DaVinci Resolve Studio makes it possible to recreate D-Day with three-dimensional images

Targo, a studio specializing in three-dimensional documentaries, uses DaVinci Resolve by Blackmagic Design to address 'D-Day: The Camera Soldier', a film as a narrative that fluidly alternates between different formats, using immersion as part of a constantly evolving set of narrative tools.

Eighty years after World War II, a daughter discovers the untold story of her father as a war cameraman during D-Day. This is the plot of the new documentary produced by Targo in collaboration with Time Studios for Apple Vision Pro devices. By combining 2D footage, immersive images and 3D interactivity, filmmakers sought bring the public closer to the emotional and historical truth of the documentary.

Chloé Rochereuil, co-founder and director of Targo, points out that "now we can ask ourselves: 'What is the most appropriate medium to tell this specific part of the story?' Before, we worked in blocks - 360-degree images, stereoscopic sequences, interactive scenes - and each format worked independently. This project links them and allows us to choose the one that best suits the narrative."

That mindset influenced every aspect of the production, from developing a compact, custom camera rig to designing a unified post-production process. “One of the first challenges we faced was finding the right equipment: it had to be light, high resolution and robust enough to be able to record everyday life naturally without causing any discomfort,” he highlights. Victor Agulhon, producer and co-founder of Targo.

Development of a compact 3D platform

Traditional high-resolution 3D platforms are large and cumbersome, making it difficult to work on documentaries. For this project, Targo developed a miniaturized version with two units Blackmagic Micro Studio Camera 4K G2, in order to capture images in spatial format.

“These cameras gave us the perfect balance: Cinematic quality in a compact, lightweight design" says Agulhon. "They were small enough to mount on a beam splitter, which allowed us to easily move the system around indoors and outdoors, or even on the beach."

In the end, It all came down to image quality, format and sensor timing. “The Micro Studio 4K were the only cameras that managed to integrate the three elements in the way we needed,” reveals Mael Joanas, director of immersive photography. “Also, Blackmagic cameras gave us a reliable sync generator in a compact format, without needing an AC power source, which was a crucial factor for us.”

The compact platform opened the doors to a world of creative options. “We were able to film in tight spaces, between furniture, in basements and close to the subjects,” says Rochereuil. "An example of this is a very nice shot that imitates the effect of a tracking shot, for which we used cameras mounted on sliders. We were able to make these decisions thanks to the lightness and compact size of the platform."

On the other hand, Agulhon acknowledges that "we wanted to take full advantage of the Vision Pro's capabilities and achieve real-world fidelity. That priority influenced the decision to use Blackmagic equipment, providing the cinematic sharpness and depth needed to bring the immersive experience to life“.

With a single tool

D-Day: The Camera Soldier It was the first Targo project in which the entire workflow could be integrated into DaVinci Resolve Studio. “Unify our audiovisual dynamics to edit, conform, grade and deliver the final version Using a single tool reduced the variables and centralized our process around a set of known skills,” explains Joanas.

A key advantage was DaVinci Resolve Studio's compatibility with stereoscopic three-dimensional work dynamics. “Previously, our stereoscopic alignment process would have been spread across several tools,” reveals Joanas. “With Resolve, we not only reduced the need to import and export files, but we also improved our collaboration.”

Esa ability to edit stereoscopic material through a classic two-dimensional workflow It turned out to be decisive. “Basically, we were working in a 2D environment using stacked images for the left and right eyes that were synchronized with a few clicks,” says Joanas. “This allowed us to do stereoscopic editing with a common screen and, at the same time, export in parallel formats for delivery.”

Targ sees the documentary as a step toward a new form of immersive storytelling. "We are very proud of the naturalness with which everything came together, both for the story and for the viewer. We managed to unify multiple formats without losing the essence of a deeply human narrative," concludes Rochereuil.

https://www.youtube.com/watch?v=g8NEqGBGnGI