{"id":357796,"date":"2026-05-27T05:00:00","date_gmt":"2026-05-27T05:00:00","guid":{"rendered":"https:\/\/www.fujifilm-x.com\/?post_type=story&#038;p=357796"},"modified":"2026-07-03T05:01:31","modified_gmt":"2026-07-03T05:01:31","slug":"mauro-fiore-captures-childhood-and-imagination-with-gfx-eterna-55","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/zh-cn\/stories\/mauro-fiore-captures-childhood-and-imagination-with-gfx-eterna-55\/","title":{"rendered":"Mauro Fiore Captures Childhood and Imagination with GFX ETERNA 55"},"content":{"rendered":"<h1 class=\"wp-block-post-title\">Mauro Fiore Captures Childhood and Imagination with GFX ETERNA 55<\/h1>\n\n\n<h3 class=\"wp-block-heading\">Inside the Cinematography of Dove Sono Mamma e Pap\u00e0? \u2013 Left Alone<\/h3>\n\n\n\n<p><em>Dove Sono Mamma e Pap\u00e0?<\/em> (<em>Left Alone<\/em>) is a short film that lies at the intersection of narrative sensitivity and cinematic craft, offering a measured exploration of medium-format cinematography and using the FUJIFILM GFX ETERNA 55. Directed by Fabio Rao, with cinematography by Oscar-winning Director of Photography Mauro Fiore ASC, the film serves as a case study in how image format, visual intent, and storytelling can align when technology is approached as a narrative partner rather than as a defining gesture.<\/p>\n\n\n\n<div><div class=\"block-video-player\"><div class=\"max-w-[800px] m-auto w-full relative fade-up-parallax\"><div class=\"block-video-player__splash-img aspect-w-16 aspect-h-9 js-btn--modal-youtube\" data-id=\"zTJy-I2G9uI\"><img decoding=\"async\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/DSMEP_POSTER_ITA_100X140_ITA_1-scaled.jpg\" alt=\"DSMEP_POSTER_ITA_100X140_ITA_1\" loading=\"lazy\" data-recalc-dims=\"1\"\/><span class=\"play-button \"><\/span><\/div><\/div><div class=\"modal modal--youtube hidden\" data-id=\"zTJy-I2G9uI\"><div class=\"modal__content relative\"><button class=\"btn-modal-close\" data-id=\"zTJy-I2G9uI\"><span><\/span><span><\/span><\/button><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><div id=\"player-zTJy-I2G9uI\" data-id=\"zTJy-I2G9uI\" class=\"youtube-iframe\"><\/div><\/div><\/figure><\/div><\/div><\/div><\/div>\n\n\n\n<p>The project builds on an ongoing collaboration between Rao and Fujifilm, developed over several years across both motion and still photography. The short film <em>Nightbirds<\/em> marked Rao\u2019s first encounter with medium format in motion, paving the way for <em>Dove sono Mamma e Pap\u00e0? <\/em>(<em>Left Alone<\/em>). \u201cWith this film, I felt it was the right moment to fully embrace medium-format cinematography, using GFX ETERNA 55, a camera that immediately resonated with the emotional scale and sensitivity of the story we wanted to tell.\u201d<\/p>\n\n\n\n<p>For Mauro Fiore, the project also represents an opportunity to test a new cinematic tool within a narrative framework that values restraint, perception, and emotional proximity.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=1024&#038;height=768\" alt=\"\" class=\"wp-image-358115\" srcset=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=1024&amp;height=768 1024w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=300&amp;height=225 300w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=768&amp;height=576 768w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=400&amp;height=300 400w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=365&amp;height=274 365w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=600&amp;height=450 600w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=717&amp;height=538 717w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=263&amp;height=197 263w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=711&amp;height=533 711w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=612&amp;height=459 612w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=367&amp;height=275 367w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_02.jpg?width=936&amp;height=702 936w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Storytelling and visual approach<\/h3>\n\n\n\n<p>At its core, <em>Dove Sono Mamma e Pap\u00e0? <\/em>unfolds from a simple narrative premise that gradually opens into more ambiguous emotional terrain. Leo and Nesto are two close friends immersed in the everyday rituals of childhood, videogames, drones, and casual mischief, until they wake one morning to discover that all adults have vanished. What initially feels like complete freedom slowly reveals deeper implications. Without authority or imposed rules, imagination flourishes, but responsibility begins to surface.<\/p>\n\n\n\n<p>Visually, the film avoids over stylization. Rao\u2019s intention was clear: \u201cFrom the very beginning, my intention was for the camera to quietly serve the story rather than call attention to itself. Every shot had a narrative purpose.\u201d That restraint became the foundation upon which Fiore built the film\u2019s visual language.