2024.11.29
- Can you tell us more about yourselves? (Career/Major/Hometown/Hobby...)
Hey there! We’re Matteo Capatti, Lorenzo Mazzucchi, and Carlo Loglisci—three Italian filmmakers from Torino, Vercelli, and Biella. Despite being from different generations (1987, 1997, 1985), our journeys have a lot in common. After finishing school, each of us jumped headfirst into personal projects in the music and audiovisual worlds. Over the years, we’ve worked on a variety of productions while also developing our own independent projects.
Cinema has always been a childhood passion, but it was music that truly brought us together. Italy’s music scene is close-knit, and it’s common for people to cross paths. We were fortunate to connect—finding people who share your vision and have complementary skills is rare, and it makes all the difference in elevating a project.
While we don’t always work as a trio, we recently collaborated on some amazing projects, including the award-winning short film I Was, several documentaries, and music videos. We’re always on the lookout for fresh inspiration and new challenges, striving to grow and push our ideas and style to the forefront.
Matteo Capatti
Lorenzo Mazzucchi
Carlo Loglisci
- Why did you choose to create a horror film? Was it just to participate in various horror film festivals?
Our decision to create a horror short film came from our love for the genre and a desire to do something different from today’s typical content. We took inspiration from TV series like 'The Twilight Zone 'and horror films of the '60s and '70s. Back then, due to budget constraints and technical limitations, directors relied more on audience imagination rather than explicit visuals, and the results were incredible. Viewers could engage their own creativity.
To stay true to that retro vibe, we decided to forgo many modern conveniences (equipment and budget) and go fully vintage. It was challenging in every sense, but we’re proud of what we created. Of course, not everyone understood our approach or vision, but that’s okay; when you make something primarily for yourself and against the mainstream, it’s a given.
Entering horror festivals felt like a natural next step, though it wasn’t initially planned. Once we started, it became a fun challenge to submit our short film to as many festivals as possible and see if it resonated. Happily, it did, and we’re thrilled with the response.
- What were your roles in this film? Could you talk about the inspiration for the story?
We wore multiple hats on this project because we chose not to invest in a formal budget, and we didn’t feel it was fair to ask others to work without pay. So, the three of us handled everything. Lorenzo and I (Matteo) focused on directing, shooting, lighting, and editing, while Carlo managed behind-the-scenes, photography, audio, the trailer, and all the festival entries and social media.
The concept for this short came from a conversation between Lorenzo and me. We wanted to create something uniquely ours, different from our previous experiences with other productions. After some brainstorming, we decided to go for it.
The story idea came from a close friend, Simone Cavallari, an avid horror fan, sculptor, and prop designer. He envisioned stepping away from today’s typical screens and embracing a more classic style. Lorenzo and I were immediately on board because it matched our vision perfectly. We made minor adjustments to fit our needs and resources, then brought Carlo in, who was excited to join this little adventure.
- How did you learn about DZOFILM? In what situations or conditions did you get the chance to use DZOFILM cine lenses?
We were already somewhat familiar with DZOFILM. I hadn’t personally used their lenses before, but Lorenzo had worked with them on other projects, particularly the Pictor series. So, when it came to choosing lenses for the short film, it was an easy decision. We found them suitable for corporate and music video work too.
- What DZOFILM cine lenses were used in this film? And why did you choose them?
For this short, we used two lenses: the 20-55mm and 50-125mm from the Pictor series, mainly favoring the 20-55mm. We didn’t have specific lens requirements for this project, and the 20-55mm was the most versatile for what we had in mind.
We chose the Pictors for their parfocal quality, which we knew could be useful. Plus, we loved the softness they bring to the image. We wanted a balance between sharpness and quality aperture, while achieving a vintage look with the right lighting. We were genuinely pleased with the outcome.
- What do you think of the Pictor lenses after using them? Which is your favorite focal length in the set, and why?
The Pictors are fantastic lenses, in our opinion: they’re solidly built, delivering images that are both soft and sharp. The color rendering is natural, which isn’t always a given with other brands. Being parfocal makes them very convenient and versatile for various scenarios.
Personally, the creamy bokeh really impressed me. Lorenzo had talked about it, having used the lenses before, but testing it myself was something else. Bokeh can give a lens personality, and the Pictors have just the kind of vibe we like. That’s why we’re planning to use them on more projects.
We’re particularly fond of the 20-55mm for its versatility, but this is just our personal preference. Every production has its own technical needs, and creativity is limitless. Ultimately, it’s the final result that counts.
- How do you feel about using DZOFILM cine lenses with Blackmagic cameras?
Pairing DZOFILM Pictor lenses with the Blackmagic gives an unbeatable combination of optical quality, versatility, and manual control. This setup delivers a streamlined, cinematic look that’s ideal for high-level professional productions. It’s a setup that has opened up a world of creative possibilities for us. The image quality is fantastic.
- Based on your on-set experience, what innovative features would you like to see in DZOFILM's future products?
Our experience with DZOFILM lenses has been great so far, and we’re looking forward to testing more models to get a fuller perspective on the brand.
In terms of future innovation, we’d love to see a wider aperture range, which would offer even more flexibility with lighting and creativity. Lighter zoom lenses would also be a plus, especially for tricky shooting scenarios, without sacrificing image quality.
It would also be exciting to see even more refined bokeh options inspired by vintage lenses, giving us greater creative latitude.
- Do you currently have any ongoing projects? Have you been using other DZOFILM lenses for these shoots?
Right now, we’re working on several projects that will launch in the coming months. We’re also finalizing scripts for two music videos for Peaks!, Lorenzo’s band. Filming starts on November 1, 2024, and once again, we’ll be using the DZOFILM Pictor 20-55mm and 50-125mm.
We’re always open to experimenting with new models and exploring how different lenses can enhance our creative projects.