SPRINGFIELD, Ore.—In 2007, I began filming Mark Warmer restoring an Mopar Muscle Car and the “Graveyard Carz” series began. Shortly thereafter, Warmer and I co-founded production company The Division, focusing on reality television, and today “Graveyard Carz,” a reality show chronicling the restoration of Mopar Muscle Cars that are often deemed beyond repair, is the longest-running series on MotorTrend’s linear network.

Over the years we’ve learned a lot, particularly when it comes to streamlining workflows and increasing efficiency. We’re a small crew, handling virtually everything in-house: shooting, editing, mixing, color correction, producing, mastering, delivering and social media. (I even do voiceover for the show.)

Better Collaboration
Previously, our post workflow was hampered by the fact that any last-minute edits involved changing multiple projects and tracking multiple changes across multiple versions. In moving to DaVinci Resolve Studio, I was most excited by team collaboration via Blackmagic Cloud. My hope was that I could color-correct while my fellow executive producer, Jeffrey Osborns, could mix—in a proper DAW [digital audio workstation], like DaVinci Resolve’s Fairlight. Even more, I hoped that our talented editor and animator Nick DeAngelo would be able to add b-roll—all simultaneously. We still have some details to iron out, but overall, I’m very pleased with the improvements to our workflow.

While the move to DaVinci Resolve Studio and Blackmagic Cloud was an essential step forward, I thought why not streamline further by bringing editing into production (vs. just post) for larger, multicam shoots with an ATEM Television Studio HD8 ISO switcher?

I knew the ATEM ISO model shined when used with DaVinci Resolve for postproduction, so why not direct and capture episodic shoots in a live production style, with pre-edited segments enhancing efficiency, while maintaining the flexibility to further edit in post?

For these shoots, we record onto the local hard drive, saving the .DRP file (i.e., a DaVinci Resolve Project file) along with it. This enables us to switch cameras and direct the shoot in a “live” style while maintaining the flexibility to edit afterwards. The ability to edit with proxies and then switch to Blackmagic RAW at the push of a button for final grading is unique. This can be a fast and appealing workflow if you don’t mind working with multiple cameras in the sync bin.

Pre-Editing Segments
Now, we can pre-edit larger segments while making sure we have coverage of the action. We use headsets to communicate during the shoot, with the ATEM operator informing the crew which camera is being used or how to adjust a shot. While this live directing approach is something we’ve done without a switcher, it’s a terrible waste of resources when it’s so easy to have someone simply push buttons and edit the segment live. It gives the editor a huge leg up when they have a large segment.

Additionally, it’s much more pleasant for a producer to watch something that appears to be edited. It’s also possible to mix cameras in this workflow, and even to process the resulting .DRP in such a way as to produce a classic multicam clip, if that workflow is more appealing.

As an independent production company, we have leveraged social media for promotion from the very beginning—so using the ATEM for multicam live streams is also exceptionally valuable to us. We’ve used it to live stream on social media platforms, and I am confident we will continue to do so.

For more information, contact Blackmagic Design at
408-954-0500 or visit www.blackmagicdesign.com.

SANTA CLARITA, Calif.—Migrate Sound is a recording and audio postproduction studio specializing in all aspects of audio production, including voiceover, dialogue, group and sound effects recording, sound designing and mixing, remote and on-the-go (OTG) recording, mix to picture (stereo and surround), copywriting, translation and adaptation.

With clients ranging from television and streaming networks to movie studios and advertising agencies, the majority of my projects include radio promos for Fox, Amazon Prime, Hallmark, Audible and more. I produce about 30 to 40 promos per year across a variety of genres, including comedy, drama, reality television and entertainment, or contest-based shows.

Sweeps are a notoriously busy time and as they happen four times a year, efficiency and ways to streamline and advance my workflow are always top of mind. I recently upgraded my studio, migrating from legacy Fairlight to DaVinci Resolve Studio for audio post just in time to tackle Fox’s February sweeps promos, which had me creating numerous radio spots for a variety of shows. Armed with the Fairlight Desktop Audio Editor and Fairlight Console Channel Fader hardware, I went to work.

Compressed Voiceover
Having done this for the better part of 30 years, it comes very naturally to me, but the promo is an art that requires fine instincts and the ability to condense an entire episode of a show into 30 seconds. Producing a radio promo means capturing the listener’s attention quickly and delivering a clear, compelling message within a very short time frame, all while maintaining high audio quality and adhering to branding guidelines.

Trying to fit the entire message into less than 30 seconds gets very tricky. The network gives us creative mandates, which include phrases that cannot be cut no matter what. DaVinci Resolve Studio’s ability to time-compress voiceover bits and soundbites from a show is a godsend. It’s done on the fly, it’s very fast and accurate and it doesn’t require the need to create a new clip.

DaVinci Resolve Studio’s AI-based noise reduction and voice isolation tools are like magic wands. Sound bites from TV shows can sometimes be noisy; with outdoor scenes comes background noise. While it makes sense on television because the visuals are there, it’s just confusing when used for radio. Though I’ve gotten rather skilled at filtering out distracting noises manually, the voice-isolation tools have made my job so much easier.

I was a bit hesitant to upgrade my studio as my original Fairlight system was still working great, so why rush? But I realized that staying up to date with technology is crucial for my business, or any business for that matter. I wanted to make sure my studio had the latest equipment, features and compatibility within our industry, so I can deliver to my clients and stay competitive.

As a business owner, a studio upgrade needs to deliver a return on investment and give me peace of mind that it’ll start up in the morning. I don’t have the luxury of moving to another room when there’s a problem with the one I’m working in. If my studio is down, my business is down. So, the most important thing to me is reliability and support, which comes seamlessly with Blackmagic Design.

For more information, contact Blackmagic Design at 408-954-0500 or visit www.blackmagicdesign.com.

Today Blackmagic Design released DaVinci Resolve 19.1, which the company said includes a range of features and improvements that will give users more control and significantly speed up their multicam, audio and visual-effects workflows.

DaVinci Resolve 19.1 is available now as a free download and you can find the full details on the updates here.

Additionally, Blackmagic Design also released Fusion Studio 19.1, which adds new Fusion effects including generators so users can quickly create backgrounds such as stage curtains, a star field and gradient or radial lines. There are also new title templates to make it easy to add more interesting titles to the user’s work, including those with a glass effect, rainbow style or gradient outline. In addition, Fusion media inputs will now honor upper- or lower-field dominance for interlaced footage. This means the effects users apply will display and render correctly based on the original scan pattern.

A new tool in Fusion lets users export USD assets and scenes from compositions, including all geometry, lighting and cameras, speeding up postproduction visual-effect workflow. This update also includes support for USD 24.08 with improved MaterialX performance and polygon and B-spline viewer toolbar controls.

Fusion Studio 19.1 update is available now as a free download here.

ARLINGTON, Va.—The stock media platform Storyblocks has launched DaVinci Resolve templates in the Storyblocks library.

The new templates allow users to easily add motion graphics, visual effects and animated sequences to their videos in DaVinci Resolve, while taking advantage of Storyblocks' robust stock media content, the company said. 

The launch of DaVinci Resolve templates within the Storyblocks library reflects a rapid rise in the popularity of DaVinci Resolve among creators, Storyblocks said, and the pressure faced by creators and businesses to speed up the creation of high-quality videos. 

"Incorporating DaVinci Resolve templates into our library demonstrates our continued investment in our product offerings and highlights how we are evolving alongside our users," said TJ Leonard, CEO of Storyblocks. "As creators and businesses across every industry prioritize video, we're committed to providing the resources they need to make the highest-quality videos possible in a timely manner. This launch is just the next step in this journey."

The company also stressed that the templates significantly speeds up the creation of motion graphics and special effects from scratch. 

Direct access to these ready-to-use, customizable templates also allows users to quickly create titles, transitions, logos and other motion graphics for their videos and easily swap content that fits their brand and style. 

This latest addition also complements Storyblocks' collection of more than 27,000 Adobe Premiere Pro, After Effects and Apple Motion templates.

"With this launch, users can work more efficiently, accessing the templates they need directly from Storyblocks without creating effects from scratch," said Leo Moriya, director of content operations at Storyblocks. "As a video editor myself, I know how much the right template can help craft more engaging and professional content. After seeing the high quality of what we're launching, I'm confident we're meeting our customers' and contributors' growing demand for DaVinci Resolve templates and supporting their creative work."

More information about Storyblocks and the DaVinci Resolve Templates is available here.  

In a live stream, Blackmagic Design’s CEO Grant Petty unveiled three new cameras, two new control panels, a new camera app for iPhones, a new router  and a host of software upgrades for  DaVinci Resolve 18.6, Fusion Studio 18.6, Blackmagic Web Presenter 3.3 and ATEM Switchers 9.2.

The new cameras include Blackmagic Cinema Camera 6K ($2,595; available now). The new high end digital film camera features a full frame 6K sensor, 13 stops of dynamic range, L-Mount lens mount and dual native ISO up to 25,600 for incredible low light performance and recording to CFexpress cards. 

This new model also offers a massive 24 x 36mm 6K sensor, allowing for large format cinema camera image quality in a portable, lightweight body. Blackmagic Cinema Camera 6K uses an L-Mount for lenses which works with a wide range of new and vintage lenses for a wider range of creative choices.

The second new camera is Blackmagic Micro Studio Camera 4K G2 ($995; available October 2023), which is the next generation model of the popular Blackmagic Micro Studio Camera 4K. 

The new model retains tje compact design of the original model, but now upgraded with a 4K digital film sensor with 13 stops of dynamic range and dual native ISO up to 25,600 for incredible low light performance. In addition, Blackmagic Micro Studio Camera 4K G2 adds 12G-SDI for operation up to 2160p60, and a new USB-C expansion port for recording Blackmagic RAW to external disks as well as network control via Ethernet adapters.

The third camera, Blackmagic Studio Camera 4K Plus G2 ($1,345; available now) is an updated studio camera model which adds 12G-SDI allowing customers to connect it to SDI based switchers such as ATEM Constellation. The new model also adds support for remote camera control over networks via REST APIs and talkback on 3.5mm headsets. Blackmagic Studio Camera 4K Plus G2 retains the same amazing 4K digital film sensor with 13 stops of dynamic range, MFT lens mount and compact all-in-one design of the previous model. 

The company also unveiled the Blackmagic Camera App (free; available now). It adds digital film camera controls to the Apple iPhone. Based on the same operating system as Blackmagic Design's award winning digital film cameras, these professional features give iPhone content creators the same tools used in feature films, television and documentaries. Support for Blackmagic Cloud allows creators to collaborate and share media with multiple editors and colorists around the world instantly.

The company also launched ATEM 1 M/E Advanced Panel 20 and ATEM 1 M/E Advanced Panel 30 (from $3,899; available October 2023).

The two new hardware control panels that are designed to access the full power of ATEM Constellation HD and 4K switchers. The new ATEM 1 M/E Advanced Panel 20 and 30 models feature the same elegant design as the 2 M/E and 4 M/E Advanced Panels, but in a compact size to fit into any broadcast studio space. The new 1 M/E panels include up to 3 system control LCDs, buttons for control of 4 upstream keyers, 4 downstream keyers and 4 M/E rows as well as a joystick, T-bar fader and more.

In addition, it showed off a new router, the new Blackmagic Videohub 80x80 12G ($9,995; available November 2023). A larger 80x80 12G-SDI router that lets customers connect and route any combination of SD, HD and Ultra HD on the same router at the same time. Blackmagic Videohub 80x80 12G features a front panel with shortcut buttons, an LCD which can display labels or live video, a machined metal spin knob for browsing video sources, reference connections and redundant power. 

In addition, it released a number of new software updates, including DaVinci Resolve 18.6, Fusion Studio 18.6, Blackmagic Web Presenter 3.3 and ATEM Switchers 9.2.

The new DaVinci Resolve 18.6 update include: 

• New Blackmagic Camera cloud workflow syncs captures to cloud projects.
• Support for Blackmagic Cloud Storage with synced project media and files.
• Automatic proxy generation and upload to Blackmagic Cloud Storage.
• Support for outer text stroke in titles and subtitles.
• Ability to assign and apply favorite keywords to clips and markers.
• Support for Fusion USD scenes with materials and volumes.
• Import multiple mono audio files with suffixes as a multichannel clip.
• Support for target audio loudness standards on renders.

LAS VEGAS—Blackmagic Design showcased a host of new products and software updates on the first day of the 2023 NAB Show, including the ATEM Television Studio 4K8, updates to DaVinci Resolve and the ATEM 4 M/E Constellation 4K.

“Recently we launched the new ATEM Television Studio HD range, and customers have been very happy with them,” said Grant Petty, Blackmagic Design CEO in announcing the ATEM Television Studio 4K8. “However we’ve also been working on a 4K model. The ATEM Television Studio 4K8 is exciting as it has 10 independent 12G-SDI outputs which can be used for external recording. That’s great for when customers want a high quality solution for multi-cam editing as all outputs are in sync and have matching timecode with full audio mapping.”

The company said that the ATEM Television Studio 4K8 would be priced $4,595 when it becomes available in July. The new live production switcher combines all the broadcast features of the ATEM Television Studio HD with additional support for Ultra HD standards up to 2160p60.

Other new products and updates include: 

• ATEM 4 M/E Constellation 4K ($8,995, available in June) – a new Ultra HD model of the ATEM Constellation family with 40 x 12G-SDI standards converted inputs with support for standards up to Ultra HD 2160p60. 
• DaVinci Resolve 18.5 (free update, beta available now) – a major new update which adds new AI tools, over 150 feature upgrades such as Resolve FX relight, speech to text editing, automatic subtitling, AI audio classification, Universal Scene Description file support, new menus on the Cut page that let customers work faster while allowing more time for being creative, and Fusion USD support for faster workflows. Additionally, Content creators can now upload videos directly to TikTok, and a new option for vertical aspect ratio output makes creating content for social media even easier.
• Blackmagic Camera 8.1 (free update, available now) – an update which adds support for vertical aspect ratio video to Blackmagic Pocket Cinema Cameras, allowing users to create cinematic vertical video for platforms such as TikTok.
• Blackmagic URSA Mini Pro 12K OLPF ($6,385, available now) – a new model of the world’s most advanced digital film camera which adds a high performance optical low pass filter to the 12K Super 35 image sensor. The OLPF reduces artifacts such as moire and aliasing, while preserving the color and critical image detail Blackmagic URSA Mini Pro 12K is renowned for. 
• URSA Mini Pro 12K Added to Netflix Approved Camera List – the camera was recently added to the Netflix Approved Camera List. Officially titled “Cameras and Image Capture: Requirements and Best Practices”, the list highlights the capture requirements necessary to be qualified as an approved camera by the streamer, including dynamic range, resolution, codec, workflow compatibility and more.
• DeckLink IP ($345, available in June) – a new family of PCIe cards that capture and playback 10-bit uncompressed, broadcast quality video directly into 2110 IP based broadcast systems. 
• Blackmagic 2110 IP Converter 3x3G ($595, available in June) – a new rack mount converter which converts 3G-SDI devices to 2110 IP broadcast systems. 