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"436\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=1024&#038;height=436\" alt=\"\" class=\"wp-image-358562\" srcset=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=1024&amp;height=436 1024w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=300&amp;height=128 300w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=768&amp;height=327 768w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=400&amp;height=170 400w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=365&amp;height=155 365w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=600&amp;height=255 600w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=717&amp;height=305 717w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=800&amp;height=340 800w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=688&amp;height=293 688w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=490&amp;height=208 490w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_11.jpg?width=936&amp;height=398 936w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" \/><\/figure>\n\n\n\n<p>As Mauro Fiore explains, \u201cThe visual approach of this film was very interesting in how it came about, because I had many discussions with Fabio. He wanted to place the story in a situation that felt like fantasy, reality, and hyper-reality. So, we discussed all these possibilities.\u201d Rather than separating these dimensions through distinct visual treatments, the filmmakers chose continuity and subtle modulation, allowing shifts in perception to emerge naturally within the frame.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"436\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=1024&#038;height=436\" alt=\"\" class=\"wp-image-358559\" srcset=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=1024&amp;height=436 1024w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=300&amp;height=128 300w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=768&amp;height=327 768w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=400&amp;height=170 400w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=365&amp;height=155 365w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=600&amp;height=255 600w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=717&amp;height=305 717w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=800&amp;height=340 800w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=688&amp;height=293 688w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=490&amp;height=208 490w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_04_2.jpg?width=936&amp;height=398 936w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" \/><\/figure>\n\n\n\n<p>The camera often remains close to the characters, and sometimes uncomfortably so, before occasionally opening up to reveal the surrounding world. This balance between intimacy and distance becomes central to how the story is experienced, keeping the audience aligned with the characters\u2019 evolving sense of freedom and unease.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Medium format, lenses, and spatial rhythm<\/h3>\n\n\n\n<p>The choice to shoot with FUJIFILM GFX ETERNA 55, combined with the Premista lenses, shaped not only the film\u2019s aesthetic but also its internal rhythm. The medium-format sensor allowed Fiore to hold more spatial information within each frame, reinforcing a sense of depth and dimensionality while maintaining emotional closeness to the characters.<\/p>\n\n\n\n<p>Mauro Fiore\u2019s long experience with Fujinon Premista lenses, particularly Fujinon Premista 28-100mT2.9, played a decisive role in translating this potential into practice. \u201cI have quite a bit of experience with Premista lenses, and I\u2019m especially familiar with the 28\u2013100mm. It performs amazingly well,\u201d he notes. <\/p>\n\n\n\n<p>For Fabio, the camera&#8217;s huge sensor is what truly unlocked that optical potential.&nbsp;\u201cThe format itself amplifies that vision,&#8221; he explains. &#8220;The expansiveness of the sensor allows us to capture more in every frame, giving the film a distinctive look and a narrative rhythm.\u201d<\/p>\n\n\n\n<p>This combination of large-format sensor and lenses proved especially valuable when working in confined spaces. Medium and even wide shots could be captured from very short distances, sometimes as close as one meter, without sacrificing spatial coherence. The result is a visual language that feels open and immersive yet never detached from the characters at its center.