What was the initial spark or inspiration behind this short film?

When I was six, I loved playing a game that, according to my father, was quite dangerous—but to me, it felt almost like magic: I would cover lamps with fabrics and scarves to watch the light change colour and dim up and down. My father eventually stopped me out of concern for my safety, but he chose to gift me of coloured light bulbs instead. I kept them and twenty years later, I found them in a box at my grandmother’s house. Time had passed, but they were just as I remembered—and maybe I was too: when I turned them on again, I felt the same sense of wonder and amazement I had as a child. That spark was the beginning of my story.

This story follows the heartfelt gesture of two grandchildren - a cinematographer and a choreographer - who try to bring a little joy to their ninety-year-old grandmother. It’s a simple, yet emotional and sincere narrative. The woman you see on screen is truly my grandmother - and yes, she really is ninety. Her lifelong dream was to become an actress. Since she has always supported my passions, I wanted to tell a story about her. We share a deep bond, and I’ve always tried, as she suggests, to see the extraordinary in the ordinary—the quiet generosity of sharing what we love, the unique gift each of us carries, and how it can bring happiness to someone else. When I came across those old light bulbs in her house, as mentioned earlier, I saw her just as she appears in the film: sitting quietly by the window, touched by a quiet melancholy. In that moment, I asked myself, what could I do to brighten her world?

How did the idea evolve from concept to script? Did the camera itself influence the story at all?

When I began writing the story, I immediately knew I wanted to involve my grandmother and my friend Samuele, a talented choreographer and dancer. Given my grandmother’s age, I also knew the entire shoot would need to take place inside her home. That’s what inspired me to bring the magic of performance and cinema into that intimate space - because, often, that’s how filmmaking starts: with family, at home, where the people closest to us become the first actors in our earliest stories.

The camera itself played a key role in shaping the story’s direction, especially due to its new design and the way it’s meant to be used. Coming from a cinematic background, I sometimes miss the experience of looking directly through a viewfinder rather than watching a monitor. There’s a kind of intimacy - a quiet immersion that happens when you press your eye to the eyepiece. That sensation, brought back by this new camera’s redesigned EVF, sparked the idea that through the lens, you could glimpse wonder and imagination - the kind of vision that lives in daydreams. Fittingly, the final line of the film was actually the very first thing I wrote.

What was the biggest challenge during production and how did the gear help solve it?

We had strict timing and various difficulties. I tried to put myself in the shoes of those who are just beginning their filmmaking journey or are already on the path and often find themselves having to do everything alone, like a true one-man band: actor, set designer, costume designer, producer, director etc... That said, I never placed limits on creativity - I never would. Through the story, I wanted to express a sense of freedom too, the desire to live close to nature, away from the city. I envisioned a shot filmed entirely on a bicycle. Literally, while riding.

Thanks to this new camera, I was able to do it. I didn’t need a stabiliser, a grip, or any additional gear - honestly just the camera in my hands and the Dynamic Active mode turned on.

Were there any particular features of the camera that helped you achieve a specific look or mood?

The camera’s ergonomics played a crucial role — it allowed me to shoot dynamic scenes and navigate tight, uncomfortable spaces with ease. One of my goals was to film a scene literally up in a tree - and I did.

The little theatre staged in the film takes place in my grandmother’s actual living room - not on a soundstage, not in a large, rebuilt set, but in a real, lived-in space. Thanks to how compact and manoeuvrable the camera was, it was surprisingly easy to move around between makeshift curtains, props... and my grandmother, who kept a close eye on everything and even offered some original and creative suggestions.

I wanted to capture the feeling of true craft filmmaking - something handmade and persona, and with the camera’s slightly vintage aesthetic, I hope I was able to bring out a fairy-tale-like, natural tone: the most honest soul of this story.

How did the camera perform in challenging conditions—low light, fast motion, or outdoor environments?

The camera impressed me on multiple occasions. The dual base ISO at 800 and 4000 works flawlessly; the footage is clean and noise-free at both settings, and the switch between the two is smooth and efficient.

In outdoor sunlight, the viewfinder is spectacular, and the monitor is incredibly accurate, with vibrant colours, excellent brightness, and impressive colour reproduction.

I tested it at the seaside, under the harsh countryside weather and the camera operated flawlessly.

Did the ergonomics or form factor of the FX series influence your directing or cinematography choices?

