The Match, a documentary about Argentina and England’s 1986 World Cup quarterfinal, combined URSA Cine 17K 65 and URSA Cine 12K LF cameras with a complete DaVinci Resolve Studio post-production chain.
A 65mm Mamiya Sekor C lens on the 17K camera produced close portrait views while preserving natural facial perspective. A 12K LF with an Angénieux EZ-2 zoom covered wider and medium compositions, and a third camera captured reactions as former players watched archival footage on a six-metre projection screen.
The production did not record everything at the highest setting. Extended interviews were mainly captured in 4K to support long uninterrupted takes. The team selected 12K or 17K when extra image information supported reframing, screen replacement or VFX. Resolve handled editing, grading, visual effects and finishing.
The case study confirms the camera roles and resolution strategy but does not disclose codecs, data volume, storage plan, dynamic-range measurements, lens matching or delivery master. It is supplied by the camera manufacturer and does not compare the approach with alternative large-format systems.