A video of CEO Grant Petty discussing the new products is available here,

ASHLAND, Ore.—I started the PhotoJoseph YouTube channel back in 2016 as a resource for aspiring photographers and filmmakers. With more than 30 years of experience in the creative industry, I use my channel as an outlet to discuss the techniques and gear behind the industry, producing on average, one to five videos and live streams per month, all from my studio (aka “playground!”). 

The world of content creation is incredibly fast-paced. To keep up with the demands of my growing YouTube channel, I’ve expanded my team to include assistant editors located in Ukraine, and a Spanish language localization team in the United States and Colombia. Collaborating with my global team, I rely on a Blackmagic Cloud Store Mini network storage solution and Blackmagic Cloud to share my large project libraries in a seamless remote workflow.

Cloud Collaboration
As a DaVinci Resolve Studio user, incorporating the Cloud Store Mini—in hand with Blackmagic Cloud—was the natural next step in my workflow. I initially made the switch to DaVinci Resolve Studio after being drawn to its color grading features. DaVinci Resolve Studio is incredibly powerful and I’ve been able to uplevel the quality of my videos—all from a single program. When I expanded my team, I knew that I would need a tool that would integrate seamlessly with my existing DaVinci Resolve workflow. I can say that the Cloud Store Mini has been a gamechanger.

For nearly all of my videos, I use a multicamera setup to shoot along with an ATEM 2 M/E Production Studio 4K live production switcher and six HyperDeck Mini decks for recording. I transfer ProRes files captured to the HyperDecks over a 10G network to the Cloud Store, and use the Blackmagic Proxy Generator App to create proxies which automatically sync to Dropbox for my remote team to access. From shooting to editing, the whole process is incredibly fast thanks to the Cloud Store Mini’s high-performance speed. 

More Mobile
Depending on the project, my assistant editor may begin editing a rough cut of the video on Blackmagic Cloud, and then cut promo pieces of my projects. I’m able to review their edits and make changes myself from my laptop wherever I’m located, which is something I’ve never been able to do before. And now with DaVinci Resolve for iPad, I’m looking forward to making this process even more mobile! 

On the Cloud Store Mini, the live status feed allows me to see what’s happening in real time. I have a SmartView Duo monitor in my rack, and monitors all over the studio including at my desk, and using a Smart Videohub router, I can route any video to any destination—including the Cloud Store Mini status. The HDMI monitoring output on the Cloud Store Mini allows me to see important stats like storage maps, speed graphs and active users. Not only are these statuses fun to watch, but it also gives me peace of mind knowing what’s happening. 

As my team continues to grow, I know that my workflow will run smoothly and efficiently thanks to Blackmagic Design. I can’t wait to see what I can create and who I can collaborate with!  

For additional information, contact Blackmagic Design at 408-954-0500 or visit
www.blackmagicdesign.com.

FREMONT, Calif.—Blackmagic Design today made available a free download of its DaVinci Resolve for the Apple iPad, which can be downloaded for free from the Apple iOS Store.

The iPad version offers the same color correction and editing tools used by Hollywood. It also supports Blackmagic Cloud multi-user collaboration as well as powerful AI tools, such as magic mask, voice isolation and dialog lever and smart reframe for social media video content distribution, Blackmagic Design said.

Some of the more noteworthy features include:

• The cut page, which is useful for projects with tight deadlines requiring quick turnaround times as well as for documentary work. Among the cut page features available are source tape for visual media browsing, fast review and smart editing tools to expedite editing. The sync bin and source overwrite tools enable fast multi-cam program editing. 
• The DaVinci Resolve for iPad color page, an advanced color correction tool used in Hollywood to color and finish high-end feature films and TV shows. The tool is approachable to make getting started easy for new users.
• AI processing powered by the DaVinci Neural Engine, which powers looks like magic mask, which can locate and track people with a single stroke, invert a person mask and stylize the background. Smart reframe repurposes footage to different aspect ratios by recognizing action in a scene and panning to create square or vertical versions of the content to post on social media. Voice isolation makes it possible to remove loud, undesirable sounds from interviews as well as dialog recoding from noisy locations.

 The release is optimized for the iPad Pro with M1 and M2 chips, Blackmagic Design said. 

The company today also announced DaVinci Resolve 18.1.2 with updates to DaVinci Resolve Speed Editor firmware, supporting iPad Bluetooth are available.

More information is available on the company’s website.

FREMONT, Calif.—Blackmagic Design has announced that more than 70 of the fall 2022 season’s television shows and streaming series, such as “The Lord of the Rings: The Rings of Power,” were created with its Blackmagic URSA Mini Pro 12K and Blackmagic Pocket Cinema Camera digital film cameras, DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio post production software as well as other technologies from the company. 

“On ‘Rings of Power,’ we used Blackmagic Design products throughout our whole cloud based pipeline,” Ron Ames, producer, “The Lord of the Rings: The Rings of Power” said. “From camera capture to exhibition, Blackmagic Design hardware and software played an integral role in streamlining the flow of image based data. We utilized the full suite of tools from image capture through editorial, VFX and final color correction.”

Some of the fall 2022 series that used Blackmagic Design cameras include:

• “Big Sky” DP Ken Glassing used the Pocket Cinema Camera 4K for select shots;
• “CSI: Vegas” DP Christian Sebaldt used the Pocket Cinema Camera 4K, Pocket Cinema Camera 6K, Pocket Cinema Camera 6K Pro and the URSA Mini Pro 12K for various specialty shots;
• Cinematographer Steve Gainer shot “Life By Ella” with the URSA Mini Pro 12K;
• “The Lord of the Rings: The Rings of Power” Producer Ron Ames used Pocket Cinema Camera 6K Pros for a variety of witness camera, VFX plate and live stream eyeline work, as well as various converters for real time color reviews;
• “Station 19” Cinematographer Christian Sebaldt (episodes 515, 517) used the Pocket Cinema Camera 4K, Pocket Cinema Camera 6K, Pocket Cinema Camera 6K Pro and URSA Mini Pro 12K for various specialty shots;
• “The Game” DP Darren Genet, ASC, used Pocket Cinema Camera 6K Pros for select shots;
• Crafty Apes On Set Supervisor Josh Stevens used Pocket Cinema Camera 4K to capture background actor elements for “Heels;” and
• “Young Rock” DP Judd Overton used URSA Mini Pro 12K and Pocket Cinema Camera 6K Pro for a variety of shots.

Some of the fall 2022 series that used Blackmagic Design for VFX include:

• VFX Supervisors John Gross and Fred Pienkos of Muse VFX chose Fusion Studio for compositing “NCIS Season 20,” “The Neighborhood,” “What We Do in the Shadows” and “Wolf Pack;”
• "Blue Bloods” VFX Supervisor Mike Warren of Filmworks/FX NY used Blackmagic Production Camera 4Ks for VFX shots, as well as DaVinci Resolve Studio within the VFX pipeline and Intensity Shuttle for playback;
• Shaley Brooks of Iris Digital Post used Fusion Studio for light VFX work with “Home Economics;”
• "The End Is Nye" in house VFX Supervisor Arthur Mesa and Jeremy Nelson used Fusion Studio for pre and post vis, as well as finalizing the show; and
• Crafty Apes’ Editorial team used DaVinci Resolve Studio as part of their VFX editorial work on “The Peripheral.”
• "The Pocket Cinema Camera 4K and its high powered and nimble package has allowed us to efficiently shoot high quality images that we’ve used in countless feature and episodic projects,” said On Set Supervisor Josh Stevens of Crafty Apes. “Everything from plates for concept mockups, VFX elements, green screen background plates, and more. Its micro 4/3 lens mount allows us to work with virtually any lens out there along with speed boosters that open up a whole new level of low light capability. It’s a workhorse in a pony’s body."

Some of the fall 2022 series that used DaVinci Resolve Studio for post production include:

• “A Million Little Things,” “Young Rock” and “Reboot” graded by Russell Lynch of Colortime;
• “Abbott Elementary,” “Anne Rice’s Interview With the Vampire,” “Kung Fu” and “The Walking Dead S11: The Finale Episodes” graded by Chris Boyer of Picture Shop;
• “American Gigolo” graded by Shane Harris of Picture Shop;
• “Baking It” and “Wipeout” graded by Yoram Tal C.S.I.;
• “Big Sky,” “DC’s Stargirl” and “The Cleaning Lady” graded by Paul Allia of Picture Shop;
• “Blue Bloods” graded by Andrew Geary of Company 3;
• “Bob Hearts Abishola” graded by Sparkle of Picture Shop;
• “Chef vs. Wild” and “Rat in the Kitchen” graded by Ricardo Martinez;
• “Chesapeake Shores” graded by Achim Kapitza of 24 Frames;
• “Yellowjackets” graded by Patrick Woodard of Point.360;
• “Grey’s Anatomy” and “How We Roll” graded by Randy Starnes and Andrew Starnes of Arsenal FX Color;
• “Growing Up” graded by Sal Malfitano of Nice Shoes;
• “Legacies,” “Vampire Academy” and “Roswell, New Mexico” graded by Charlie Tucker of Point.360;
• “Home Economics” graded by Shaley Brooks of Iris Digital Post;
• “Joe Pickett,” “New Amsterdam” and “The Good Doctor” graded by Larry Field of Arsenal FX Color;
• “Law and Order,” “Law and Order: Organized Crime” and “The Lord of the Rings: The Rings of Power” graded by Skip Kimball of Company 3;
• “Murdoch Mysteries” graded by Michael Dobroski of Picture Shop;
• “Ms. Marvel” graded by Matt Watson of Marvel Studios Finishing;
• “NCIS Season 20” and “NCIS Hawaii” graded by George Delaney of Picture Shop;
• “NCIS LA” graded by Thomas Galyon of DigitalFilm Tree;
• “Our Kind of People,” “Rapsh!t” and “With Love” graded by Rory Gordon of Arsenal FX Color;
• “Reginald The Vampire” Editor Lisa Binkley used Blackmagic eGPU for remote post work;
• “Saturday Night Live” filmed pieces graded by Elias Nousiopoulos;
• “Station 19” graded by Roy Vasich of Picture Shop;
• “SWAT” graded by Siggy Ferstl of Company 3;
• “Tell Me Lies” graded by Mark Kueper of Picture Shop;
• “The Endgame” graded by Aidan Stanford of Arsenal FX Color;
• “The Good Fight” graded by Steven Bodner of Picture Shop;
• “The Next Thing You Eat” graded by Scott Klein of Light Iron;
• “The Rookie” graded by Dave Hussey of Company 3;
• “The Simpsons” graded by Jason Fabbro of Picture Shop;
• “Walker” graded by Tony D’Amore of Picture Shop;
• “Yellowstone” graded by Bob Festa of Company 3; and
• “Young Sheldon” graded by George Manno of Picture Shop.

Some of the fall 2022 series that used Blackmagic Design for production include:

• “Goldbergs” DIT Kevin Mills used Smart Videohub 16x16 router, Smart Videohub CleanSwitch 12x12, SmartView Duo monitor, DaVinci Resolve, DeckLink Mini Monitor playback card, DeckLink Mini Recorder capture card, various Mini Converters and Blackmagic MultiView 4 HD;
• “All American” DIT Urban Olsson used Smart Videohub 20x20, DeckLink Duo 2, DeckLink 4K Extreme 12G, UltraStudio HD Mini capture and playback device, UltraStudio 4K, Multiview 4, Micro Converter SDI to HDMI 12G and DaVinci Resolve Studio;
• “Gossip Girl” DIT Chloe Walker used Smart Videohub 20x20 and UltraStudio Express;
• “Anne Rice’s Interview With the Vampire” DIT Imanuel Smith used DaVinci Resolve Studio and UltraStudio 4K Mini;
• “Kung Fu” DIT Jonathan Yip used Smart Videohub 20x20, Smart Videohub Master Control Panel, Videohub Smart Control Pro, MultiView 4, DeckLink 8K Pro, DeckLink Duo 2, Micro Converter BiDirectional SDI/HDMI 12G, Mini Converter SDI Distribution 4K, SmartView Duo 4K and DaVinci Resolve;
• “La Brea” DIT Reece Flemming used Smart Videohubs, DaVinci Resolve, Video Assist 5” 12G HDR monitor and recorder and Blackmagic MultiDock;
• “Life By Ella” DP Steve Gainer used DaVinci Resolve for on set color correction;
• “Motherland” and “911: Lonestar” DIT Michael Sanchez used UltraStudio 4K and Smart Videohub 20x20;
• “Reasonable Doubt” DIT Rob Rogers used various ATEM live production switchers;
• “Station 19” DIT John Reyes used DaVinci Resolve Studio for on set color correction;
• “Wedding Season” DIT Kerr Loy used DaVinci Resolve Studio to DeckLink Mini Monitor 4K, and;
• “Wellington Paranormal” DIT Alex Boyd used UltraStudio Mini Monitor and Mini Converter SDI to Audio.

FREEMONT, Calif.—Blackmagic Design has released DaVinci Resolve 18.1 with new support for editing vertical resolutions and the ability to lock timelines automatically within bins for multi-user collaborations.

The release, available today as a download, also adds DaVinci Neural Engine-enabled AI dialog leveler and AI voice isolation tools to the cut, edit and Fairlight pages. Vector keyframing for Fairlight automation curve editing is also a part of the release, the company said.

Newly added Fairlight grid support enables users to position clips on a grid based on timecode or musical tempo. The release makes it easier to import projects to be edited from ATEM Mini ISO projects by attaching audio to video clips, it said.

With added support for vertical resolutions used for social media, such as 1080 x 1920, users can choose square and vertical resolutions directly in project settings, thereby making it fast to set up a timeline to produce videos, the company said.

Collaborating with other editors at the same time is also easier with the new timeline locking operation, which automatically prevents two users from selecting the same timeline by locking it to the first user without the need to lock the whole timeline bin. Multiple editors can now work on different timelines in the same bin at the same time, it said.