<strong><\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=1024&#038;height=768\" alt=\"\" class=\"wp-image-358563\" srcset=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=1024&amp;height=768 1024w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=300&amp;height=225 300w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=768&amp;height=576 768w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=400&amp;height=300 400w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=365&amp;height=274 365w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=600&amp;height=450 600w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=717&amp;height=538 717w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=263&amp;height=197 263w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=711&amp;height=533 711w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=612&amp;height=459 612w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=367&amp;height=275 367w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_10.jpg?width=936&amp;height=702 936w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=1024&#038;height=768\" alt=\"\" class=\"wp-image-358119\" srcset=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=1024&amp;height=768 1024w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=300&amp;height=225 300w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=768&amp;height=576 768w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=400&amp;height=300 400w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=365&amp;height=274 365w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=600&amp;height=450 600w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=717&amp;height=538 717w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=263&amp;height=197 263w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=711&amp;height=533 711w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=612&amp;height=459 612w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=367&amp;height=275 367w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_06.jpg?width=936&amp;height=702 936w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" \/><\/figure>\n\n\n\n<p>Aspect ratio was approached with the same narrative sensitivity. \u201cWe had several discussions regarding filming in a 2.35 or 2.39 aspect ratio,\u201d Fiore explains. \u201cAutomatically, it makes you feel like the world around you is surrounding you.\u201d The widescreen frame subtly reinforces the film\u2019s emotional tension, mirroring the children\u2019s experience of a world that is suddenly expansive, unfamiliar, and undefined.<\/p>\n\n\n\n<div><div class=\"block-video-player\"><div class=\"max-w-[800px] m-auto w-full relative fade-up-parallax\"><div class=\"block-video-player__splash-img aspect-w-16 aspect-h-9 js-btn--modal-youtube\" data-id=\"nMXLKsSuNt0\"><img decoding=\"async\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/mauro-fiore-bts-thumb.jpg\" alt=\"mauro-fiore-bts-thumb\" loading=\"lazy\" data-recalc-dims=\"1\"\/><span class=\"play-button \"><\/span><\/div><\/div><div class=\"modal modal--youtube hidden\" data-id=\"nMXLKsSuNt0\"><div class=\"modal__content relative\"><button class=\"btn-modal-close\" data-id=\"nMXLKsSuNt0\"><span><\/span><span><\/span><\/button><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><div id=\"player-nMXLKsSuNt0\" data-id=\"nMXLKsSuNt0\" class=\"youtube-iframe\"><\/div><\/div><\/figure><\/div><\/div><\/div><\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Lighting the path home<\/h3>\n\n\n\n<p>Although <em>Dove Sono Mamma e Pap\u00e0? <\/em>&nbsp;is not autobiographical, its connection to place carries particular resonance for Mauro Fiore. Long based in the United States, Calabria remains his homeland and returning to shoot there added an understated but meaningful layer to the project.<\/p>\n\n\n\n<p>The film was shot entirely in real locations across the region during the height of summer, in towns and spaces that remained active and crowded throughout production. Rather than reshaping locations to fit the film, the crew adapted their methods to each place day by day. Calabria\u2019s natural light, often harsh and vertical at midday, then softer and more sculptural in the late afternoon, became an expressive element rather than a constraint.<\/p>\n\n\n\n<p>Supported by a fully local crew, Fiore\u2019s visual approach drew on both technical precision and familiarity with the environment. The region\u2019s landscapes, light, and rhythms quietly inform the film\u2019s tone, grounding its more surreal elements in a tangible sense of place. In this way, Calabria becomes more than a setting: it is an unspoken presence within the film\u2019s visual identity.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">A camera in the service of narrative<\/h3>\n\n\n\n<p>From a production standpoint, Fujifilm GFX ETERNA 55 proved itself as a Film-making camera designed for professional, narrative-driven workflows. Its robust cinema-style construction, industry-standard connections, adaptable native lens mount, and visually stepless internal electronic variable ND filter offered flexibility across a wide range of shooting conditions.<\/p>\n\n\n\n<p>The F-Log2 C profile provided substantial latitude for color grading, while Fujifilm\u2019s Film Simulations and new Film Simulation 3D LUTs, each inspired by analog film stocks, expanded creative options without imposing a predetermined aesthetic. The camera\u2019s design encouraged choice rather than prescription.