Blackmagic Design today announced that social marketing agency CRATERR, alongside production company Moai Films, recently completed a commercial package for KIA’s all new SUV using Blackmagic URSA Cine 12K LF and Blackmagic PYXIS 6K digital film cameras, as well as completed editorial and post production using Blackmagic Cloud and DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio post production software. The campaign brought together four of YouTube’s top creators and a professional film crew, blending the authenticity of creator led storytelling with the precision of high end commercial filmmaking.
“This was truly a hybrid production,” said Lukas Colombo, director of the KIA campaign and co founder of CRATERR. “We had creators who are used to working fast and solo now collaborating with a full commercial crew. It was a dynamic fusion of agility, energy, and professional grade gear. It’s the heart of what CRATERR does, bridging two worlds to elevate the creative impact.”
Shot with the URSA Cine 12K LF and PYXIS 6K, the production exemplified CRATERR’s signature model, where creator culture meets Hollywood, elevating both authenticity and cinematic execution through cutting edge filmmaking tools. Post production was completed entirely in DaVinci Resolve Studio, with Blackmagic Cloud enabling a seamless remote workflow.
Longtime collaborators Colombo, Producer Steffi Ewing and KIA liaison Nic Coriaty led the production, building on their history of impactful branded content. “We always aim to pair bold creative with equally innovative filmmaking tech,” Colombo said. “Our goal is to elevate the story and the brand, and that also means choosing tools that help us amplify the message.”
Director of Photography Michael Tobin, who is also a well known YouTuber, joined the team to tackle the challenge of capturing four distinct commercials in just two days. “The URSA Cine 12K LF was an obvious choice for our A cam,” said Tobin. “Its image quality, dynamic range, and reliability made it ideal for the speed and variety required.”
To complement the URSA Cine 12K LF, the production relied on the PYXIS 6K. “The PYXIS was perfect for tight interior shots and fast rig changes,” Tobin said. “Its compact form factor allowed us to jump from handheld to car mount to gimbal without missing a beat. The two cameras together gave us all the flexibility we needed without compromising quality.”
Though Colombo had prior experience with the PYXIS 6K, this was his first production using the URSA Cine 12K LF. “We shot most of the footage at 12K even though we were delivering in 4K,” he said. “Having the ability to reframe in post without quality loss was a game changer, especially with KIA’s need for multiple deliverables.”
Tobin also praised the URSA Cine 12K LF’s intuitive design: “It’s built for filmmakers. Having assistant monitors on both sides of the body saved us on set, and every essential control was exactly where you expect it to be.”
Each spot, titled Easy Charge, Lights Out, Zoo Trip and Lost Keys, required a different visual style and workflow. Colombo, who is also the Founder and CEO of camera accessory company KONDOR BLUE, emphasized the importance of adaptability. “The PYXIS 6K is one of the most riggable cameras on the market,” he said. “Its cube form gives us a blank canvas for any setup, whether it’s drones, sliders, or shoulder rigs. That flexibility is key when you’re moving this fast.”
Post production was driven entirely by DaVinci Resolve Studio and Blackmagic Cloud, allowing for real time collaboration across the global CRATERR and Moai Films teams. “We uploaded footage as we shot,” said Colombo. “Our editor could start cutting instantly, and Michael began grading same day. The turnaround was next level.”
“The cloud workflow made our lives easier across time zones and deliverables,” added Tobin. “We shared proxies for edit and full res files for color in real time. KIA was able to give feedback right away. It was the perfect remote workflow.”
Tobin, who also served as colorist, highlighted DaVinci Resolve’s advanced tools. “As a longtime Resolve user, I loved how the new color tools gave me the flexibility to isolate and enhance specific details. Paired with the 12K and 6K Blackmagic RAW footage, I had an immense amount of control in post.”
But for Colombo, it’s always about the image. “At the end of the day, it’s not about buttons or bells and whistles, it’s about what the audience sees and feels,” he said. “When a camera delivers both intuitive design and stunning visuals, that’s the sweet spot. The Blackmagic systems gave us gorgeous, consistent footage across the board. In the final cut, you can’t tell which shot came from which camera, and that speaks volumes about the strength and consistency of Blackmagic Design’s image pipeline.”