The new AI-based voice isolation track FX functionality enables users to remove loud, undesirable sounds from voice recordings. The addition of DaVinci Neural Engine-enable voice isolation makes it possible to isolate the dialog from background sounds in recordings, eliminating everything sounds ranging from moderate noises to loud explosions and aircraft sounds, it said.

The built-in dialog leveler track FX in the inspector processes and smooths dialog recordings without the need for tedious level adjustments on clip gain or automation curves. Controls include real-time scrolling waveform display, focus presets and three processing options that allow users to achieve natural sounding results. With the new vector keyframing of Fairlight audio automation curves, users now have the ability to enter, edit, trim and nudge keyframes graphically with standard tools, the company said.

For Fusion users, the update makes it possible to speed up workflows with added support for magic mask in the Fusion page. The magic mask palette uses the DaVinci Neural Engine to detect animals, vehicles, people and objects, tracking their movement in a shot. Now users can produce these clean traveling mattes directly in the Fusion page to add effects to characters or stylize the background, it said.

“This is a major update with new added support for social media vertical resolutions. Now, customers can work quickly and easily to create video posts for sites such as TikTok, Snapchat, Facebook shorts, Instagram TV and more,” said Grant Petty, Blackmagic Design CEO. “Plus, there are some other exciting performance improvements as well, such the new DaVinci Neural Engine AI-enabled voice isolation tools, and new features for Fusion, such as support for magic mask.”

More information is available on the company’s website.

FREEMONT, Calif.—Blackmagic Design today unveiled DaVinci Resolve for iPad, offering users a powerful, portable platform from which to work.

Optimized for multi-touch technology and Apple Pencil, DaVinci for iPad offers support for cut and color pages, providing access to the tool’s image technology, color finishing toolset and the latest HDR workflows, it said.

With optimized performance for Apple Silicon, DaVinci Resolve delivers four times faster Ultra HD ProRes render performance on the new iPad Pro with M2. HDR is also supported for those using a 12.9-inch iPad Pro with the M1 chip, it said.

Creators can send a clean feed grading monitor output to an Apple Studio Display, Pro Display XDR or an AirPlay compatible display. This lets customers use the external display to create grades on set or color correct clips in post-production directly from their iPad.

The new DaVinci Resolve for iPad will open and create standard DaVinci Resolve project files which are compatible with the desktop version of DaVinci Resolve 18. Supported file formats include H.264, H.265, Apple ProRes and Blackmagic RAW, with clips able to be imported from the iPad Pro internal storage and Photos library, or externally connected iCloud and USB-C media disks, it said. 

Blackmagic Cloud support allows creators to collaborate with multiple users around the world. 

DaVinci Resolve for iPad features:

• Cut page for editing and the color pages are optimized for the 12.9-inch iPad Pro display.
• Up to 4x Ultra HD ProRes render performance improvement with the M2 chip.
• Supports Apple Neural Engine features in DaVinci Resolve Studio for iPad.
• Compatible with DaVinci Resolve 18 project files.
• Supports multi-user collaboration via Blackmagic Cloud.
• Supports H.264, H.265, ProRes and Blackmagic RAW media files.
• Supports clips from iPad storage, Photos library and iCloud.
• Imports clips from external USB-C disks.
• Works with Apple Pencil, Magic Trackpad, Magic Keyboard and Smart Keyboard Folio.
• External monitoring via Apple Studio Display, Pro Display XDR or an AirPlay display.
• Supports HDR display on 12.9-inch iPad Pro with the M1 chip.
• Compatible with iPadOS 16 or newer.

DaVinci Resolve for iPad will be available in Q4 from the Apple App Store as a free download. An upgrade to DaVinci Resolve Studio for iPad also will be available as an in-app purchase, the company said.

More information is available on the company’s website.

FREMONT, Calif.—Blackmagic Design today announced DaVinci Resolve 17.4 offering up to a five-times speed improvement on the Apple Mac models with the M1 Pro and M1 Max chips.

The speed improvement enables users to play back, edit and grade 8K projects faster and to work with up to 12 streams of 8K footage, the company said.

The latest version increases the decoding speed of 12K Blackmagic RAW files by more than three times and H.265 rendering by 1.5 times. Performance of the DaVinci Neural Engine is up to four times faster, enabling real-time facial recognition, object detection and smart reframing. It offers support for ProMotion 120Hz displays and HDR on the new Apple MacBook HDR displays, it said.

DaVinci Resolve 17.4 adds Dropbox Replay integration, enabling projects to flow smoothly from DaVinci Resolve Studio directly to Dropbox Replay. Frame-accurate colored markers, comments and annotations made in Dropbox Replay are synced nearly instantly to the DaVinci Resolve timeline.

The latest version also supports automatic resizing of backgrounds and cursor placement when creating captions for subtitling. Nested timeline subtitle tracks now auto-populate the make timeline to speed up creation of captions, it said.

The edit page has been improved with better functionality for position curves in the timeline that enable user to more easily adjust the ease-in and out points, creating a more customized transition from one point to another when applying zoom or image position adjustments, the company said.

With DaVinci Resolve Speed Editor, users can now switch between cameras in multicam clips on the edit page, making it faster to cut programs together, it said.

With Fusion, users get additional support for languages with combined glyphs and those that may write right to left such as Arabic and Hebrew. There’s also improved vertical layouts, rotation and line direction when working with Text+, the company said.

The latest version adds greater support for automatic color management and support for ACES 1.3, including gamut compression, it said.

A new Resolve FX called custom mixer allows users to combine effects and make adjustments to grades with finer control. A new 3D keyer adds the ability to make finer adjustments to the key and matte finesse settings. For DaVinci Resolve Studio, a new film halation feature adds the effect of a flow or light reflections around high –contrast edges, it said.

Fairlight audio now has support for Steinberg VST3 audio plugins, giving access to more audio effects. 

When finishing projects users can now export projects with YouTube video chapters, improved encode settings for the YouTube render preset and the ability to use hardware accelerated H.265 on Windows, it said.

The latest version of DaVinci Resolve is available now as a download from the Blackmagic Design website.

HOLLYWOOD, Calif.—Building off the popularity of its 2016 video “Stick Figure Battle,” SoKrispyMedia recently produced a follow-up video, “Stick Figure War,” utilizing Blackmagic Design’s URSA Mini Pro 4.6K G2 and Micro Studio Camera 4K cameras, shooting in Blackmagic RAW.

“Stick Figure War” expanded upon the original “Stick Figure Battle,” which showed two students drawing battling stick figures on a classroom white board. The new video featured an entire classroom of students as well as visual effects.

The entire production was shot on Blackmagic’s URSA Mini Pro 4.6K G2. The crew used the camera’s high frame rate capabilities (60 fps) to prepare for necessary speed ramps in post-production. The Blackmagic Micro Studio Camera 4K, which fed into a Blackmagic Video Assist 7-inch monitor for recording, was used for top down hand shots of the students.

SoKrispyMedia continued to rely on Blackmagic for post-production, utilizing a combination of Unreal Engine and DaVinci Resolve Studio.

“Working on a pipeline between Blackmagic Design cameras, DaVinci Resolve software and Unreal Engine was surprisingly easy and intuitive,” said filmmaker Sam Wickert. “Between the full Blackmagic ecosystem with cameras, capture and playback and Resolve, we’re able to quickly and easily get up and running and integrate with Unreal Engine’s virtual production tools. To be honest, I don’t think if we had tried it any other way, it would have worked. Our current pipeline is running so smoothly, and we’re really happy with the images we’re getting.”

For more information, visit www.blackmagicdesign.com.  

We all know that Blackmagic Design’s DaVinci Resolve is one of the best editing software choices. Used by students and educators in schools; by freelance, corporate, commercial and Hollywood editors; it is considered as professional and robust as the other editing software choices around. The most exciting feature of DaVinci Resolve is its price—free.

With all of the other major editing systems that come with a monthly, yearly or expensive purchase price, why would you want to pay $295 for editing software that you could download for no cost?

In this article, I will discuss the reasons why you might want to spend the $295 and have a lifetime license to DaVinci Resolve Studio.

DAVINCI RESOLVES/DAVINCI RESOLVE STUDIO

Having used the free version of DaVinci Resolve for years, I decided to look more deeply into what the Studio (paid version) of DaVinci Resolve offered and if it was worth paying the one-time charge of $295 for the lifetime license. 

I was introduced to the cost version of Resolve with version 14. I eventually upgraded to version 15 and then to 16. The biggest reason for me (and there are numerous others I will get into later) to do this was the ability to export files larger than Ultra High Definition’s 3820x2160 and frame rates faster than 60fps. That might not seem like a big deal, but when shooting in true 4K’s 4096x2304, that extra bit of resolution is noticeable if you are enlarging your image or doing layers with special effects. Since I’m now shooting in 6K (and soon 12K), I don’t want limitations in my exporting functions.

Some other features only available in DaVinci Resolve Studio version are things like: noise reduction, grading using HDR, motion blur, having easier access in dealing with RAW files and several editors can work on the same project (color grading, editing, etc.) remotely. This last feature alone has been invaluable for me during the pandemic.

Noise reduction is critical in my editing workflow. Using RAW files and low light footage, I’ve become accustomed to having to deal with noise issues—especially when shooting at high ISOs. In the free version, my RAW files were always supported, and I don’t like to be changing editing platforms frequently. Working in a university setting, I’m constantly collaborating with other faculty as well as students on projects. Having the ability to look at a student’s project, making suggestions or changes and even teaching the software is much easier with the Studio version because of the remote access.

While both the free and the Studio versions will use a GPU for processing, the Studio version will recognize up to nine GPUs, scaling with you as your needs grow. With the Studio version you have access to GPU hardware accelerated encoding on certain H.264 and H.265 codecs (which is much faster than the free version’s CPU encoding). I enjoy editing as much as anyone, but faster means less time waiting. I watched an online tutorial that proves the Studio version is 15 seconds faster (for his short video test) in rendering time and it utilizes 30% rather than 60% of its CPU. Therefore, the Studio version is more efficient and offers better playback than the free version in his testing.

Available only on the Studio version is the DaVinci Neural Engine, which adds artificial intelligence (AI), object removal (self-explanatory), Auto Color Balance and Matching (also self-explanatory, but if you color grade, it will save you mountains of time), facial recognition software and the ability to upscale your footage up to four times its present size without losing any quality. Watch this John’s Films video for more detailed information on all of these features.

SOUND AND VISUAL EFFECTS

Fairlight is DaVinci Resolve’s audio software. Fairlight is included in the free version, but the Studio version has many more sound effects and tools.

Under the Effects Library, more options are available like OpenFX, which has six effects under ResolveFX Blur; 11 effects under ResolveFX color; and numerous others under ResolveFX Generate, light, refine, reveal, sharpen, stylize, texture, transform and warp.

Under the Color tab in the menu, the Studio Version offers Dolby Vision in addition to the HDR10+ I had mentioned earlier. When working with Arriflex cameras, Arri.look files allow you to achieve their distinctive “look” via templates. 

OPTIONAL FEATURES

Blackmagic Design also offers three different control panels: the DaVinci Resolve Micro Panel, DaVinci Resolve Mini Panel and the DaVinci Resolve Advanced Panel, all designed to give customers fluid, hands-on control over multiple parameters at the same time, so they can work faster and be more creative. Additional offerings include the DaVinci Resolve Editor Keyboard, designed for professional editors who need to work faster and turn around work quickly; and the external Blackmagic eGPU to aid with a faster workflow. 

SUMMARY

DaVinci Resolve Studio might not be for everyone. When I first began teaching DaVinci Resolve to my freshman class, everyone downloaded the free version for that specific reason—the cost. As I mentioned earlier, I too started with the free version and have been happy with it. My needs have changed in that I now need the power, speed, versatility and other features that the Studio version offers to better accomplish what my clients and students desire. DaVinci Resolve Studio might be the next logical step in your workflow. The greatest component of the upgrade was I didn’t have to relearn a new software platform—I just had new and better features at my fingertips.

Chuck Gloman is an associate professor in the TV/Film Department at DeSales University.  He may be reached chuck.gloman@desales.edu. 

MANCHESTER, U.K.—Blackmagic Design was a key cog in getting the TV adaptation of Sally Rooney’s New York Times bestseller “Normal People” to viewers on both BBC and Hulu, as the show utilized the company’s DaVinci Resolve Studio for grading and finishing.

Gary Curran, colorist and company director at Outer Limits, handled all post-production, including utilizing the ACES workflow in DaVinci Resolve Studio for the grade, online and final deliverables.

The series was directed by Lenny Abrahamson and Hettie Macdonald, with cinematography by Suzie Lavelle BSC and Kate McCullough.

“The camera work in this series is fantastic,” said Curran. “Suzie decided to use K35 lenses that introduce flare and fogging. They had a real softness to their highlights and contrast.

“Overall, my aim was to not take anything away from that,” Curran continues. “Rather just enhancing Suzie and Kate’s work further. It was about finding the right balance between keeping it natural in the DI and not too stylized while also retaining a slight richness to the images.”

In different lighting settings, Curran explains that he would use the Resolve’s channel mixer to narrow the range of skin tone to ensure they were natural and soft.

“Normal People” is available to watch on Hulu.

For more information, visit www.blackmagicdesign.com.  

Fremont, CA – January 30, 2020 – Blackmagic Design today announced that the “Dance Monkey” music video by Tones and I was edited and graded by Australia’s Visible Studios using Blackmagic Design’s DaVinci Resolve Studio.

“Dance Monkey” is Australian singer and song writer Tones and I’s top charting song, hitting number one in more than 30 countries, seven times platinum and a number one song in Australia for 22 weeks. The video has been viewed on YouTube more than half a billion times and has been nominated for numerous awards such as Best Music Video of the Year at the recent ARIA Awards.

The video was created by Melbourne’s Visible Studios, run by producer Tim Whiting and director and editor Nick Kozakis. Visible Studios is a full production and post production company that includes a highly specialized team of directors, scriptwriters, designers, motion graphic artists and editors, and which has created a huge number of films, TV commercials and music videos.

For “Dance Monkey,” Visible Studios worked directly with Tones to develop the idea for the video. The video, which was shot at the beginning of the song’s meteoric rise, was completed in less than a week and on a small budget.

“The Dance Monkey music video was made on an extremely quick turn-around,” said Whiting. “She was blowing up at the time and they needed the music video out fast. The video was shot in one day, edited in two, with an extra day and a half for colour and vfx. I doubt we could have completed it this fast, to this quality, without Resolve. With the seamless integration between edit, vfx and color, we didn't have to worry about the time and potential errors associated with round tripping between software.”

