The Exorcism of Nixie was photographed with Blackmagic URSA Mini Pro 4.6K G2 and PYXIS 6K cameras and finished in DaVinci Resolve. The production consists of two episodes of approximately 25 minutes each and was made by a small crew working in constrained locations.
The larger URSA body served as an established production camera, while the smaller PYXIS body could be placed where space and rigging were limited. Keeping both cameras inside the same manufacturer ecosystem gave the team a common starting point for colour management and finishing.
For low-budget drama and factual producers, the workflow illustrates a practical division between a primary camera and a compact companion without creating a separate post pipeline. Resolve then joins editorial finishing and colour work in the same software environment.
The supplier case study does not publish exact codecs, resolutions, lenses, lighting package, matching settings, storage volume or grade duration. It therefore documents the chosen tools but not a controlled comparison of image quality or labour savings.