<\/p>\n\n\n\n<p>Rao also explored GFX ETERNA 55 independently in a documentary context, pairing it with a rehoused Fujinon EBC 28mm lens and using ACROS Film Simulation, an experience he describes as intuitive and expressive.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"436\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=1024&#038;height=436\" alt=\"\" class=\"wp-image-358561\" srcset=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=1024&amp;height=436 1024w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=300&amp;height=128 300w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=768&amp;height=327 768w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=400&amp;height=170 400w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=365&amp;height=155 365w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=600&amp;height=255 600w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=717&amp;height=305 717w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=800&amp;height=340 800w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=688&amp;height=293 688w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=490&amp;height=208 490w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_09.jpg?width=936&amp;height=398 936w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" \/><\/figure>\n\n\n\n<p>For Mauro Fiore, the camera also aligns with a broader creative philosophy: \u201cEvery film needs its own way of being told. Every film needs its own story. Whether it\u2019s oil paints, tempera, or pastels, it\u2019s always a matter of what is right for that narrative. I feel the same way about cameras.\u201d Within this framework, the GFX ETERNA 55 is not positioned as a universal solution, but as a tool whose value emerges through its relationship with story, place, and creative intent.<\/p>\n\n\n\n<p>Taken together, <em>Dove Sono Mamma e Pap\u00e0?<\/em> offers a considered example of how medium-format cinematography, guided by an experienced visual author, can support intimate storytelling, balancing scale and proximity while remaining firmly anchored to narrative purpose.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=1024&#038;height=768\" alt=\"\" class=\"wp-image-358121\" srcset=\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=1024&amp;height=768 1024w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=300&amp;height=225 300w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=768&amp;height=576 768w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=400&amp;height=300 400w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=365&amp;height=274 365w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=600&amp;height=450 600w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=717&amp;height=538 717w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=263&amp;height=197 263w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=711&amp;height=533 711w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=612&amp;height=459 612w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=367&amp;height=275 367w, https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/05\/gfx-eterna_mauro-fiore_08.jpg?width=936&amp;height=702 936w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Dove Sono Mamma e Pap\u00e0? \u2013 Left Alone: Credits<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Produced by Open Fields Productions \/ Filmora Studio\/ FUJIFILM<\/li>\n\n\n\n<li>With the contribution of Calabria Film Commission<\/li>\n\n\n\n<li>In collaboration with Ciakalabria, Aeropix, Audio Portrait Studio<\/li>\n\n\n\n<li>With the free patronage of Municipality of Cassano all&#8217;Ionio \/ Associazione Laghi di Sibari<\/li>\n\n\n\n<li>Directed by: Fabio Rao Director of Photography: Mauro Fiore, ASC Story and screenplay: Enrico Miceli \/ Fabio Rao Produced by: Fabrizio Nucci \/ Fabio Ra Executive producers: Fabrizio Nucci \/ Marc Cattrall\/ Silvia Carapellese\/ Francesco Spisti\/ Marika Gherardi<\/li>\n\n\n\n<li>Editing: Francesca Naccarato \/ Fabio Rao Visual effects: Alessio Cagnano Original music: Alessandro Papaianni Production sound mixer: Simone Casile Production designer: Antonio Giocondo Costumes: Laura Scagliola Makeup and hair: Marinella Giorni \/ Sandra Perri Assistant director: Giulia Rossi Casting Director: Alessia Iacopetta<\/li>\n<\/ul>\n\n\n\n<p><strong>CAST<\/strong><br>Leo: Luigi Chiera<br>Nesto: Ludovico Maria Esposito<br>Martina: Maria Carmela Iris Trotta<br>Alba: Beatrice Carmela Malizia<br>Fulvia: Cecilia Mussari<br>Fiordaliso: Alessandro Castriota Scanderbeg<br>Sara: Mariasilvia Greco<br>Dario: Carlo Gallo<br>Vanda: Giovanna Chiara Pasini<br>Man with red shoes: Saverio La Ruina<br>Don Cino: Giancarlo Cauteruccio<br>Voices of Orion: Lorenzo Cordara \/ Giulia Musso<\/p>\n\n\n\n<p>With the extraordinary participation