbor Jimmy.
Hellmuth wanted the imagery to feel hyper focused, as if everything outside Maria’s immediate world was background noise. “When I experience a crisis and begin to feel panicked, my mind focuses intensely on whatever’s right in front of me. I wanted to capture that feeling,” said Hellmuth. He paired shallow depth of field with deliberate stillness, keeping camera movement minimal to match the sensitivity of the material.
For Jimmy, Hellmuth took a different visual approach, letting the character fall into silhouette. “He’s a man that isn’t going to be on this world much longer, and he’ll soon be a memory just like the photos and other reminders of his past life in his house,” Hellmuth said. “I wanted the cinematography to see him as Maria might remember him when looking back on this exchange years later.”
Hellmuth chose the URSA Cine 12K LF for its shadow performance and dynamic range, knowing the film would spend most of its time inside a dark living room. The large sensor also gave him a wider field of view in tight spaces without needing to pull the camera back. He paired the camera with Tokina Vista C lenses for their classic feel and bokeh. “With such a large sensor, I didn’t need to shoot wide open all the time to get the perception of a shallow depth of field,” Hellmuth said.
“The moment I came home and brought the footage into Resolve to watch on my big monitor, I gasped,” said Hellmuth. “The detail, dynamic range and cleanness of the image is shocking. I can let a scene live in darkness, in the lower end of the spectrum, and not lose interesting details and texture in those shadows.”
Editor Anthony Parisi cut the film in DaVinci Resolve Studio, building on a long, collaborative relationship with Hellmuth. The two worked out an unusual approach: Hellmuth edited the first several versions himself before passing the project to Parisi to refine and polish. “In this short, which has a certain simplicity to it with two characters talking, the ‘why’ for any given shot or reaction becomes magnified,” said Parisi. “It’s really delicate. There’s subtext you’re shaping when choosing each cut.”
For Parisi, keeping the entire post workflow in one place was the clear advantage. “The cutting tools in DaVinci Resolve are fantastic, and it’s so nice not ever having to leave the program for color. It just makes sense to keep it all in one place,” he said.
Colorist Wes Langdon graded the film in DaVinci Resolve Studio, building from a PowerGrade that he and Hellmuth had originally developed for a previous project. From there, the two tried different directions before settling on the final tone. “We spent a lot of time going back and forth auditioning a few different looks before we landed on the cool, slightly desaturated look we used here,” said Hellmuth. “Wes has a willingness to experiment and try new things which is very refreshing and energizing.”
Langdon pointed to DaVinci Resolve Studio’s Fusion page as a regular part of his process, using it for complex retiming, tracking, stabilization and custom titling. He also relies on the AI powered voice isolation tool. “The AI voice isolation is literal witchcraft,” Langdon said. “I use it constantly, even just at 10 percent to clean up the room a bit.”
The entire production stayed in DaVinci Resolve Studio from edit through final grade. “We were all in Resolve, so sharing project files was extremely easy,” said Hellmuth. “We both love working with Blackmagic RAW files, so that made it even easier.”
“All That’s Left” premiered at the 2026 Dances With Films festival and is currently on the festival circuit.
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