The choice of TRINITY is part of a path of linguistic research Ive been pursuing for years. We have at our disposal agile tools that allow us to create stable frames and sublimate the use of the camera. These are the words of director Edoardo De Angelis, who chose to use the ARRI TRINITY stabilizer for almost all the shooting of Non ti pago, the second film in his Edwardian trilogy after Natale in casa Cupiello, shot with ALEXA Mini cameras and lit with SkyPanel LED lights.
What convinced you to work with TRINITY?
Over the years Ive used Movi and then Ronin stabilizers, but this time I chose the ARRI TRINITY because it meets the need to shoot long takes of dialogue with micro-movements linked to the actors movements. TRINITY encourages this and leaves the image clean. Its rare that the camera movement doesnt determine the movement of the actors, but for me this is important and TRINITY is perfectly suited to that, in fact I would like to see it used more often. Every film is unique, but in this case the tool was perfect.
Copyright Francesco Catalano
Camera operator Emilio Giliberti working with the ARRI TRINITY on set.
What particular needs did it address on this movie?
The film takes place in a single environment, where we had to be able to explore reality in depth. With TRINITY I have more freedom in positioning the camera, which becomes another character whose gaze rests on the scenes. In my filming I look for something that imitates the process of getting to know reality, which never happens at the precise moment in which one encounters it. The acknowledgment always comes a moment early or late.
The DP of Non ti pago is Agostino Vertucci, known for his work on Nicolangelo Gelorminis Fortuna, who used TRINITY again immediately after this film for Umberto Marinos Un eroe piccolo piccolo.
Copyright Francesco Catalano
Cinematographer Agostino Vertucci (foreground) checks a composition through his directors viewfinder.
This was the first time you worked with TRINITY, how did it go?
Neither Edoardo nor I had ever worked with this tool before, and I had only seen it in demos. It was a real discovery to see how easily it moved in our location, which had a very large room and other very small rooms in which many actors had to move. Two weeks before shooting, we did some tests on location that clarified our ideas, and then we were off to a flying start.
Did the use of TRINITY accompany the visual style chosen, or did it also determine it in some way?
Initially, TRINITY accompanied Edoardos visual ideas, and then as we became more familiar with the tool, it also influenced them. We went further, we started asking for more and more, so much so that we made several very complex sequence plans that we couldnt have made otherwise. One of them followed a maid as she answered the front door, starting from the kitchen, crossing a narrow external walkway that was only about 65 centimeters wide, entering the main hall and getting to the door, and then coming back.
Crossing the hallway with that agility, with another tool, would have been very complex indeed. I knew Edoardos way of shooting with the Ronin, with a very dynamic style, and I know that he loves tight lenses and is very close to the actors. Together we figured out how to adapt this style to the TRINITY, which gave us greater elegance, composure, versatility, and cleanliness.
Copyright Francesco Catalano
Using the TRINITY in combination with a custom rig.
How did you manage photographic continuity with such complex shooting scenarios?
In Edoardos adaptation, the film is set in 1959 and for the look we had chosen not to be too philological in terms of aesthetic research, allowing ourselves some license to personalize it. Our reference was Marie Antoinette by Sofia Coppola. The set design and costumes had already given us a very varied palette, ranging from deep blues to yellows: with Massimo Cantini Parrinis costumes and Carmine Guarinos set design, we had an excellent base to work from. The most complex thing was to manage the photographic continuity.
When Edoardo called me to propose the film, I imagined an interior theater piece, but then I realized that there was a strong relationship with the outside world, because the protagonists often went out onto the terrace and then entered a workshop, a glass structure. In a film divided into three acts, in which each act recounted a time segment, the photographic continuity had to be absolute. So we built a structure that allowed me to run two blacks of different intensities that I could manage according to the external light conditions.
When we started shooting, the sun never arrived directly on the terrace, but from the first days of May it began to arrive. The structure we created allowed me to filter it when necessary, or reproduce it when it was absent, thanks to a series of ARRI M40 light fixtures placed above the trusses, because during that period the sky was very overcast.
Emilio Giliberti is the TRINITY operator who worked on Non ti pago. He says, Ive been working with TRINITY for about three years, and on every type of film it allows me to come up with brand new shots.
Copyright Francesco Catalano
Emilio Giliberti has used the TRINITY on a number of projects.
How did you get involved in this production?
This film was a great opportunity! I was contacted by the production team and then I met Agostino and Edoardo on the set. I proposed TRINITY to Agostino and we organized a test shoot on location, in order to show the director what it could do. I immediately felt a great connection with Edoardo, an understanding that he would give me a lot of freedom to dance' with the actors.
What were the challenges on set and the advantages of working with TRINITY?
It was an extremely stimulating journey, but also tiring at times because of
Most recent headlines
05/01/2027
Worlds first 802.15.4ab-UWB chip verified by Calterah and Rohde & Schwarz to be ...
04/08/2026
Dalet, a leading technology and service provider for media-rich organizations, t...
04/07/2026
April 7 2026, 19:00 (PDT) Detective Conan: Fallen Angel of the Highway Opens in...
01/06/2026
January 6 2026, 05:30 (PST) Dolby Sets the New Standard for Premium Entertainment at CES 2026
Throughout the week, Dolby brings to life the latest innovatio...
13/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
13/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
13/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
13/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
13/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
13/05/2026
Creative software developer Foundry today announced the latest developments on Nuke Stage. A purpose-built application for end-to-end virtual production and in-...