of: Dario Del Luca \/ Ivana Russo<br><br>Production manager: Carmela Bilotto<br>Production coordinator: Giusy Cervadoro<br>Script supervisor: Enrico Miceli<br>Location manager: Gianluca Salerno<br>Production supervisor: Francesco Falcone<br>Production secretary: Samuele Leogrande<br>Runner: Alessandro Morrone \/ Carlo Iozzi<br>Steadicam operator: Marco Vignoni<br>First assistant camera: Umberto Scimitto<br>Second assistant camera: Gianluca Gattabria<br>Camera assistant: Nicola Labate<br>Second camera assistant: Pasquale Remia<br>DIT: Roberto Cavalera<br>Data manager: Claudia Gull\u00e0<br>Video assist: Anselmo De Filippis<br>Set photographers: Pierpaolo Perri \/ Raffaella Arena<br>Backstage video: Francesca Naccarato<br>Drone pilots: Dario Della Mora \/ Walter Finco \/ Marco Martino<br>Key grip: Antonio \u201cLupin\u201d Caracciolo<br>Grip: Francesco Coscarella<br>Gaffer: Gianfranco Mastroianni<br>Electrician: Mattia Cristofaro<br>Assistant production designer: Agata Colao<br>Props master: Felice Adriani<br>Laborers: Emilio D\u2019Elia \/ Raffaele Lisco<br>Seamstress: Vincenza Salvino<br>Personal assistant to Mauro Fiore: Walter Carpino<\/p>\n\n\n\n<p>Color grading, deliveries: Pyramid Factory \/ Alessandro Ammendola<br>Sound editing and audio mix: Stefano Di Fiore \/ Marco Marcini<\/p>\n\n\n\n<p><strong>MUSIC<\/strong><br>Solo cello: Mattia De Angelis<br>Piano\/synthesizers\/percussion: Alessandro Papaianni<br>Solo flute\/solo French horn: Alexandre Demaan<br>Strings: RDL String Quartet<br>Recording, mix &amp; mastering of original music: Audio Portrait Studio<\/p>\n\n\n\n<p>Insurance: Howden \u2013 Assimovie<br>Workplace safety: Sicurlav<\/p>\n\n\n\n<p>The Production and the Director thank<\/p>\n\n\n\n<p>GFX ETERNA 55 DEVELOPMENT TEAM<br>BLU ACADEMY by Barbara Pasqua<br>MOVIE MOUSE FACILITY SERVICE<br>ASSOLAGHI SECURITY SERVICE<br>ISTITUTO COMPRENSIVO LAUROPOLI \u2013 SIBARI \u2013 CASSANO J.<br>THE SCHOOL PRINCIPAL PROF. MICHELE MARZANA<br>THE STUDENTS OF THE MAROS IN TEATRO SCHOOL OF ARTS<br>MAROS EVENTI &#8211; PIKEMA APS<br><br>Christina Pavl\u00ec<br>Santino Cundari<br>Mariarosaria Bianco<br>Katalin Seres<br>Rossella Ciappetta<br>Fausta Oliva<br>Domenico Nicoletti<br>Claudio Valerio<br>Andrea Solano<br>Gianpaolo Giacobini<br>Ottavio Marino<br>Tereza Lanza<br>Massimo Romanelli and family<br>Domenico Peluso and family<br>Mario Varca and Sibarifly<br>Luigi Guaragna and Sofia Maimone<br>Don Pietro Groccia and the Church of Jesus the Good Shepherd of Sibari<br>Teresa Tucci<br>Maristella Resta<br>Giovanna Giordano<br>Natale Giordano<br>Giovanni Gattabria<br>Vincenzo Gattabria<br>Imagin\u2019Hair Cosenza<br>Endless Summer House<br>Leonardo, Luciano and Francesco Golia<br>Angela Concistr\u00e8<br>Gabriele Albanesi<br>Luca Ardenti<br>Epos Film<br>Hotel Royal Cosenza<br>Roberta Giordano<br>Germana Giordano<br>Mariuccia Fiore<br>Francesco Malvaso<br>Benedetto Tucci<br>Alessandra Fucilla<br>Ruggero Fucilla<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Inside the Cinematography of Dove Sono Mamma e Pap\u00e0? \u2013 Left Alone Dove Sono Mamma e Pap\u00e0? (Left Alone) is a short film that lies at the intersection of narrative sensitivity and cinematic craft, offering a measured exploration of medium-format cinematography and using the FUJIFILM GFX ETERNA 55. Directed by Fabio Rao, with cinematography by [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":357798,"template":"","category":[1006,1202,13909,13910,1937,320,2378,565],"post_tag":[],"b2b-solutions":[14010],"class_list":["post-357796","story","type-story","status-publish","has-post-thumbnail","hentry","category-cameras","category-category","category-gfx-series-filmmaking-camera","category-gfx-eterna-55","category-gfx-series","category-products","category-shot-on-x","category-stories","b2b-solutions-filmmaking"],"pp_statuses_selecting_workflow":false,"pp_workflow_action":"current","pp_status_selection":"publish","acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-08-02 22:40:52","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.fujifilm-x.com\/zh-cn\/wp-json\/wp\/v2\/story\/357796","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fujifilm-x.com\/zh-cn\/wp-json\/wp\/v2\/story"}],"about":[{"href":"https:\/\/www.fujifilm-x.com\/zh-cn\/wp-json\/wp\/v2\/types\/story"}],"author":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/zh-cn\/wp-json\/wp\/v2\/users\/8"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/zh-cn\/wp-json\/wp\/v2\/media\/357798"}],"wp:attachment":[{"href":"https:\/\/www.fujifilm-x.com\/zh-cn\/wp-json\/wp\/v2\/media?parent=357796"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/zh-cn\/wp-json\/wp\/v2\/category?post=357796"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/zh-cn\/wp-json\/wp\/v2\/post_tag?post=357796"},{"taxonomy":"b2b-solutions","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/zh-cn\/wp-json\/wp\/v2\/b2b-solutions?post=357796"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}