“Dance Monkey” features the singer dressed as Old Tones, an elderly man whisked away by his friends to golf course to dance and party. On the day of production, the sun was nowhere to be found and each shot was done against a gray and dismal background. To fix this, they brought in a sky image as a matte and used DaVinci Resolve’s match move tool, keyer, lens blur and power windows to turn gray footage to brilliant sunshine.

“In post we decided to replace the overcast skies with a cloudy blue sky and used a number of Resolve features. We ended up doing this all in Resolve’s color page and keyed the grass and plants to make them more lush and we were there. So in this case it wasn't any one tool, but the power of combining effects with nodes in Resolve’s color page,” Whiting continued.

Another feature that was used in the video was DaVinci Resolve’s Speed Warp, which is part of the new DaVinci Neural Engine and helps with motion estimation.

Whiting continued: “We slowed down some footage using speed warp. This footage involved a fast moving golf club passing across objects like bodies, highly textured background trees and horizon lines. This kind of footage usually causes issues for traditional optical flow techniques, however speed warp handled it well.”

Editor/Directors Nick Kozakis and Liam Kelly used DaVinci Resolve Studio for the entire edting process.

“While we love the flexibility of editing tools in Resolve, for Dance Monkey it was all down for performance. Being able to edit 6K RAW footage smoothly on a 4K timeline, at a good quality debayer, means that we don't have to mess around with proxies and that the footage gets out of the way of the editing process. The recent update for decompression and debayer on Nvidia cards has made this performance even better. Stabilising footage is fast, intensive effects cache on the timeline,” Kozakis said.

“We use Resolve to edit all our projects. This includes all of our music videos, commercials, short films, corporate videos, and have worked with Australia’s Mezzanine Films to develop a Resolve based workflow when we worked with them on their travel show Photo Number 6, and now some other local production houses have started to emulate our workflow. Time is money in business, and any time we can save from having to move projects back and forth between software is time we can spend being creative. Editing in Resolve allows us to do this,” Kozakis continued.

Press Photography

Product photos of DaVinci Resolve Studio, as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA – January 29, 2020 - Blackmagic Design today announced that DaVinci Resolve Studio was used to edit, grade and finish Lemohang Jeremiah Mosese's fiction feature debut, “This Is Not a Burial, It's a Resurrection.”

The film, which has its international premiere at Sundance Film Festival, was nominated for the Grand Jury Prize in the World Cinema Dramatic competition. Global sales rights have now been picked up by Memento Film's cinema arthouse label, Artscope.

"This project was very personal to me, as it drew on real events from my grandmother’s life in southern Africa for inspiration," explains Lemohang, who directed, edited and delivered the feature in just six months.

Normally based in Berlin, he traveled to his birth country of Lesotho to complete production, before finalizing the edit at Uhuru Productions in Cape Town. The grade was then delivered by colorist Nic Apostoli, at nearby Comfort and Fame Studios.

“Using Lesotho as a location was wonderful, but it did bring its own set of challenges. Largely made up of locals, most of the cast had never been in front of a camera, and there was no electricity or other infrastructure to speak of," said Lemohang.

To get around this, Lemohang and his assistant acquired a generator for power and set up a temporary edit suite on location using quad core Mac Pros. It was here that they transcoded all of the rushes, and assembled a rough cut.

“With no electricity or working infrastructure to speak of, we really put DaVinci Resolve through its paces. It's testament to the software's overall stability that we didn't experience any performance related issues while on set. I also like how modern and fresh the UI is; it actually makes the process of editing fun.

"Going into post production, I had so many ideas, and Resolve made the job of pulling together the cut, so much simpler. I was then able to shape the story once back in Cape Town, using the NLE and retiming tools in Resolve to finesse the story’s narrative, building in tension subtly.

"A few years ago, I'd actually stopped editing altogether," Lemohang concludes. "My previous NLE had become too difficult to use, and very prone to crashing. When I tried DaVinci Resolve for the first time, I rediscovered my passion and enthusiasm for editing. It's a whole other world! Being able to complete post production using a single piece of software makes so much more sense to me creatively. I haven't looked back since."

Press Photography

Product photos of DaVinci Resolve Studio, as well as all other Blackmagic Design products, are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - January 29, 2020 - Blackmagic Design today announced that the latest series of Germany’s legendary stand up show, Quatsch Comedy Club, has been edited and graded on DaVinci Resolve Studio.

The Sky Deutschland show is filmed in front of a live comedy club audience with three live acts and one host taking to the Quatsch Comedy Club Theatre inside Friedrichstadtpalast in Berlin. Post production supervisor, Marius Fischer, has graded the show with DaVinci Resolve since 2015 and this year opted to expand its use on the series to encompass the edit as well.

Marius explains that all of the shows, including the revue style, as well as standalone solo episodes, are filmed, then all of the rushes are passed through to post, which normally takes around 60 days to deliver an entire season. “I was keen to put the editing side of Resolve through its paces on a major project, as I could see that there were efficiencies to be gained in our series workflow.”

A minimum of seven cameras capture every comedy set, meaning Marius has to manage a huge amount of footage for each of the shows. “I’ve found features such as Sync Bin essential, as it allows smooth playback, but without the massive file size of a multicam clip. Once all of that heavy lifting is taken away from your process, you have so much more time to focus on the actual editing and making the very best production that will keep audiences entertained.”

Marius has also cut this season working with the DaVinci Resolve Editor Keyboard, which he believes has added yet another layer of efficiency to his post workflow. “You can work freely with both hands and there’s very little need to use a mouse. I wanted to measure the time savings, so I carried out a little experiment. I tried to make nine cuts within a one minute long multicam clip from the series. Working with the keyboard took two minutes less.”

“I love how simple and reliable the whole approach is. Productions rarely follow a linear delivery path once in post and the ability to do everything in one application makes so much more sense,” he reveals. “The idea of jumping in and out of pages to make small changes when needed is far more intuitive and saves a huge amount of time. You can continue to finesse and refine the edit at any stage during post production, without ever needing to render out a new timeline.”

“Quatsch Comedy Club is such an institution in Germany. In fact, I grew up watching it with my family. It can feel quite surreal that I’m not only working on it, but that I’ve also been able to bring the very latest developments in post production, thanks to DaVinci Resolve, to keep the show fresh and funny for the next generation watching at home.”

Press Photography

Product photos of DaVinci Resolve Studio, DaVinci Resolve Editor Keyboard and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - August 16th, 2019 - Blackmagic Design announced today that a number of the 2019 summer season’s worldwide film releases used numerous Blackmagic Design products during production and post, including its digital film cameras, DaVinci Resolve Studio editing, color correction, visual effects (VFX) and audio post production application, and more. This included some of the biggest blockbusters and expected blockbusters of the summer, such as “John Wick: Chapter 3 - Parabellum,” “Men In Black: International” and “Rocketman.”

Blackmagic Design products were used at nearly every stage of production and post production on various summer films created around the world. DaVinci Resolve Studio continues to be the go to application for many of the world’s leading editors, colorists and post production facilities, such as Company 3’s Stefan Sonnenfeld on “Dora and the Lost City of Gold,” Local Hero Posts’s Toby Martisius on “Brian Banks” and Goldcrest’s Adam Glasman on “Tolkien.”

During production, Blackmagic Design cameras were used on a variety of films and scenes, while the company’s various routers, capture and playback devices, monitors, DaVinci Resolve and Mini Converters were used on DIT carts to help manage on set production, from quirky comedies, such as “The Art of Self Defense,” to blockbuster action movies, such as “Dark Phoenix.”

For Post Production using DaVinci Resolve Studio or Fusion Studio:

“21 Bridges” colored by Tom Poole of Company 3;

“Ad Astra” colored by Greg Fisher of Company 3;

“Booksmart” colored by Alex Bickel of Color Collective at Technicolor;

“Boss Level” VFX Supervisor George Loucas of Baked Studios used DaVinci Resolve Studio for select post work as part of the VFX workflow;

“Brian Banks” colored by Toby Martisius for Local Hero Post;

“Dora and the Lost City of Gold” colored by Stefan Sonnenfeld of Company 3;

“Hallowed Ground” colored by Bradley Greer of Kyotocolor;

“The Hunt” colored at Technicolor;

“John Wick: Chapter 3 - Parabellum” colored by Jill Bogdanowicz of Company 3;

“Luce” colored by Alex Bickel of Color Collective, and VFX Supervisor Lucien Harriot of Mechanism Digital used Fusion Studio for visual effects;

“Men In Black: International” colored by Stephen Nakamura of Company 3;

“Rocketman” colored by Rob Pizzey of Goldcrest;

“The Secret Life of Pets 2” colored by Jason Hanel of EFILM;

“Tolkien” colored by Adam Glasman of Goldcrest.

The summer films that used Blackmagic Design products for production include:

“The Art of Self Defense” DIT Jared Jardu used a variety of Blackmagic Design routers and converters, as well as DaVinci Resolve for on set work;

“Boss Level” DIT Nina Chadha used DaVinci Resolve, DaVinci Resolve Mini Panel and Mini Converters to create daily LUTs on set;

“Dark Phoenix” DIT Julie Garceau used DaVinci Resolve, SmartScope Duo monitor, Smart Videohub 12x12 router, DeckLink Mini Recorder capture and playback card and various UltraStudio capture and playback devices, as well as various routers and converters on set;

“FastandFurious Presents: HobbsandShaw” 2nd set DIT Simon Jori used UltraStudio Mini Recorder and DaVinci Resolve for on set work;

“Hallowed Ground” DP Michael Williams used URSA Mini 4K cameras for principal photography;

“John Wick: Chapter 3 - Parabellum” DIT Patrick Cecilian used DaVinci Resolve and UltraStudio capture and playback devices for on set work;

“Late Night” DIT Michael Maiatico used DaVinci Resolve as well as various routers and converters on set;

“Long Shot” DIT Julie Garceau used DaVinci Resolve, SmartScope Duo, Smart Videohub 12x12, DeckLink Mini Recorder and various UltraStudio capture and playback devices, as well as various routers and converters on set;

“Ma” DIT Paul Rahfield used various Blackmagic Design routers, converters and DaVinci Resolve for on set work;

“Spider-Man™: Far From Home” used DeckLink capture and playback cards for real time streaming of RAW footage, DaVinci Resolve for near set grading, and Smart Videohub 20x20 and Mini Converters on set.

Press Photography

Product photos of URSA Mini 4K, Smart Videohub, DeckLink, Mini Converters, UltraStudio, SmartScope Duo, Fusion Studio, DaVinci Resolve Studio, DaVinci Resolve Mini Panel and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

Fremont, CA - August 15th, 2019 - Blackmagic Design today announced the new sci fi film “Quanta” was shot entirely on an URSA Mini Pro, while grading was done using DaVinci Resolve Studio. The film is one of the first globally distributed films by the new Melbourne based film production company and film collective Raygun, and will begin distribution in the United States and other countries in August.

“Quanta,” shot in Melbourne, tells the story of a weary physicist and an egotistical grad student who discover an immense source of information from an unknown signal in space, but face a clash of ideals with how to handle this unprecedented resource. The director on the film, Nathan Dalton, is an Australian filmmaker who has written and directed numerous award winning short films, music videos and corporate videos. Along with filmmakers Samuel Baulch, Jesse O’Brien, Christian D’Alessi, Sasha Dalton, Dalton founded Raygun Films, which has already completed a number of films using various Blackmagic Design products and DaVinci Resolve Studio software.

“Quanta” takes place in Melbourne, and Dalton used the URSA Mini Pro as the exclusive camera for the film. He wanted to capture the intense sense of foreboding coming from discovering a mysterious alien signal, as well as the vibrant life and city of Melbourne.

“For most of the film I wanted to create a sense of dark and moody. Images that made people think there is something out there just beyond sight. We used a lot of low lighting and we tried to bring in a lot of blues and greens with the LUT that we built in Resolve and used with the URSA Mini Pro,” Dalton said. “Also, we had to create high quality sci fi images, but at the same time on a low budget. The URSA Mini Pro let me do that without compromising on image quality.”

The film showed more than just dark and foreboding images. It was important for Dalton and his crew to capture the color and energy of Melbourne. This meant shooting in crowded venues that showcased a huge amount of different colors.

“There were two distinctly different scenes where the URSA Mini Pro’s color science and dynamic range stood out. In one scene, a main character was in a dark room where a computer signal was being put directly into a character's brain in front of a computer. At the other end of the spectrum we shot a scene with 20 to 30 extras in a pub during a trivia night party that had an amazing amount of different colors. The URSA Mini Pro let me capture all the details we needed even in low lighting, while bringing out the warmth of the lighting and skin tones at the trivia night. You just really appreciate the color science in the camera,” he said.

Color correction and LUT development on “Quanta” was completed using DaVinci Resolve Studio.

“When we were trying to dial in the look and feel of the film, we used Resolve to create an initial LUT and a finished grade that brought in the subtle blues and greens that we needed to create a sense of foreboding,” he continued. “And beyond that, the workflow between URSA Mini Pro and Resolve could not be simpler. There was no wasted time or money on transcoding because we were able to shoot in RAW and bring the footage right into Resolve.

"Many of Raygun’s other films and projects also use DaVinci Resolve. “Blackmagic Design as a company is a game changer. We are able to affordably shoot and handle post production without compromising on quality. We are creating Hollywood level films, and Blackmagic has been part of what has allowed us to make the jump into starting our own film production company,” Dalton said.

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Product photos of URSA Mini Pro, DaVinci Resolve Studio and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - August 13, 2019 - Blackmagic Design today announced that critically acclaimed television concert series “Front and Center” used a full Blackmagic Design Ultra HD live production workflow to produce several episodes of its ninth season, which were live streamed to Facebook Live and delivered in SDR for public television and HDR10 for DIRECTV. The episodes, which included virtuoso guitarist, vocalist and songwriter Gary Clark Jr., were shot using URSA Broadcasts, Pocket Cinema Camera 4Ks and Micro Studio Camera 4Ks, and switched using an ATEM Television Studio Pro 4K live production switcher.

“Front and Center” highlights an eclectic mix of Grammy, Country Music Association, American Music and Academy of Country Music Award winners, rock icons and multi platinum sellers including Keith Urban, Carlos Santana, Steven Tyler, Miranda Lambert and more. Each hour long episode features a live performance shot in front of an audience, as well as a personal interview with the artist telling the stories behind their music.