12/05/2026
Beyond the Hype: A Strategic Post-Hoc Analysis of NAB 2026 If NAB Show 2026 had an underlying theme, it was a quiet, industry-wide pivot from the high-energy sp...
12/05/2026
Guntermann and Drunck (G&D), a Panoptec Technologies Group company, and CT Square, led by Chandresh Shah, have announced a joint venture to distribute G&D and V...
12/05/2026
With 30 days until the start of the FIFA World Cup 2026, Telemundo, the exclusive Spanish-language home of the tournament in the United States, has announced th...
12/05/2026
The NHL has announced the return of Stanley Pup for its third consecutive year, a 90-minute special featuring adoptable rescue dogs competing on a miniature rin...
12/05/2026
NBCUniversal presented its 2026 Upfront to advertisers at Radio City Music Hall, detailing upcoming programming across NBC, Peacock, Bravo, and Versant properti...
12/05/2026
FOX Sports has announced funding for the Fandom and Social Connection Initiative at Harvard Kennedy School's Shorenstein Center on Media, Politics, and Publ...
12/05/2026
TNDV and Live Media, both divisions of Live Media Group, supported live broadcast coverage around NCAA Final Four weekend in Indianapolis, including the March M...
12/05/2026
The European Football Alliance (EFA) has announced a content distribution agreement with Fubo Sports Network, the free ad-supported streaming TV (FAST) channel ...
12/05/2026
For the first time, Spanish-speaking fans in the U.S. will have two separate tel...
12/05/2026
CP Communications led a comprehensive spectrum management initiative on behalf of Churchill Downs during Kentucky Derby week, coordinating RF assets across the ...
12/05/2026
LiveU has announced a strategic partnership with DRONERESPONDERS, a 501(c)3 non-...
12/05/2026
Open Broadcast Systems has announced that BMC TV, a specialist in IP transport of broadcast content, has selected the Open Broadcast Systems 5G Flyaway solution...
12/05/2026
NEP Europe, part of NEP Group, has announced it will deliver broadcast solutions...
12/05/2026
Grass Valley has announced continued collaboration with Ravensbourne University ...
12/05/2026
Stats Perform has announced the launch of Opta Pulse, an AI-assisted video creation and distribution platform for leagues, rights holders, and broadcasters. The...
12/05/2026
FOX Sports has announced a collaboration with Sesame Workshop to integrate Sesame Street characters into FOX Sports' FIFA World Cup 2026 programming. Conten...
12/05/2026
To date, NHL Productions has produced 19 broadcasts with commentary in American Sign Language
NHL in ASL (American Sign Language) may be just one show, but the...
12/05/2026
Google's Brian Albert: creators, athletes, highlights, nostalgia, second-scr...
12/05/2026
A still from Past Lives by Celine Song, an official selection of the Premieres program at the 2023 Sundance Film Festival. (Courtesy of Sundance Institute | p...
12/05/2026
Spotify is where fans and artists come together, turning discovery into somethin...
12/05/2026
Features patented Marco-MMC clocking technology
Black Lion Audio's latest release combines the company's expertise in clocking with their renowned p...
12/05/2026
New Track Panel, sequencer upgrades & more
Following their recent public beta release, Reason Studios have announced the full release of Reason 14. With the...
12/05/2026
One month to go! SBS reveals expansive FIFA World Cup 2026 lineup beyond the pi...
12/05/2026
Rohde & Schwarz presents its advanced solutions for power electronics testing at...
12/05/2026
aconnic AG (ISIN: DE000A0LBKW6), Munich, has developed a modified fund raising p...
12/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
12/05/2026
Tyrell Corporation, specialists in high-end live sports and entertainment broadcasts, was tasked with delivering compelling broadcast coverage of premier equest...
12/05/2026
Registration is now open for IBC2026 as the global media, entertainment and technology community prepares to converge on the RAI Amsterdam from 11 14 September ...
12/05/2026
Ross Video, a global leader in live video production technology, will present its latest innovations and integrated production workflows at BroadcastAsia 2026, ...
12/05/2026
500 selected leaders from around the world across start-ups, corporates, and venture capital. Over 50bn in assets under management among attending investors, a...
12/05/2026
CVP, one of Europe's leading suppliers of professional video and broadcast solutions, has appointed Randy Koeman as Sales Manager, Netherlands, marking anot...
12/05/2026
Taiwan Television has expanded its HD content ingest workflow capabilities by investing in the PlayBox Neo Suite - a leading multi-channel multi-server UHD/HD/S...
12/05/2026
Jigsaw24 is strengthening its media team with the appointment of Tom Laker as Client Director and Ashish Chauhan as Project Manager. These strategic hires bring...
12/05/2026
Broadcast playout leader showcases hybrid IP infrastructure and workflow automation with Videoland deployment as regional benchmark...
12/05/2026
dzjinius, the all-in-one production management platform for the media and entertainment industry, will showcase its centralised approach to production workflows...
12/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
12/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
12/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
12/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
The choice of TRINITY is part of a path of linguistic research Ive been pursuing for years. We have at our disposal agile tools that allow us to create stable frames and sublimate the use of the camera. These are the words of director Edoardo De Angelis, who chose to use the ARRI TRINITY stabilizer for almost all the shooting of Non ti pago, the second film in his Edwardian trilogy after Natale in casa Cupiello, shot with ALEXA Mini cameras and lit with SkyPanel LED lights.
