Naked Wines Captures Festive Cheer with PYXIS 12K
A Christmas campaign shot with bright, polished visuals and effortless precision.
Cinematographer James Westlake walked onto the Naked Wines kitchen set knowing he had an eight minute story to capture in a single day. Choosing to shoot it with the Blackmagic PYXIS 12K digital film camera, the brief was to make it feel like a real cooking show, but with the warmth and gloss of a Christmas spot.
He ran the day on a single camera, mostly handheld, weaving around the worktops, catching real reactions and keeping the kitchen feeling like a working space rather than a dressed set. “The idea was that the cut would feel spontaneous, like you were being invited into the kitchen on Christmas morning,” said Westlake. “The actors were tasting a selection of wines from the brand’s Christmas box, reacting naturally and having fun. It had to feel authentic rather than overly stylized, so we shot everything handheld.”
Filmed in a kitchen studio, the production called for a lightweight rig that could keep up with the shoot’s reactive energy while maintaining a high end look. “We were shooting handheld for ten or eleven hours a day,” Westlake recalled. “The PYXIS is way lighter than anything comparable. You can keep it on your shoulder or handheld all day and it just feels right.”
The camera’s box shaped design allowed for maximum flexibility. “It’s evenly weighted, so it’s not back or front heavy,” he explained. “That balance makes it easier to operate for long hours.”
Westlake mounted the Blackmagic PYXIS EVF Monitor Kit, which combines a five inch touchscreen display with a full featured electronic viewfinder. “The USB-C connection provides both power and video, and the mount lets you position it precisely,” he said. “It also allows all camera settings to be controlled directly from the screen, which was helpful when shooting low angles or in tight spaces.”
Rigging was kept minimal, using a Bright Tangerine shoulder plate and handles, supported by an Easyrig for comfort during the long shoot. “We built a lightweight handheld rig that stayed comfortable throughout the day,” Westlake said. “Being able to move quickly without compromising quality was key.”
For the broadcast and social media deliverables, Westlake shot open gate on the camera’s 12,288 x 8,040 RGBW sensor, capturing 8K full frame images that could be reframed in post. “That was huge for us,” he said. “We didn’t have to rotate the camera or duplicate setups; one frame gave us both horizontal and vertical versions.”
The combination of Blackmagic RAW recording and 16 stops of dynamic range provided flexibility and color accuracy across reflective kitchen surfaces and festive lighting. “Even though a lot of the content will end up on Instagram, it still needs to look cinematic,” Westlake said. “The PYXIS made that possible.”
Data management remained straightforward thanks to Blackmagic RAW’s efficiency and built in proxy recording. “You can generate smaller files for remote review without sending full 8K footage,” he added. “That’s a huge advantage on commercials where clients are often based overseas.”
Westlake paired the PYXIS 12K with DZOFilm VESPID Primes to achieve a bright, modern aesthetic. “They’re sharp but not clinical,” he said. “I chose the L mount version of the camera, which makes it adaptable to whatever glass the job calls for, from modern primes to vintage lenses.”
Reflecting on the production, Westlake said the project highlighted the evolving nature of branded content. “Clients now want cinematic polish but also expect the speed of social media production,” he explained. “You need to move fast and still deliver something that feels crafted.”
That balance, he noted, depends as much on usability as image quality. “Everyone talks about the 12K resolution, but what I love about the PYXIS is the image and the flexibility the in sensor scaling affords you whether it’s 4K, 8K or 12K,” he concluded. “It’s a camera that feels professional but never gets in the way.”
Credits
Agency: n/a
Production Company: Naked Wines, Fancy London
Producer: Rachel Loughran
Director: Rachel Loughran
DoP: James Westlake
1st AC: Lewis Thompson
Gaffer: Alina Kolosova
Editor/Colourist: Zoey Jeater
Sound Recordist: Sean Simpson
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