The vérité-style character studies of Canadian filmmaker Kazik Radwanski have drawn comparisons with indie legend John Cassavetes, and his latest feature only burnishes that reputation. "Matt and Mara" is a touching and fragile tale of friends reunited, filmed on location in Toronto in Radwanski's customary semi-improvised style that extends from actors to camera.

"Kaz writes a loose script, but we're always anticipating going in different directions," explains Radwanski's frequent collaborator, cinematographer Nikolay Michaylov ("How Heavy This Hammer," "Anne at 13,000 Ft"). "We want the freedom to be able to go anywhere, knowing that the blocking is improvised, and as a result, the camera movement has to react to that."

The film centers on a young writing professor (played by Deragh Campbell) and the instability she invites into her life by reconnecting with an old friend from college (Matt Johnson). Sparks fly in both directions, but both shy away from letting them truly catch fire.

Technical Evolution

"Shooting RED was a no-brainer for me," explains Michaylov. "I've shot RED numerous times before. It was the go-to camera when I was studying film at Toronto Metropolitan University where we shot a lot on the SCARLET and the EPIC. More recently, I've been enjoying shooting with the MONSTRO and the KOMODO. In the months leading up to 'Matt and Mara,' I shot a short film on the KOMODO, and that was kind of an eye-opening experience. I realized what a powerhouse this camera is."

Most of the duo's previous films were shot on older cameras with lower resolution capabilities, including the critically acclaimed "Anne at 13,000 Ft" (winner of the 2020 TFCA Best Canadian Film Award and nominee for the 2020 Canadian Screen Award), released in 2019. "That was a great experience and we were happy with the look of those films, but later, when we saw that footage blown up on higher resolution screens, the image started to really fall apart," Michaylov explains.

"We wanted to meet 4K deliverables and future-proof our next film, for which a 1080p workflow just wasn't appropriate. We needed to upgrade our camera system while honoring our typical lightweight and nimble production methods. The KOMODO was the first camera that came to mind given its low-profile form factor and excellent dynamic range with 6K resolution. The camera is the size of a Rubik's Cube, and it really complemented our shooting style, which draws from documentary methods. We are very run-and-gun and very self-sufficient," he says. "The beauty of this camera is that it can be easily transformed into a studio build if required."

Dual Camera Setup

Michaylov utilized two KOMODO bodies for "Matt and Mara" - one rigged for gimbal work on a Ronin RS2 and another on a tripod. "Kaz likes to shoot handheld so I can react to the moment with our actors. It's a very immediate process of filmmaking, and the KOMODO's lightweight design is operator friendly."

"Having the extra resolution for our final 4K deliverable gave us breathing room in post-production to punch in on the image and smooth out undesirable kinks. On top of that, the dynamic range of the camera is mind-blowing for the price point. We couldn't believe its ability to handle low-light situations and pull information out of the shadows."

Finding the Right Balance

While the shaky-cam aesthetic for "Anne at 13,000 Ft" suited a solitary character study, the focus on two characters in "Matt and Mara" required a less frenetic approach. To prove this thesis, Michaylov shot tests using their existing workflow.

"Very early on in our process, we used our old camera setup and shot trial scenes from 'Matt and Mara' in the same way we shot 'Anne at 13,000 Ft.' It really didn't work - it was unwatchable. The footage was way too shaky."

Inspired by the 2017 Bulgarian film "3/4" shot by Julian Atanassov on Steadicam, they tested some stabilized walking and talking sequences. "The results were too stable and too antithetical to Kaz's aesthetic instincts," says Michaylov. "Shooting on a gimbal with a wider-angle focal length gave us more of a middle ground between the raw, shaky energy of Kaz's previous work and the overly stable and floaty aesthetic of our reference points."

The MDFF Philosophy

The film is produced by MDFF (Medium Density Fibreboard Films), a Toronto-based production company Radwanski co-founded in 2009 with producer Dan Montgomery. MDFF is a collective of local filmmakers who adhere to an ethos of self-sufficiency.

"There are certainly challenges when working with a modest budget and keeping a low-profile production team, but there's also freedom," Michaylov explains. "We keep crews small because we like to work with our friends and people that we're comfortable with. We don't shoot in an orthodox way at all. A lot of the shooting is off the cuff. We shoot on locations that are available to us, like our own apartments or businesses that are friend or family owned. Keeping a small footprint is essential to how we capture our footage because the scale of a traditional studio production would interfere with the performances or with the realism that Kaz tries to chase."

Equipment Choices

The philosophy of self-sufficiency led MDFF to invest in their own equipment, including a KOMODO package. "And we couldn't be happier about that," says Michaylov, who was part of the consultation. "I drew up a shortlist of cameras that we should test, and after those tests, the KOMODO made the most sense given its price point, fantastic dynamic range, ergonomics, form factor, and ability to work well on a smaller gimbal. It checked all the boxes for this project, so we pulled the trigger very comfortably."

The DP presented his director with different lens options in a blind test, which included professional cine lenses and the Canon stills photography glass they had used on "Anne." "Kaz responded only to the Canon 24-70mm glass, and I didn't want to fight that instinct," reports Michaylov. "Using them was a bit more challenging for my camera assistant (James Salmon). On a technical level, we had to customize our build a bit more, but it was aesthetically the right choice because they offered a sharp look that Kaz felt honored the realism he was looking for and was also most accustomed to."

Urban Geography and Spontaneous Moments

Michaylov's background as an accomplished skateboarder provides unexpected benefits when filming in Toronto. "I know the city like the back of my hand. When skateboarding, you clock spots in your mind like a rolodex – there are stair sets, rails, ledges, and fire hydrants that you see the potential in interacting with. For safety reasons, you also need to be aware of your surroundings. There are many sequences in 'Matt and Mara' where I'm walking backwards (for almost 30 minutes at a time) and can't see where I'm going, but mentally I'm aware of my surroundings, and my familiarity with Toronto streets helps me in those filmmaking scenarios."

The filmmakers secured permits to shoot at Niagara Falls for just one day, with no time to scout the location. To prepare, they watched movies with scenes set at the natural wonder, including the 1979 feature "Last Embrace".

"When we got to the Falls, we knew what the story beat was and anticipated some romantic tension between Matt and Mara. What we didn't know was that the two characters would progress their relationship into something physical. That kiss was something that Kaz threw at them while we were all getting soaked by the mist of the Falls. We were kind of in awe of them. None of us had been to the tourist section underneath the Falls itself, and we were just chasing a chaotic energy. When I am operating a camera for Kazik's films, I'm almost acting as a scene partner with the actors. When Matt and Mara are running around the falls, I'm trying to reflect their energy while capturing the fine details and keeping their character development at the fulcrum of the scene. For that under-the-Falls sequence, we only shot a couple of takes. What you see on screen is pretty raw."