Indie Crusade Epic Explores the Apocalypse with URSA Mini Pro 12K
Blackmagic RAW, DaVinci Resolve Studio and Fusion Studio help film span set to post in one workflow.
Blackmagic Design today announced that the independent feature film “Joachim and the Apocalypse” was produced using a Blackmagic RAW workflow from set through to post production. The Blackmagic URSA Mini Pro 12K digital film camera served as the film’s principal camera, with editorial and finishing taking place in DaVinci Resolve Studio and Fusion Studio handling the film’s visual effects (VFX).
Produced by Delta Star Pictures in Rome, the historical drama recently premiered in the U.S. at the Los Angeles Italia Film Festival following its success at the Italian box office. Set during the Crusades, the film follows the final days of Joachim of Fiore, a visionary monk and theologian whose interpretations of the Apocalypse defied the Church.
Director Jordan River and DP Gianni Mammolotti AIC opted to shoot the feature on the URSA Mini Pro 12K and paired the camera with a mix of Cooke and Xeen optics, balancing the need for a cinematic aesthetic against the practicality of shooting in real locations.
“Despite shooting digital, the camera delivered an organic image with incredible color depth and a smooth roll off in the highlights,” said Mammolotti. “Instead of building expensive sets, we embraced authentic medieval locations. We filmed in villages across Calabria and Lazio, in Cistercian abbeys, and in remote, snow covered landscapes to capture a raw, historical feel,” he continued.
The protagonist’s spiritual journey was brought to life in post by Editor Alessio Focardi, working alongside VFX Supervisor Nicola Sganga and Senior Colorist Ivan Tozzi. “With 60 terabytes of footage, comprising a mix of camera and drone shots, organization was essential to maintain control of the creative process and avoid any technical bottleneck,” explained Focardi.
“We ingested everything directly into DaVinci Resolve’s media pool and optimized playback using proxies in log format created with Blackmagic’s Proxy Generator. Smart Bins, organized through metadata tags, allowed us to then manage footage efficiently, ensuring creative control without technical bottlenecks,” he noted.
Working between Florence and Rome, the post team relied on a remote collaboration workflow. “We used twin disks to work in real time across locations. It allowed us to export versions for review and approval as if we were all in the same room,” Focardi said.
He added, “We needed to evaluate the visual impact of certain sequences immediately, and the LUT preview in DaVinci Resolve helped us ensure that the footage aligned with the intended atmosphere before we moved to the final grade.”
“When it was time to relink the timeline with our Blackmagic RAW files, no XML export was needed, just a direct link to the camera original media, and the project was ready for color correction and finishing,” Focardi noted.
Translating Joachim’s mystical visions into visual sequences was one of the film’s most fascinating challenges, according to Sganga.
“With more than 250 VFX shots, one of the most ambitious sequences was a metaphysical battle with a seven headed dragon,” he explained. “We built the creature in CGI with a complex skeletal rig and used Fusion’s 3D workspace to blend pre rendered 3D models, live action footage, and real time effects.”
Photogrammetry and 3D scanning were then used to recreate the dragon’s lair. “Fusion’s Delta Keyer helped to preserve fine details like hair, skin, and fabric textures,” observed Sganga.
When it came to color grading, achieving visual consistency across varied environments was key. “We used DaVinci Wide Gamut to recover highlight detail and False Color to manage exposure on set,” said Tozzi. “As Joachim’s journey darkens, the palette shifts to colder, more austere tones to reflect his inner transformation.”
Distributed in DCP 4K for theatrical release, the film’s final mastering was completed in DaVinci Resolve Studio.
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