Blackmagic’s new Pyxis 6K takes its first steps with latest Rossetto Campaign

Supermarket chain Rossetto has entrusted creative agency Coo’ee Italia to shape its new advertising campaign, which has been shot on Blackmagic Design’s new Pyxis 6K camera.

The campaign concept La Spesa dei Sogni (Dream Shopping) is inspired by Rossetto’s approach to keeping prices low all year round rather than focusing on frequent customer cards and promotions. The idea was developed by advertising agency Coo’ee Italia, was led by Mauro Miglioranzi and featured the creative direction of Alessandro Tosatto, who relied on Paolo Doppieri as director.

Alessandro Zonin (AIC, IMAGO) was the director of photography for the piece, and one of the main architects of the choice of the Blackmagic Pyxis 6K as the camera for this project: “I have been using Blackmagic cameras for years, but as soon as I heard about the launch of the PYXIS 6K, I went to Adcom in Bologna to test it. I was immediately impressed by its powerful and innovative features.” The camera was equipped with Xeen’s Meister fixed focal length lenses and an XLCS Designs housing, which has connections for accessories, including a wireless transmitter for focusing and the Blackmagic URSA Cine EVF electronic viewfinder, and a V-Lock battery was used for power supply.

The images were captured in 6K resolution using the full sensor area (6048 x 4032), and the final material for broadcasters and social media was delivered in 4K. The decision to use the Blackmagic RAW format during the shoot and to use DaVinci Resolve, the editing, color correction, special effects and audio post-production software, was the common thread of this project, according to Zonin, who highlights the advantages of this unified workflow: “Blackmagic Cloud allowed us to host and share the project library and media, facilitating a collaboration with the editor and Diego Larosa, our colorist, remotely.” Also, shooting with the PYXIS 6K model opened the door to an integrated workflow that allowed the camera to record lower resolution H.264 files in addition to the camera originals.

Proxy (lower resolution) files were uploaded directly from the camera to Blackmagic Cloud via tethering from a cell phone with a 5G connection, and this was made available to everyone on the team. “This approach ensured that we could quickly identify the most compelling clips and lay the groundwork for a more effective creative process,” explains Zonin, who also stresses that “the flexibility of shooting in 6K Open Gate allowed for reframing in post while the camera’s built in gyro sensor, recorded as metadata in the footage, saved significant time when stabilizing handheld shots during post.”

Rossetto’s latest campaign creative concept

Rossetto’s ad shows a crowded supermarket, with customers pushing carts full of colorful products and tempting offers down the aisles. In the midst of this everyday scene, something extraordinary happens: a man flies through the air with his cart. This surreal moment is the backbone of the supermarket’s new campaign.

One of the main challenges was to integrate a digital clone of the protagonist in a real environment. Zonin explains: “We created a full CGI avatar based on detailed scans and high resolution photographs of Matteo Montaperto, our lead actor,” Zonin explained. “The scenes were shot without the avatar present, relying on precise lighting and composition references for later CGI integration.” Tommaso Malaisi, the visual effects (VFX) artist, was in charge of creating the digital clone: “The goal was to ensure that the avatar interacted naturally with the environment and the real character. It required obsessive attention to detail, on par with big feature film productions.”

The production combined the recorded material with the computer-image sequences to create a narrative that balanced fantasy and realism, requiring meticulous planning, beginning with a thorough site survey to refine the concept sketch and ending with technical tests with exposure meters and colorimeters to detect color temperature and identify and resolve any lighting issues in advance. For example, to solve the LED lighting in the tents, Zonin and his team decided to use the camera’s dual native ISO value, “which allowed us to switch between 400 and 1250 without sacrificing image quality.”