The episodes using the Blackmagic Design workflow were produced by New York based creative agency and production company LCM247. Recorded live at The Village recording studio in Los Angeles, LCM247 shot Gary Clark Jr.’s performance with two URSA Broadcasts, with one handheld on stage and the other rigged on a 24 ft. jib, and eight Micro Studio Camera 4Ks that were situated around the venue and on the stage.

“When shooting live, the ergonomics of an URSA Broadcast with a good broadcast lens delivered better handheld shots in the fast paced environment,” said Patrick Heaphy, LCM247’s creative director, and producer and director of the episode. “The jib operator also needed a full broadcast zoom lens for the best results.”

“The Micro Studio Camera 4Ks’ size made it easy to put them on stage, as well as around the venue. We had one on the drum kit, one on the keys, a general wide shot of the whole stage, a couple locked off around the venue, and we even had a camera operator using one rigged with a Video Assist 4K monitor/recorder and a long lens as a backup shot,” he added. “Being able to dial them in remotely via the ATEM Camera Control Panel was especially useful since we had a limited crew and were also live streaming.”

An ATEM Camera Control Panel was located in the video village that also housed the ATEM Television Studio Pro 4K, HyperDeck Studio Pro, HyperDeck Studio 12G, HyperDeck Studio Mini recorders, Blackmagic Web Presenter and a SmartScope Duo 4K monitor. “We used the ATEM for live switching, and everything was ISO recorded to the HyperDecks, along with recording a clean feed and a program feed,” noted Heaphy. “We then used the Blackmagic Web Presenter to live stream the performance on Facebook Live.”

Prior to the performance, Heaphy and his team used three Pocket Cinema Camera 4Ks to shoot the sit down interview with Gary Clark Jr. “It has a great form factor and the lowlight capability is great, not to mention the MFT mount compliments our arsenal of MFT lenses, and the XLR input makes the camera easier to work with than DSLRs,” he said. “The DaVinci Resolve Studio workflow also means you can really maximize the look.”

The episode was edited and graded in DaVinci Resolve Studio, and Heaphy also made use of the DaVinci Resolve Mini Panel citing its efficiency. “DaVinci Resolve Studio is really maturing as an editing platform, and that’s what made the transition for us easy,” he explained. “We already knew we were going to grade in DaVinci Resolve Studio, so we thought, ‘Why not try editing too?’ We utilized its multi camera editing capabilities and saved a lot of time by not having to do another color pass if we adjusted the edit. It was seamless to flip to the color tab, and the shot already had the grade on it, or our colorist Dario Bigi could adjust as needed.”

“We had multiple deliverables, so being able to use one tool for the SDR and HDR passes was also convenient,” concluded Heaphy. “The theme in post was definitely efficiency, and while there is always a learning curve with any new platform, DaVinci Resolve Studio is getting it right. It’s paying attention to what editors and colorists are looking for.”

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Product photos of Pocket Cinema Camera 4K, URSA Broadcast, Micro Studio Camera 4K, Video Assist 4K, ATEM Television Studio Pro 4K, ATEM Camera Control Panel, Blackmagic Web Presenter, HyperDeck Studio Pro, HyperDeck Studio 12G, HyperDeck Studio Mini, SmartScope Duo 4K, DaVinci Resolve Studio, DaVinci Resolve Mini Panel and all other Blackmagic Design products are available at https://www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

Fremont, CA - July 23, 2019 - Blackmagic Design announced today that Matthew Rosen’s film “Quezon’s Game” was shot using Blackmagic Design cameras, with editing and color correction done in DaVinci Resolve Studio. The Philippine historical drama was released worldwide in May of 2019 and has received more than 20 international film awards.

The film, shot and directed by longtime filmmaker Matthew Rosen and produced by ABS-CBN Film Productions, tells the story of the Philippine President Manuel L. Quezon and his plan to shelter Jewish refugees fleeing from Nazi Germany. The film has won awards across the globe, including 4 at the WorldFest Houston International Film Festival and 12 at the Cinema World Festival in Canada, which included the Award of Merit for Color Treatment to colorist Toni Gozum.

To shoot “Quezon’s Game,” Rosen used a mix of Blackmagic Design cameras as the film’s main and action cameras. The Blackmagic camera’s compact size and high quality filmic images gave Rosen the ability to shoot anywhere he needed.

“I wanted ‘Quezon’s Game’ to look like ‘Casablanca’ or ‘Citizen Kane’ and other films of the era the movie is set in. However, I felt shooting a film in black and white that was aimed at mainstream cinema audiences would be limiting. This mindset really shaped the look of the film we ended up with.

Most of the interior shots were graded with the high contrast look of black and white film. We lowered the saturation of the colors in Resolve, which was aided by the art direction, which was kept as monochromatic as possible with no vibrant colors. Most of the sets were earth colors, woods and off whites. It really did feel like we were watching an old movie but it did not look black and white.”

Rosen said: “The cameras are incredibly lightweight and compact. We shot most of the movie in a tourist resort called Las Casas de Acuzar in Bataan, Philippines and were given the go ahead to shoot there when I gave my word we would not close down any roads or obstruct the guests in any way. And the rooms we were shooting in were also small and the Blackmagic Cinema Cameras allowed me to pull my cameras right up to the walls to get the most out of the limited depth we had.”

The film captures the Philippines of the late 1930s and 1940s, and includes both high drama and action scenes throughout.

“The two main factors that make me really very partial to this camera are its size and its image. Both factors really helped me capture the look I was after; its size because I could get the angles I wanted with ease and its look because it’s so filmic,” Rosen continued. “The cameras came in very useful when shooting traveling shots with the camera mounted on a bike. As the camera is light and compact, it works very well as an action camera and the shots fit perfectly between all other shots - as they are taken with the same camera.”

The film was graded at Manila’s Kinetek by Toni Gozum, an industry veteran who has provided post production for feature films, television shows and commercials for global brands.

She described the look and feel of the film: “We were aiming for a Casablanca feel but not entirely black and white. We still left a bit of color, especially because we wanted the outdoor scenes to show the vibrancy and freshness of a tropical country.”

To emphasize that the film was not black and white, Gozum isolated certain elements in each scene and increased the saturation using Davinci Resolve on that element only. One example, an important scene in the film, was a shot in a jazz club with a German SS officer. Gozum used Resolve to make sure that the swastika was emphasized but still keeping the mood of the film.

“Resolve helped me save a LOT of time. There are a lot of talking scenes and the camera basically just goes back and forth between the two actors. These shots pretty much have the same grade, so being able to select multiple clips and then apply a grade with one click was a great convenience. Also, the track grading feature helps when we suddenly decide to slightly alter the look of the entire sequence. I don’t have to go and put on the extra adjustment to each clip,” she said.

The filmmakers also used DaVinci Resolve to prepare the film for its worldwide launch.

“Of course you can’t beat Resolve color for its flexibility and function. We graded the entire movie in 8 days. When you are dealing with multiple requirements for international cinema, TV and OTT deliverables can be a nightmare. Subtitles, closed captions, aspect ratios, bit rates and wraps are all complete and simple to set up with Resolve, and it was very effective in letting us meet deliverables,” Rosen said.

Press Photography

Product photos for DaVinci Resolve Studio, Blackmagic Cinema Camera, UltraStudio Mini Recorder and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s EmmyTM award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - July 16, 2019 - Blackmagic Design announced today that Picture Block used DaVinci Resolve Studio and DaVinci Resolve Mini Panel to provide HDR color correction and editing as part of the new COLORSPACE 4K HDR screening room vehicle. COLORSPACE also includes a 12G and 4K workflow using a number of other Blackmagic Design products.

Los Angeles’s Picture Block’ COLORSPACE is a premium HDR color and editing suite built inside an off road vehicle that provides HDR viewing and analysis of up to 16 cameras at once. It is the first HDR screening room color suite and edit bay built inside an off road vehicle, and includes high quality 55 inch broadcast and cinema monitors, high speed ethernet and SSD based NAS, along with DaVinci Resolve Studio.

When designing COLORSPACE, Picture Block’s Founder and ICG Digital Imaging Technician Ryan Prouty was focused on a whole new approach to production vehicles that combined luxury, comfort and the highest technical capabilities. He wanted to provide everything that a high end post production suite offered, which is why he chose to use DaVinci Resolve Studio, as well as Blackmagic Design’s ATEM 1 M/E Advanced Panel for switching, UltraStudio 4K for capture and playback and Smart Videohub 40x40 for routing.

“DaVinci Resolve is the most recognized and used post production software. We wanted to have a mobile production suite that includes the best that every client is comfortable with, and that was DaVinci Resolve,” Prouty said. “We also rely on Resolve’s ability to handle any type of HDR so that a director or cinematographer can see exactly what the end deliverable will be.”

“Blackmagic Design products allow us to be completely flexible. Each set has its own needs, and the Blackmagic workflow from capture and playback to switching to editing and color correction means we can handle everything from HD feeds for on set monitoring to 4K HDR finishing,” he continued.

Since its introduction at CineGear 2019, COLORSPACE has already been used on a number of projects, including television commercial productions for Chrysler and for Clif Energy Bars for on set color correction.

Director Steve Mapp, who shot the campaign for CLIF Bar with production company Partizan Entertainment, said: “COLORSPACE is like shooting in a lear jet. We could review dailies seamlessly and in private, like bringing an A list post house to set and having a moving video village. Having Resolve on set meant that we could grade and edit right there, and be able to see exactly how it will look finished. It is amazing being able to do high quality work at the speed of zeitgeist without losing quality.”

Press Photography 

Product photos for DaVinci Resolve Studio, DaVinci Resolve Mini Panel, ATEM 1 M/E Advanced Panel, UltraStudio 4K, Smart Videohub 40x40 and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - June 28, 2019 - Blackmagic Design today announced that Duplitech, one of L.A.’s most respected independent media service labs, is using a host of Blackmagic Design gear, including Cintel Scanner 2 for high dynamic range (HDR) film scanning. Duplitech found that Cintel Scanner 2 performs exceptionally well on 16mm film, having recently worked with the element while onboarding the “Blondie” television series from the 1950s.

Duplitech provides a full range of content delivery solutions from encoding, authoring and disc production, to in house film scanning, color grading and restoration, technical editing and asset conform, standards conversion and more. In addition to Cintel Scanner 2, Duplitech uses DaVinci Resolve Studio for editing and SDR/HDR color grading, DaVinci Resolve Micro Panels, Teranex 2D Processor standards converter, Videohub router and Mini Converters Audio to SDI, with UltraStudio and DeckLink capture and playback devices rounding out the workflow.

Cintel Scanner 2 has processed more than 500 reels of film, and as COO Steven Johnson noted, it allows them to quickly test different elements during curation, including release prints, IPs, original camera negatives (OCNs), interpositives and more.

“Cintel Scanner 2 has proven to be a versatile and cost effective performer in our film department. We've relied heavily on it to evaluate and process hundreds of film elements, from OCNs to release prints, while curating film collections for our customers. It allows us to quickly onboard and evaluate these elements, identifying which ones can be used to assemble a gold master for restoration,” he said.

“Scanning interpositives are a core business for us, and Cintel Scanner 2’s HDR capability has been a game changer,” said Film Department Manager Blake Blasingame. “It makes virtually any element scannable and brings it to a usable level. Interpositives and release prints from 20 and 40 years ago are denser than the ones being made today, and HDR has opened the doors to scan and preserve those elements.”

“HDR captures much more of the element’s data, and Cintel Scanner 2’s improved latitude has been a major feature for us. It allows us to retain a wider range of color detail and a more accurate representation of the original film projection,” added Johnson. “We are an Ultra HD Blu-ray authoring house as well, and with Blu-ray, the output goes to physical media, which has a much higher quality demand than digital. Blu-ray is also a collector’s market, so the stakes are even higher. If it wasn’t for Cintel Scanner 2, we couldn't cost effectively work in HDR and deliver this content.”

According to CEO Tony Cunha, “Blackmagic Design shares similar DNA to Duplitech. We are both pursuing the most cost efficient process while maintaining high quality standards, breaking down barriers and making it easier for content owners and distributors to bring content to market. For many years we used Blackmagic Design gear in our workflow, and when we heard about the Cintel acquisition, we were really excited. We thought, ‘Here’s another industry that Blackmagic Design is disrupting by recreating the rules."

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Product photos of Cintel Scanner 2, DaVinci Resolve Studio, DaVinci Resolve Micro Panel, Teranex 2D Processor, Videohub, UltraStudio, DeckLink, Mini Converters Audio to SDI and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images

About Duplitech

Founded in 1996, Duplitech is an independent media services company located in the greater Los Angeles area. We provide the industry's most cost effective solutions to preparing catalogue titles for release in the home entertainment market. Our services include 2K/4K Motion Picture Film Scanning, HDR+/Dolby Vision Color Grading and Restoration, UHD Blu-ray, Blu-ray and DVD Authoring, Digital Cinema Package (DCP) creation, Subtitling/Captioning and VOD Mezzanine Package creation/QC.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

Fremont, CA- June 20, 2019 - Blackmagic Design has today announced that its DaVinci Resolve Studio was used throughout the color pipeline on Paramount’s new musical biopic about Elton John’s breakthrough years produced by Marv Films & Rocket Pictures and directed by Dexter Fletcher.

Lensed by DP George Richmond, BSC, Rocketman’s on set DIT workflow was developed and managed by Onset Tech’s Joshua Callis-Smith with Goldcrest Post handling the final DI and online. Senior colorist Rob Pizzey handled the final grade delivering in Dolby Vision Domestic and Theatrical HDR, as well as SDR Rec 709 with Russ White and Daniel Tomlinson completing the online.

Pizzey and Richmond began pre production by defining the main show LUT in early testing where different lenses, exposure ranges and lighting setups were tested against elements from the film’s production design. “Three variations of the LUT were then created at multiple exposures as the films base look throughout the on set DIT, where I helped create a subtle color arc for the film’s dailies to inform the shifting narrative,” reveals Callis-Smith.

Adding: “Our dailies lab relied on a Blackmagic eGPU setup for the first time, allowing them to achieve faster processing speeds using the 5K iMac via Thunderbolt 3, even when it came to H.264 encoding,” explains Joshua.

Once production was complete, Richmond and Pizzey selected 350 still frames from the film to create a color bible for the final grade. They then spent two days picking different looks for each scene before a two week unattended grading process, where Rob matched up the different looks to the aesthetics in the color bible while handling subtle recuts and dropping in visual effects sequences where necessary.