Coming from a background in traditional cinematic setups - often large and cumbersome - I was initially concerned about space limitations and manoeuvrability. But the compact design of the FX2 quickly put those worries to rest: I could carry everything I needed in a small backpack. The ergonomics are so well thought out that, in my opinion, I didn’t need any additional tools or accessories. Simply holding the camera in my hands was enough.

In fact, I used everyday objects - a vase, a table, or whatever was nearby - as improvised supports for framing shots. This approach allowed me to move fluidly between more composed, cinematic frames and natural, spontaneous setups, depending on the scene. It also helped the actress feel as though she wasn’t being filmed, creating a more relaxed and authentic atmosphere on set.

What kind of lens, microphone and rig setups did you use with the FX camera? Did they unlock new visual possibilities?

I made full use of Sony’s wide range of lenses. The ultra-wide FE 16–25mm f/2.8 G allowed me to squeeze into tight spaces or capture wide close-ups on a narrow boardwalk by the sea.

I turned to the FE 35mm f/1.4 GM and FE 85mm f/1.4 GM II to immerse subjects in a dreamy, magical atmosphere, softening backgrounds and enhancing a sense of visual poetry. For tighter close-ups and point-of-view shots, I used the FE 70-200mm f/2.8 GM OSS II, achieving striking and intimate results.

Shooting at apertures between f/1.4 and f/2.8 amazed me with the lenses' brightness and sharpness. They’re clean, lightweight, and yet offer a beautifully cinematic look that complements the camera’s powerful dynamic range. Since the project didn’t require dialogue or sound, I chose not to use a microphone or top handle, opting instead to shoot with the camera in its purest form — just as it was designed. And for my needs on that occasion, it was perfect that way.

Were there any shots or sequences you couldn’t have pulled off with another camera?

This camera offers features that not only unlocked a wide range of technical possibilities but also inspired me throughout the creative process.

To me, the connection with the tool you use to bring imagination to life is essential. When choosing a camera, of course you consider its specs — but another important aspect, according to my opinion, is how it makes you feel.

This new camera gives you a true sense of creative freedom. I couldn’t have pulled off so easily a shot I imagined: a close-up of an actor while riding a bicycle on a bumpy country road. I encourage you to watch the result to feel the same mix of satisfaction and amazement I felt when I saw it come together.

How did the image quality and colour science support the tone of your film?

The image quality and colour science of the FX series exceeded my expectations. As a filmmaker who appreciates both rich, saturated chiaroscuro and soft, desaturated cinematic tones, I was impressed by the camera’s ability to handle a wide range of visual styles. The footage offered remarkable flexibility in post-production, allowing me to match different looks seamlessly - despite the fact that even the straight-out-of-camera files already delivered exceptional results.

The sharpness, texture, and fine detail captured were truly outstanding. The high-quality Log files offer impressive latitude for grading, ensuring a robust post-production workflow. From a technical standpoint, the dynamic range and colour science are fully aligned with the professional standards expected from Sony’s FX series—often echoing the characteristics of Sony’s high-end Cinema Line.

What do you hope audiences will take away from this film?

I hope that those who watch this small film will sense its honest, simple, and heartfelt spirit. I’d love for it to serve as a reminder to think of the people we care about and maybe even involve them in a creative project.

We often spend so much time away from home, absorbed in work with ever-changing teams, that we forget those who’ve stood beside us the longest - and whom we might not have around forever. The first step might be bringing back to life a story long hidden in a drawer. Open that drawer. Let that dream out. Tell that story.

How do you see new tools like the FX camera shaping the future of independent or short- form filmmaking?

I deeply believe in the power of imagination and in the art of creating something big and meaningful from very little. To me, true beauty is hidden in uniqueness and diversity - in the full spectrum of colours. Being authentic today isn’t easy; it takes courage and energy.

Thankfully, the energy that shines in the eyes and hearts of those who carry a dream is so powerful that it’s almost unstoppable. Still, we all face limitations at times.

That’s why I believe this camera, for an independent filmmaker or a cinematographer or a student of a film school, can be more than just a tool. It can be a reminder, a companion, a loyal ally. A sort of talisman to carry along the way. New tools always lead to new goals and imagination knows no limits.

Try and try again. Look at what comes your way with gentle eyes. Learn to see the world as it is with your left eye and with your right eye as you wish it could be. Then open both and try to blend the two visions together. Embrace your uniqueness. Find a group of friends, of fellow creatives, to share your days with, and experiment as much as you can.

Maybe, in the end, the truest advice I can offer is also the heart of Dear Grandma:

"Close your eyes and dream. Or dream with your eyes wide open."