The series was shot with two Arri Alexa Minis and an Alexa SXT Plus, “fitted with Arri/Zeiss Master Prime lenses. [Cinematographer Romain Lacourbas, ASC, AFC] notes that “the narrative style established by Stefano and Paolo was about telling the story with the camera in the simplest way — only moving the camera when needed.” It took him a while to adapt. “You have to change your mindset, but after a few days I understood the grammar, the reasons, why these lenses were chosen. I don’t usually use Master Primes because I find them too perfect and clinical, but they worked for this kind of story. To achieve the desired realism, [in addition to the limited camera movement] we tried to stay as close to the characters as possible, using wide lenses to place them amid their environments — almost never tighter than 35mm or 40mm.”

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