“We wanted to reflect the narrative with a slightly muted, desaturated world for young Reggie,” says Rob. “Then, as the film progresses and Elton’s world goes out of control, the color pops more and vintage lenses were used to obtain a vibrant feel with exaggerated flares.”

“I aimed to maintain the soft look achieved with the vintage lenses, making sure not to go too hard on the bottom end of the curve,” adds Rob. “For one scene, we wanted to create a look where everything was muted except for Elton and Reggie. There was a lot of color in the scene’s rushes. The houses were red brick, there was lots of green in the gardens, and the dancers wore colorful outfits. To achieve the required look, we asked VFX to create mattes to help us to make sure the grade didn’t bleed into the other characters throughout the dance routine.”

Press Photography

Product photos of DaVinci Resolve Studio, Blackmagic eGPU and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - April 29, 2019 - Blackmagic Design has today announced that Chimney Group, one of Europe's largest post production facilities, has continued to invest in DaVinci Resolve Studio as part of its rapid expansion into regions including the US, South East Asia, and Australia.

Founded by producer Henric Larsson in 1995, Chimney rapidly formed a reputation for offering pioneering post production services in Stockholm. Today, it boasts a global footprint that spans more than 400 employees across 14 offices in nine different countries, including cities such as Los Angeles (LA), Singapore, Berlin and Sydney.

The Chimney Group has now standardized its entire finishing workflow around the non-linear editor and color correction platform. “We have used a variety of finishing tools in the past, but nothing comes close to Resolve’s speed and efficiency. It’s a killer solution for us,” says Chimney Group’s Henric Larsson.

Adding: “We see ourselves as a creative factory, and with ever decreasing timelines required to get a project to market, using it ensures a more efficient workflow from onset DIT through to conform, color, and delivery. Not only can we support ACEs color management, IMF delivery, and HDR mastering from one box, but the NLE toolset opens up some interesting options in the future.”

Easy access to top talent for new studio openings, such as Chimney’s latest 6,000 square foot office in New York, was another reason for the shift. With eight suites for editing and grading alongside a visual effects pen, the new studio is the perfect modern platform for servicing a client roster that boasts Unilever, ESPN and Microsoft.

“With multi-platform support, it has become an industry standard for finishing, which means we find it much easier acquiring the right creative and technical talent,” Henric continues. “Also, we can use Resolve’s remote grading capabilities to access existing talent within our international footprint and deploy those capabilities wherever our clients need it.”

The Chimney Group are strong proponents of what Blackmagic Design is doing to make creative tools such as DaVinci Resolve more accessible.“Being freely available means more and more creatives are cutting their teeth on DaVinci Resolve who might not have done so otherwise,” concludes Henrik. “The more accessible the paintbrush is, the more talent our clients and we will have access to in the future. Everybody wins.”

Press Photography

Product photos of DaVinci Resolve Studio and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - March 25, 2019- Blackmagic Design today announced that the YouTube series "Flunk," which also airs on Amazon Prime and Here TV, was shot entirely with Blackmagic Design cameras, including URSA Mini Pro, Blackmagic RAW and Pocket Cinema Camera 4K. DaVinci Resolve was used for color correction.

Filmed in Melbourne, Australia, “Flunk” has quickly amassed a global audience during its first sea-son, which includes eight half hour episodes airing on Amazon Prime as well as 40 shorter episodes on YouTube. Created by Director Ric Forster and Producer Melanie Rowland, the show is a new LGBT series exploring sexuality, drug and alcohol use, identity and consent and stars Jessica Li, Akasha Collins, Beaudene Perussich, Uisce Goriss-Dazeley, Caylen Forbes and Olivia Wright.

To film the show, Forster and Rowland chose to use the URSA Mini Pro as their primary camera, with the Pocket Cinema Camera 4K used for various tight or hard to reach shots in each episode.

“The show follows the lives of a number of teens, day and night. When shooting, there was a wide mix of low light, bright natural lighting and indoor nighttime shots where there was the potential for losing details in the shadows. So we had to plan for a huge number of different shooting sce-narios, all while having a small crew and tight budget,” said Forster. “The combination of the URSA Mini Pro and the Pocket Cinema Camera 4K freed us to be creative while knowing we were going to get the highest quality footage possible.”

“The cameras gave us a huge amount of dynamic range, and the footage looked great without a ton of artificial lighting. Instead of spending money on extra lighting, we could put our resources into getting exactly the shots we wanted and being as creative as possible. The cameras’, especially the Pocket Cinema Camera 4Ks, dynamic ranges are amazing and gave us the leeway to shoot in low light and know nothing was going to be blown out or lost in the shadows. On top of that, the skin tone we got was beautiful,” he continued.

On a tight budget, Forster and Rowland decided to use Blackmagic RAW, which allowed him to save resources on storage. Blackmagic RAW is a new codec that gives stunning image quality and fast performance in an intelligent new file format, offering both the quality and benefits of RAW with the speed, ease of use and file sizes of traditional video formats.

“Blackmagic RAW is great. We can shoot all day and not have to change cards, and we could just bring all the RAW files directly into DaVinci Resolve, so the post production workflow was easy,” Forster said.

Press Photography

Product photos of URSA Mini Pro, Pocket Cinema Camera 4K, Blackmagic RAW, DaVinci Resolve, and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk re-corders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereo-scopic 3D and Ultra HD workflows. Founded by world leading post production editors and engi-neers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more in-formation, please go to www.blackmagicdesign.com.

Fremont, CA - March 25, 2019 – Blackmagic Design’s DaVinci Resolve and DaVinci Resolve Advanced Panel was used for color correction of Singapore’s first zombie comedy, “Zombiepura.” The film, which gained international distribution, is the first full length feature directed by internationally known short film filmmaker, Jacen Tan, who also was part of the post production team grading Zombiepura with DaVinci Resolve.

Set in an army conscription camp, “Zombiepura” tells the story of a strange virus that breaks out and causes lazy soldier Corporal Tan Kayu’s camp mates to turn into ravenous zombies. Completely out of options, the soldiering slacker is forced to team up with his arch rival, the infamously tough Sergeant Lee Siao On, to survive the funniest zombie apocalypse.

The film, which was presented at Cannes in 2018, was recently purchased by Korea’s Contents Panda and GSC Movies, and was shown in Singapore, Malaysia, Brunei and Cambodia. It is slated to open in the Philippines in 2019.

Tan began his work as short filmmaker, gaining international fame after making one of Singapore’s first global viral sensations with a film called Tak Giu. Since then, he has continued to create a number of short films and music videos through his Hosaywood brand, with “Zombiepura” as his first full length film. In order to get a the highest quality look for “Zombiepura” Tan early on decided to use DaVinci Resolve.

"DaVinci Resolve has always been the go to system in this region for color grading for the big screen. For Zombiepura, I was inspired by classic horror and action films from the 80s. The story is a blend of horror and comedy, so we had to keep a balance between the post apocalyptic desaturated look, and the bright colors of a comedy,” said Tan. “I was very pleased when I watched it for the first time on a cinema screen. I was especially pleased with how the colors brought out the mood and tone of the story."

“We did a one day test shoot before actual production to see how the zombie makeup will appear on the actual camera. It was important for me to know what was possible in camera first and how color grading can enhance the believability of the zombies. For example, a simple thing like changing the color/saturation of the fake blood made it look more real," he continued.

DaVinci Resolve was used during pre production to create LUTs and dial in camera looks for the various horror and comedy looks that Tan envisioned. Following production, DaVinci Resolve was used for all color correction, conforms.

“Blackmagic Design's hardware and software have been reliable and efficient throughout the color grading process. Because of how intuitive Davinci Resolve was, the test grading sessions with Jacen Tan and the DP, Amandi Wong, were smooth and productive. LUTs were easily generated for on set use to ensure we got the right exposure for the night scenes,” says Khien, colorist, Zombiepura.

He continued: “Grading a feature film or any other long format project can be tedious, but Davinci Resolve's Advance Panel cuts that time down significantly. A repetitive task that would take more steps or more fingers to press is conveniently completed by a push of a button. This saves valuable time and I’m able to spend the bulk of the sessions on creatively crafting and exploring different looks for the scenes. DaVinci Resolve is definitely my color grading system of choice during any zombie apocalypse!”

Press Photography

Product photos of DaVinci Resolve, DaVinci Resolve Advance Panels, and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

Fremont, CA - March 20, 2019 - Blackmagic Design has today announced that the Gorilla Group had chosen DaVinci Resolve Studio as part of a facility expansion that has added in support for Dolby Vision color correction and IMF format delivery for Netflix.

Designed by Jigsaw24, the system features a dual boot, HP Z8 workstation running Linux and Windows, alongside an external crate featuring three NVIDIA Titan V 12GB graphics cards, 12 SSD slots for local storage and 40GB Ethernet. The suite relies on Sony BVM-X300 and Dolby PRM 4200 reference monitors.

“We built the system after being tasked to grade a six part episodic drama for Channel 4 and Netflix in collaboration with Goldcrest Post’s Jet Omoshebi,” begins Gorilla Group MD Richard Moss. “Traitors was our first time working in Dolby Vision, and we aimed to replicate Jet’s setup at Goldcrest to facilitate the process as much as possible. Since building the crate, it has become our IMF delivery transcoder box also.”

The job wasn’t without its challenges and Gorilla had to overcome some technical challenges to deliver the grade on Traitors and win its status as a Netflix preferred vendor.

“It’s a steep learning curve learning to deliver through the Netflix IMF workflow, and so we worked closely with Dolby and Netflix’s color science teams to implement an ACES color pipeline,” explains Richard.

The fact that DaVinci Resolve features a full nonlinear editor (NLE) together with its industry standard grading toolset was a significant factor in the Gorilla Group’s decision to implement it.

“We first had to produce a Dolby Vision grade for Netflix, then an SDR trim for Channel 4, where the series was premiering,” Richard explains. “Channel 4 has ad breaks, whereas Netflix required uninterrupted video. On top of that, we had international deliveries to handle, as well as both graded and ungraded archival masters. DaVinci Resolve enabled us to bring it all together.

“By the end we had so many deliveries that round tripping through separate finishing and grading suites, dropping in visual effects, and going back and forth, you’ve got to do it in both systems in parallel. We managed to negate all of that by staying in DaVinci Resolve for the entire process.”

Ultimately, ease of workflow is crucial according to Richard. “When you’re doing 60 episodes off something you have to apply common sense and find the most practical solution, he concludes. “The availability of editors and colorists who now know DaVinci Resolve is excellent which made our decision to implement it that much easier. In fact, we’ve just had a second suite of Resolve to handle new client demands.”

Press Photography

Product photos of DaVinci Resolve Studio, the DaVinci Resolve Mini Panel, and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA — March 13, 2019 - Blackmagic Design announced today that Tokyo based IMAGICA Lab.Inc. created a new post production suite, titled “SEVEN," that unified the company’s editing, color grading and VFX work with DaVinci Resolve Studio at their Tokyo Ginza 7-chome studio.

IMAGICA Lab.Inc.( www.imagicalab.co.jp) is the largest post production company in Japan providing various image production services such as video production, editing, film development, CG, game graphics and Web content.

“Until now, there was no grading room that was mainly working offline editing, composite and MA work at Ginza 7-chome studio. There were many requests that customers also wanted a grading room. So, instead of just creating a grading room, I thought that I would like to create an unprecedented room that can complete offline editing, color grading, VFX all the way with DaVinci Resolve,” said Technical producer Kei Yuyama.

He continued: ”We are now able to do all the work with DaVinci Resolve, eliminating the need to load, export and convert projects that had occurred between traditional multiple software. Changes to the project do not have to be conformed, which leads to a significant time saving. Up to now, I had to keep the backup data for each work of editing, grading, VFX, but since I consistently work with DaVinci Resolve, I can manage it with project data. In terms of cost, no hard disk containing all the backup data is needed, and we were able to realize a simple and efficient workflow. In this workflow, we will do high resolution and high end class projects.”

The new unified post production workflow has brought together the various editors, colorists and VFX artists at IMAGICA Lab.Inc.

“Working with people in other sections is an unprecedented work style. Everyone can exchange information densely by working with one software in one room. More than ever, I can exchange ideas, and it has become an environment where we can create better works,” said editor Satoshi Watanabe.

"When replacing cuts occurred during online editing of VFX, in the conventional workflow there was only color graded data, so I had to locate the original material and color grade them. Searching for the original material and color grading from the first always took a very long time. However, in the new workflow with Fusion in DaVinci Resolve you can respond immediately to replacement of cuts,” said VFX artists Takahiro Tsukamoto.

“Since it is possible to work on the timeline organized by offline editing, the time we used to spend on conforming can now can be spent on creativity and is an environment where I can focus on grading. Because instructions can be done with markers in software, it is very convenient to share information and easy. Until now, the offline editing and the online editing were working in different rooms, so customers had to check the work in different environments. Naturally, changing the environment may give different images to the work. However, since we can complete all the work in one room, I think that it has become a better environment for customers. Since I can cooperate seamlessly with DaVinci Resolve, I think that the opportunity for colorists to touch Fusion will increase in the future,” said colorist Yumeto Kitayama.

Finally, editor Watanabe said: ”In the future, we plan to integrate the audio function and realize a workflow in which all work is completed with DaVinci Resolve. We would like to increase the number of rooms like this and to effectively utilize the collaboration function of DaVinci Resolve. DaVinci Resolve is truly amazing software. It is now able to offer the best performance I have never seen before.”

Press Photography

DaVinci Resolve Studio and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

Fremont, CA - February 25, 2019 - Blackmagic Design would like to congratulate the 2019 Oscar nominated films and the production professionals whose hard work and creativity helped bring them to life. Blackmagic Design is honored that its products, such as URSA Mini Pro, DaVinci Resolve Studio and Fusion Studio, were used on groundbreaking films including“A Star is Born,” “Bohemian Rhapsody,” and Marvel Studios “Avengers: Infinity War.”

