Commemorating the 81st anniversary of D-Day, immersive documentary studio TARGO, working with TIME Studios, produced D-Day: The Camera Soldier for Apple Vision Pro. Telling the story of a daughter uncovering her father’s untold story as a D-Day combat camera operator, the film blends 2D archival footage, spatial and immersive video and 3D interactivity.
“Previously, we worked in silos—360 video, stereoscopic video, interactive scenes—each format operating independently,” said TARGO cofounder and director Chloé Rochereuil. “This project bridges those formats and allows us to choose the one that best serves the narrative.”
The studio developed a miniaturised rig around two Blackmagic Micro Studio Camera 4K G2s, enabling the spatial footage to be captured. “These cameras gave us the right balance: cinematic image quality with a compact, lightweight form factor,” said producer and TARGO co-founder Victor Agulhon. “They were small enough to mount on a light beam splitter, allowing us to move the system easily and stay mobile indoors, outdoors, even on beaches.”
Allowing the crew to operate in tight spaces, the rig opened new creative possibilities. “One standout example is a beautiful shot that mimics the effect of a dolly zoom, using the cameras mounted on sliders. We could only make these choices because the rig was so lightweight and compact,” said Rochereuil.
The project’s entire workflow was brought together in DaVinci Resolve Studio, a first for TARGO, unifying the video pipeline for edit, conform, grade and delivery in a single tool, centralising processes and reducing variables. DaVinci Resolve Studio’s native support for stereoscopic 3D workflows proved to be a key element in the production. Immersive DP, Mael Joanas, said, “Historically, our stereo alignment pipeline would have been scattered across multiple tools. Through Resolve, we not only reduced the need for round tripping, but also improved how we collaborated. We were essentially operating in a 2D environment, using stacked left and right images that synced with a few clicks. It allowed us to edit stereo video using a mono display while still exporting in side by side formats for delivery.”
Rochereuil concluded, “We are most proud of how naturally it all came together, both for the story and the viewer. We succeeded in unifying multiple formats while staying grounded in a profoundly human narrative.”