Oscar nominated films that used Blackmagic Design products include:

• Marvel Studios’ “Avengers: Infinity War” used DaVinci Resolve, UltraStudio, Smart Videohub 40x40, DeckLink Quad 2, DeckLink Mini Monitor and a variety of converters for on set work by DIT Kyle Spicer;
• “BlacKkKlansman” graded with DaVinci Resolve Studio by Tom Poole at Company 3;
• “Bohemian Rhapsody” graded with DaVinci Resolve Studio by Greg Fisher at Company 3;
• “The Favourite” graded with DaVinci Resolve Studio by Rob Pizzey at Goldcrest Post;
• “Green Book” graded with DaVinci Resolve Studio at FotoKem;
• “Hale County This Morning, This Evening” graded with DaVinci Resolve Studio by Dave Francis of Technicolor PostWorks;
• “Minding the Gap” graded with DaVinci Resolve Studio by Tyler Roth of Company 3;
• “A Quiet Place” graded with DaVinci Resolve Studio by Stefan Sonnenfeld at Company 3;
• “RBG” graded with DaVinci Resolve Studio by Ken Sirulnick of Glue Editing & Design, along with using Fusion Studio for stabilizing work;
• “Spider-Man: Into the Spider-Verse” graded with DaVinci Resolve Studio by Natasha Leonnet at EFILM;
• "Solo: A Star Wars Story” graded with DaVinci Resolve Studio by Joe Gawler of Harbor Picture Company;
• “A Star is Born” graded with DaVinci Resolve Studio by Stefan Sonnenfeld at Company 3; and
• “Vice” graded with DaVinci Resolve Studio at FotoKem.

Press Photography

Product photos of DaVinci Resolve Studio, Fusion Studio, URSA Mini Pro, UltraStudio, Smart Videohub 40x40, DeckLink Quad 2, DeckLink Mini Monitor all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - February 12, 2019 - Blackmagic Design announced today that it has formed a strategic partnership with the USC School of Cinematic Arts to provide Blackmagic hardware and software to the School over three years. The products will be used by USC students studying filmmaking and post production, while broadcast production students will now have the opportunity to work with UltraHD in the school’s television station, Trojan Vision.

Through the partnership, Blackmagic Design will provide URSA Broadcast cameras and URSA Mini Pro Cinema cameras, ATEM 4 M/E Broadcast Studio 4K switchers, ATEM Camera Control Panels, HyperDeck Studio Pro recorders and Resolve Micro and Resolve Mini Panels.

“Blackmagic is known for providing high quality equipment that filmmakers and other content creators find accessible,” said Elizabeth Daley, Dean of the School of Cinematic Arts. “We are thrilled our students get to use Blackmagic Design tools because we know that means they will be better prepared for the work environments they will encounter after graduation.”

The partnership with Blackmagic Design will provide a major upgrade to the equipment used by USC students who create programming for Trojan Vision, the School of Cinematic Arts’ award-winning television station that airs to homes across Los Angeles, and online.

Greg Vannoy, who oversees Trojan Vision, said: “While we broadcast in HD, the upgrade gives us full Ultra HD capability, which we feel creates a better learning facility for our students.” The studio, which is located in the Robert Zemeckis Center for Digital Arts, will now have URSA Broadcast cameras, ATEM 4 M/E Broadcast Studio 4K switchers, ATEM 1 M/E Advanced Panels, ATEM Camera Control Panels, and a massive array of routing components, as well as HyperDeck Studio Pro recorders; transforming the facility into a modern teaching environment.

“We are thrilled that some of the media industry’s most talented young creators will be consistently learning on and using our products and we are excited to see what they end up creating,” said Grant Petty, CEO of Blackmagic Design.

Beyond the broadcast equipment, the partnership provides DaVinci Resolve Micro Panels for students studying color grading. Students will have access to DaVinci Resolve Studio and instructors will have DaVinci Resolve Mini Panels for use in their classes. A number of URSA Mini Pro cinema cameras will be used for student productions.

“It’s important for our students to learn in an environment that closely resembles the industry,” said Meri Weingarten, Director of Digital Media & Technology at the School. “We know this will improve their skills,”

“We are excited to offer the URSA Mini Pro to our students. Blackmagic has done a great job creating a compact, multi-purpose camera that captures a beautiful image,” said Vannoy. “We are always interested in the newest and best tools the industry is using and we’re excited to see what our students do with the URSA Mini Pro.”

Press Photography

Product photos of URSA Mini Pro, ATEM 4 M/E Broadcast Studio 4K switchers, ATEM 1 M/E Advanced Panels, ATEM Camera Control Panels, DaVinci Resolve Studio, HyperDeck Studio Pro, DaVinci Resolve Micro Panel and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

About the USC School of Cinematic Arts

The University of Southern California’s School of Cinematic Arts is one of the leading media schools in the world. Founded in collaboration with the Academy of Motion Picture Arts and Sciences in 1929 over 86 years ago, the USC School of Cinematic Arts has fueled and mirrored the growth of entertainment as an industry and an art form. The School offers comprehensive programs in directing, producing, writing, cinema and media studies, animation and digital arts, production, interactive media and games, all backed by a broad liberal arts education and taught by leading practitioners in each field. Its more than 13,000 alumni are among the world’s most distinguished animators, scholars, teachers, writers, directors, producers, cinematographers, editors, sound experts, video game designers and industry executives. Since 1973 not a year has passed without an alumnus or alumna being nominated for an Academy Award or an Emmy. https://cinema.usc.edu

Fremont, CA - January 23, 2019 - Blackmagic Design today announced BYUtv, part of Brigham Young University, one of the world’s largest college broadcasters, is using DaVinci Resolve Studio and DaVinci Resolve Advanced Panel and Resolve Mini Panels for color correcting and grading an average of 150 shows and promotions each month each month. DaVinci Resolve Studio is being used in BYUtv’s three 4K grading rooms located at BYU Broadcasting, on the school’s Provo, Utah campus.

Founded in 2001, BYUtv has grown from a relatively unknown cable channel on a single satellite TV provider to coverage in more than 54 million households on Dish Network, DirecTV, and 152 cable systems in the United States. BYUtv also offers live HD TV and on demand programming via its digital platform, which includes apps for iOS, Android, Roku, Apple TV, Amazon Fire TV, Chromecast, Xbox One, and Windows Mobile.

Each month, BYUtv’s Post Production and Graphics Manager, Todd Bowen, is faced with providing a full post production workflow for a huge number of shows and promos. These shows include the global hit sketch comedy show “Studio C,” which has more than 1.7 Billion YouTube views, the popular “Relative Race” reality show, and more than 150 live sports events every year, including a daily sport show, BYU Sports Nation.

“Our post production team includes 16 full time employees and up to 80 student employees. BYUtv’s post production workflow is built so that we can put out a huge amount of high quality, family friendly content every month. There is a level of expectation that a BYUtv show will look as good as anything you can see on the highest budget TV show, and Resolve is a core part of making that happen,” Bowen said.

Bowen uses dozens of seats of DaVinci Resolve in the studio’s three 4K color rooms, with a DaVinci Resolve Advanced Panel for grading, and also uses DaVinci Resolve Studio as part of a conforming stations. Each room provides color, LUT building for the various shows, creating proxies and the ability to match cameras and dial up looks for the huge number of different cameras and sources. The software is also used in a DIT kit for ingesting on many of the station’s remote productions.

“Our Resolve workflow is used for a little bit of everything. One station could be grading a trailer for a new scripted fantasy TV series “Dwight in Shining Armor”, while another is grading promos for a reality show such as Relative. Each have distinctly different looks and footage types. Resolve is able to handle it all, and its ability to retain meta data when creating proxies makes everything much easier to manage,” Bowen continued.

“A great example of how we use Resolve is with our sketch show Studio C. That show has tens of millions of followers, and we have to deal with finishing from a variety of different sources. And within the show itself, we have completely different looks with each sketch. The Harry Potter sketches are completely different looking than the Raiders of the Lost Ark ones, etc. Resolve lets us easily build and manage the various LUTs so we are quickly ready for whatever sketch we have to jump into, which is a huge advantage since at any given time we will be jumping from one project to another,” he said.

Press Photography

Product photos of DaVinci Resolve Studio, DaVinci Resolve Advanced Panel and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images.

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - January 22, 2019 - Blackmagic Design announced today that guitarist Steve Vai’s new music video for his latest single, “Dark Matter,” was completed utilizing a full Blackmagic Design pipeline, including editorial, visual effects and finishing in DaVinci Resolve 15. The video was also shot using Blackmagic Design URSA Mini Pro.

Long known as one of the top guitarists in rock and roll, Vai has won three Grammy Awards and worked with artists such as Frank Zappa, David Lee Roth, Whitesnake, Ozzy Osbourne and a myriad of others. In producing his newest music video, Vai wanted to do something special. “I wanted to create something that not only looked other worldly, but was also shot uniquely as well.”

Vai teamed with Moai Films to produce the video. Director Lukas Colombo decided the video would be shot entirely on green screen, something to which he was not accustomed. “My natural tendency is to capture all the actions and visuals in camera as much as possible,” said Colombo. “But because of time constraints with Steve, and also the diverse alien landscape concepts for the video, it made more sense to shoot this way.”

Moai Films brought in two URSA Mini Pro digital film cameras, along with building a “video village” with SmartView 4K monitors and several Video Assist 4Ks. “We chose the URSA Mini Pro as our acquisition tool of choice, and one of them lived primarily on a 20 foot jib,” said Colombo. ‘Our B camera was moving around on sticks.”

Vai wanted to capture each band member in their own unique way. “The idea that I came up with was to shoot the base player, Phillip Bynoe, playing to the track, but twice as fast. So when you bring that speed down to normal, and you watch it, he’s playing in sync with the track, but his motions are slow motion, so to speak,” said Vai. “For the drummer we did the opposite. The idea was to shoot him very slow, because drummers are very dynamic, especially Jeremy Colson. When you bring that up to speed it looks like he’s in sync with the track but the actions just look like there’s something interesting and bizarre about them, that just doesn’t look normal.”

For Vai, he chose the most complex solution; he decided he should play his track backwards. “I had to actually learn the song backwards on the guitar,” said Vai. “This is a daunting task because it’s never the way you think it is. You have to completely mirror your perspective because everything is backwards. So when you strum, the tendency is to strum down but that comes out looking like an up strum. There are all these little complexities, which is a fun challenge, but it’s almost like wearing a straight jacket and trying to run a forward marathon with eyes only in the back of your head.”

The production unit used the URSA Mini Pros to shoot at several different frame rates to achieve the unnatural and unearthly movements of the band members. Vai focused on not only reversing his own guitar playing, but also applying the same thinking to his hand and body motions. Vai and Colombo watched frequent takes back on set to make sure they were getting what they needed, but in the end, they were both pleased. “You know when you say, ‘I wonder if that’s going to work. It SHOULD work…,” said Vai, “you start picturing it, you sculpt the picture in your head and then it comes out better than you expected, and it’s like “yeah, baby!”

In post production, Moai Films brought in VFX Supervisors Bruce Jurgens and Nick Torres to help guide the design. The concept of the video was to place the band members in a variety of alien worlds using a combination of multi planar matte painting and effects within the Fusion page of Resolve. Torres appreciated the node based layout of Fusion. “The node workflow gave us the maximum flexibility to manipulate footage. Unlike a more layer based approach, nodes are non destructive and allow for many more possibilities, and a much more efficient workflow.”

Jurgens, a veteran Supervisor from Legion Entertainment, was responsible for the extensive matte painting work, as well as the execution of the “Ice World” in the video. Together with matte painter Juliana Arrietty, they were able to plug the work directly into Fusion composites. “Maintaining a consistent look was key,” said Jurgens. “Resolve 15 came through with flying colors, if you’ll pardon the pun.” The team was able to preview color grades directly through Resolve before the composite, helping maintain an integrated look.

The VFX team combined 2D and 3D elements to create the unique environments. “We wanted to have a completely alien environment,” said Torres, “with tall spires as mountains and a glassy still ocean with a fast rolling fog on top.” Arrietty’s 2D elements were brought into Fusion for manipulation utilizing the 3D compositing tools in Resolve. From there it was easy to see shots within the edit, due to Resolve’s all in one design.“The workflow makes my job easier,” said Colombo. “I don’t have to manage files across so many applications and worry about transcoding or consolidation. It just works the way you would expect. It takes the dynamic linking feature from other applications to a whole new level!”

Torres particularly enjoyed the keying and matte tools in Resolve. “There was extensive cleanup that was required. Essentially we created mattes with multiple UltraKeys masked together and each adjusted for their respective problematic areas. Hair, for example, for both Steve and bassist Philip Bynoe, had to have their own instances of fine tuning to keep all the detail. A lot of roto was needed for Jeremy Colson’s drums, cleaning up all the chrome on the drum kit. There were quite a few shots with a lot of motion blur from the band. Luckily with the nodes in Fusion, we could simply copy polygon masks and effects from one shot to another.”

Vai also sees the value of such a collaborative tool. “I’m always futzing around with the editing of my videos, and having to export and tweak footage in various programs is time consuming and cumbersome. But to have all these advanced tools all under one roof is the way of the future.”

The final product is not only an amazing vision of creativity, but also a testament to collaboration, both as a team and with DaVinci Resolve 15. “We came from another editing package, but the switch over to Resolve was painless,” said Colombo. “And now with Fusion incorporated into Resolve, we could live almost exclusively inside the walls of Resolve 15. The software is already the standard for color in the industry, and I expect it to become the standard for editing, sound and visual effects over the next few years, where all projects are going through Resolve and staying in Resolve. I don’t see why not. Everything you need is there.”

Press Photography

Product photos of DaVinci Resolve Studio, URSA Mini Pro, SmartView 4K, Video Assist 4K and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com

Confession—I had a one week loaner of the Blackmagic Pocket Cinema Camera 4K. After tearfully returning it to Blackmagic, I ordered one.

Measuring 7x3.4x3.8 inches, the Blackmagic Pocket Cinema Camera 4K isn’t exactly a camera that can fit into your pocket, but at a $1,295 price point you also don’t need to dig deep. No piece of equipment is perfect, but the Pocket 4K is an ideal price/performance device that has applications ranging from low budget to high production value projects.

Since the original $995 Blackmagic Pocket Camera, BMD has been under consumer pressure to create a comparable device for the 4K world. Hence, I suppose, the Pocket nomenclature was retained. Actually, the camera felt to me much more like a small medium-format camera from still film photography days. But weighing under 13 ounces without battery or lens, the camera is exceptionally easy to handle and suitable for smaller gimbals.

THE DETAILS

Let’s just start with some specs. The camera brain centers around a 18.96 x 10mm four-thirds sensor with an active MFT mount. The mount is fixed but a whole host of adapters could allow the camera to be used with a wide variety of optics. The sensor is a dual ISO 400 and ISO 3200 and can record up to ISO 25,600. Recording to either a CFast or SD card, it can capture up to 4K DCI resolution with 13 stops of dynamic range. Depending upon the lens, it can operate in fully automatic or manual modes. It can record up to 60fps in 4K DCI or 120fps in a windowed HD format.

While there are no video inputs for recording from other devices, for audio it offers a mini-XLR with phantom power as well as a 3.5mm stereo input. Headphone output is also via a 3.5mm connector but playback can also be monitored through a built-in speaker. Audio is analog only. The built-in stereo mic system can also be selected via audio input menu.

A useful feature is a USB-C port which, with a compatible external drive (Blackmagic lists certified drives and memory cards on its website) can power both the drive and record all available video formats. This provides more recording time for example, for RAW files than a CFast card at a lower cost per gigabyte than the expensive CFast memory.

Recording formats include:

• CinemaDNG RAW with uncompressed, 3:1 or 4:1 ratios

• ProRes 422HQ

• ProRes422

• ProRes Lite

• ProRes Proxy

It can record straight Rec 709 video (called “Video” by BMD) or Log (called “Film”). The rear 1920x1080 resolution monitor can display either recorded signal or apply a LUT for Rec 709 viewing. Blackmagic also includes an “Extended Film” gamma, which achieves maximum dynamic range.

DaVinci Resolve Studio (a $299 value) comes bundled with the camera not only to make it even a greater bargain but also to facilitate working with the files. Resolve’s built-in Film or Extended Film LUTs make a good starting point for grading LOG footage shot in camera while Resolve 15 and greater takes advantage of BMD’s latest color science. I personally find that latest color science particularly pleasing to the eye, especially on flesh tones.

The camera is powered by Canon LP-E6 batteries and it is here that shooting the camera alone provides some weakness. It can deliver around an hour of 24p shooting but I find in real world applications I wouldn’t count on it beyond 50 minutes and even less for 60p. It could of course be operated via AC if available but most likely an operator would need an external power supply.

STILL CAMERA VIDEOGRAPHY

That leads me to a more general comment about mirrorless or still-camera style videography. Most likely operators will need a rig. While there are numerous third-party cages, bases, mounts, power supplies, battery plates, monitors, etc on the market, it does mean that your small pocket camera requires a kit that could cost several times the cost of the camera and may even be more cumbersome to shoot than conventional-format dedicated video camera. And because the Pocket Camera4K has no built-in ND, many shooters may need to opt for fixed or variable ND filters over the lens. I don’t like variable ND filters and the vast difference in price and quality of these filters may cause artifacting or color shifts.

Whenever my camera arrives, I personally intend to keep the kit to a minimum with some kind of external battery, but mostly use it on a small gimbal such as a Zhiyun Crane or DJI Ronin-S.

I tested the camera with the Panasonic Lumix Vario-Elmarit 12-60mm f/2.8-4. This compact zoom offers internal stabilization and is lightweight. The Blackmagic folks expressed a preference to me of the Olympus zoom, but the only MFT lens I owned is the Panasonic/Leica.

Like all Blackmagic cameras, the touchscreen menu system is straightforward, fast and easy to move between setups. I find the ability to enter user metadata for scene and take info to be invaluable.

The USB-C connection to an external drive didn’t give me a problem but being a user accustomed to locking BNC connections, I am suspect of all non-locking connectors. Third-party cages can provide additional connection security. It did record CinemaDNG flawlessly to the external SSD but I never exceeded 60 seconds or so in a test take.

I have tended to shoot Blackmagic Cameras in the CinemaDNG 3:1 RAW format. CinemaDNG files are large but with this modest compression, 4K DCI or UHD footage to my eye barely shows artifacting. Blackmagic has indicated that they hope to bring their BMD RAW formats to the Pocket. Currently only available on the Ursa Mini 4.6K Pro, BMD RAW is a native format with files smaller than ProRes but with all of the flexibility of shooting and grading RAW files. Certainly the availability of BMD RAW will add even greater value to the Pocket.

The dual-ISO sensor of this camera makes it a low-light champion. Once over ISO 1250, the sensor switches to its native ISO 3200 mode. That means that an image shot at, say ISO 1500, is cleaner than an image shot at ISO 1000. This helps greatly in the positioning of this camera in the marketplace as I’ll describe.

The audio pre-amps are clean and recording through the built-in mics is well, what you would expect from any built-in microphone system. For street video and lightweight operation the built-in mics are decent enough.

I find the image from the camera and the Lumix lens pleasant. Manual focus is a bit tough to nail with this lens and despite the peaking features on the camera, so many of my test images seemed a bit soft. This could be the result of the lens but more extensive testing with an assortment of glass is called for in order to determine sharpness. And, as always, the acceptability of an image is based upon individual preferences, target project and often just the whim of a producer. For my application of web delivery, images from this camera-lens combo are perfectly acceptable (when I nailed focus).

CAN FIND A NICHE EVERYWHERE

But the real question here is target market and the usefulness of the camera to TV Technology readers.

I would not hesitate to use this camera for any level of web delivery. With an external battery to extend shooting time and a USB-C drive to extend recording times, it is an ideal reality-TV camera (whether for web or broadcast). Throw it on a gimbal with an appropriately lightweight lens and it can get the shot in tight spaces and easily follow the action. It can easily cut together with other cameras and be a B or C camera in a higher-budget shoot. I’d even send it out in the field with reporters for interviews or action-following formats.

Let’s keep the perspective when looking at this camera. I have heard far too many niggling comments of “it feels too plastic-ky” or it doesn’t offer ProRes 4444 or why doesn’t it have video inputs. The fact here is that for $1,295 including DaVinci Resolve Studio, Blackmagic has delivered a camera which can find a niche everywhere from individual web shooter to broadcast production to ENG to promos to big-screen cinema. It is lightweight, versatile, can be used alone or with a massive kit that dwarfs the camera, shot on gimbal, tripod, monopod or handheld and with a dual-ISO sensor for all kinds of lighting conditions, to popular formats and with 13 stops of dynamic range.

It is a tool well-worth considering for just about any content creator.

Blackmagic Design Pocket Cinema Camera 4K

www.blackmagicdesign.com

$1295

Pros: Compact and lightweight. Dual-ISO Micro four-thirds sensor. Sharp built-in screen. Records to SFast, SD or USB-C devices. Powerful but simple menu system

Cons: Internal battery insufficient. Most likely requires a rig. No video input. Mini audio XLR input.

Summary: A remarkable value in a camera with application across the spectrum of production, equally at home with the solo web creator, a broadcast outlet or a cinematic shoot.

Fremont, CA - December 13, 2018 - Blackmagic Design today announced that the company’s production and post products are being used to complete many of the fall 2018 season’s new and returning television shows and streaming series. More than 55 shows rely on Blackmagic Design’s digital film cameras; Fusion Studio visual effects (VFX), compositing, 3D and motion graphics software; and DaVinci Resolve Studio editing, color correction and digital audio software; as well as its switchers, routers, monitors and capture and playback devices.

Growing on the more than 40 fall TV shows announced in 2017, the 2018 shows, such as “Charmed,” “The Marvelous Mrs. Maisel” and “The Big Bang Theory” join the hundreds of top shows created with Blackmagic Design products.

DP Judd Overton relies on the URSA Mini Pro and Micro Cinema camera to capture unique angles and provide additional coverage on “No Activity” for CBS All Access. “I shoot a very cinematic look on a tight schedule,” said Judd Overton, cinematographer for “No Activity”. “I need to know my camera has the latitude and flexibility I need. The Ursa Mini Pro and Micro Cinema Cameras are designed to work for post production and I know they have the image quality I need for the show. I’m always eager to put the Blackmagic cameras into play on a scene.”

Los Angeles based InvisEffects relies on DaVinci Resolve for a number of fall shows: “We use DaVinci Resolve almost every single day. It’s a vital part of our VFX workflow,” said Mike Gaines, owner of InvisEffects. “We use Resolve to conform and export hundreds of shots every episode, and it has saved us many times, such as when we tried to conform RED 8K to 4K and HD in a couple of different aspect ratios. It’s pretty incredible.”

Hollywood based VFX studio Muse VFX depends on Fusion Studio for VFX work and compositing on a wide range of shows. “Fusion Studio is a major part of our pipeline,” said John Gross, Founder and Creative Director of Muse VFX. “It’s a powerful creative tool with great flexibility and low overhead. It easily competes with other node-based compositing options at a fraction of their cost.”

Some of the 2018 fall series using Blackmagic Design cameras and hardware include:

“Jack Ryan” DP Richard Rutkowski used Micro Studio Camera 4Ks as action and crash cameras, as well as to capture unique, remote angles;

“Madam Secretary” DP Learan Kahanov used Pocket Cinema Cameras for specialized shots, including webcam, surveillance cameras and cell phone footage;

“No Activity” DP Judd Overton used URSA Mini Pro, URSA Mini 4.6K, Micro Cinema Camera and Video Assist 4k;

For On-set Grading and DIT Work:

“Bull” DIT Gabe Kolodny used Smart Videohub 40x40 router, Videohub Smart Control, SmartScope Duo 4K monitor and UltraStudio Express;

“God Friended Me” DIT Abby Levine used UltraStudio 4K, UltraStudio HD Mini, DaVinci Resolve, and Mini Converters;

“Madam Secretary” DIT Keith Putnam used Smart Videohub 20x20, Mini Converters, UltraStudio Mini Monitor, Media Express and DaVinci Resolve Studio for viewing camera original media, reviewing VFX comps from post, pulling high quality stills and PowerWindow work;

“Splitting Up Together” DIT Francesco Suata used Smart Videohub 12x12;

“Station 19” DIT Andrew Lemon used Smart Videohub 40x40;

“The Goldbergs”DIT Kevin Mills used Smart Videohub 16x16, Mini Converter SDI Distribution, DeckLink Mini Monitor, DeckLink Mini recorder, SmartView Duo, DaVinci Resolve and Clean Switch 12x12;

“All American” DIT Urban Olsson used DaVinci Resolve, Smart Videohub 12x12 and 20x20, UltraStudio Mini, DeckLink Mini Recorder and DeckLink Mini Monitor;

“Crazy Ex-Girlfriend” DIT Sam Mconnville used ATEM 1 M/E Production Studio 4K switcher, SmartView Duo monitor, SmartScope 4K, Micro Converter HDMI to SDI, DaVinci Resolve and DeckLink Mini Recorder;

“The Kominsky Method” DIT Dane Brehm used a Smart Videohub CleanSwitch 12x12, ATEM Production Studio 4K, Smart VideoHub 12x12, SmartView Duo, Smart Scope Duo 4K and an UltraStudio 4K;

• “Jack Ryan” DP Richard Rutkowski used Micro Studio Camera 4Ks as action and crash cameras, as well as to capture unique, remote angles;
• “Madam Secretary” DP Learan Kahanov used Pocket Cinema Cameras for specialized shots, including webcam, surveillance cameras and cell phone footage;
• “No Activity” DP Judd Overton used URSA Mini Pro, URSA Mini 4.6K, Micro Cinema Camera and Video Assist 4k;

For On-set Grading and DIT Work:

• “Bull” DIT Gabe Kolodny used Smart Videohub 40x40 router, Videohub Smart Control, SmartScope Duo 4K monitor and UltraStudio Express;
• “God Friended Me” DIT Abby Levine used UltraStudio 4K, UltraStudio HD Mini, DaVinci Resolve, and Mini Converters;
• “Madam Secretary” DIT Keith Putnam used Smart Videohub 20x20, Mini Converters, UltraStudio Mini Monitor, Media Express and DaVinci Resolve Studio for viewing camera original media, reviewing VFX comps from post, pulling high quality stills and PowerWindow work;
• “Splitting Up Together” DIT Francesco Suata used Smart Videohub 12x12;
• “Station 19” DIT Andrew Lemon used Smart Videohub 40x40;
• “The Goldbergs”DIT Kevin Mills used Smart Videohub 16x16, Mini Converter SDI Distribution, DeckLink Mini Monitor, DeckLink Mini recorder, SmartView Duo, DaVinci Resolve and Clean Switch 12x12;
• “All American” DIT Urban Olsson used DaVinci Resolve, Smart Videohub 12x12 and 20x20, UltraStudio Mini, DeckLink Mini Recorder and DeckLink Mini Monitor;
• “Crazy Ex-Girlfriend” DIT Sam Mconnville used ATEM 1 M/E Production Studio 4K switcher, SmartView Duo monitor, SmartScope 4K, Micro Converter HDMI to SDI, DaVinci Resolve and DeckLink Mini Recorder;
• “The Kominsky Method” DIT Dane Brehm used a Smart Videohub CleanSwitch 12x12, ATEM Production Studio 4K, Smart VideoHub 12x12, SmartView Duo, Smart Scope Duo 4K and an UltraStudio 4K;

For VFX with Blackmagic Design cameras, DaVinci Resolve and Fusion Studio:

• Muse VFX Founders and Visual Effects Supervisors John Gross and Fred Pienkos and their team use Fusion Studio to composite “Charmed,” “Madam Secretary,” “NCIS” and “The Neighborhood”;
• BluFire Studios Owner and VFX Supervisor Matt Hoffman and his team use Fusion Studio for “The Outpost;”
• Crafty Apes VFX Editors Brock Shekelton and Heather Taylor use DaVinci Resolve Studio as part of their VFX editorial work on “Legacies”;
• VFX Supervisor Lesley Robson-Foster uses an URSA Mini Pro and Pocket Cinema Camera 4K for VFX plates on “The Marvelous Mrs. Maisel”;
• InvisEffects owner Mike Gaines used DaVinci Resolve for conform, plate output for VFX on “Speechless,” “Single Parents,” “Happy Together” and “Mixtape”;
• Filmworks/FX NY VFX Supervisor Mike Warren and his team uses DaVinci Resolve as an integral component of their VFX pipeline, along with an Intensity Shuttle for Thunderbolt for playback and Production Camera 4Ks for VFX shots for “Blue Bloods;”
• Fuze FX created a driving plate rig using Micro Cinema Cameras for use on a variety of projects including “Happy Together”;
• VFX Legion used DaVinci Resolve used DaVinci Resolve to manage plates in their VFX pipeline.

For Post Production with DaVinci Resolve Studio:

• Technicolor’s David Aaron Waters grades “Lore”;
• Technicolor’s Roy Vasich grades “The Man in the High Castle”, “Station 19”, “Grace and Frankie” and “Prince of Peoria”;
• Sim International’s John Persichetti grades “Dynasty”;
• Technicolor’s Sparkle grades “Mom,” “The Big Bang Theory,” “How To Get Away With Murder,” “Supernatural” and “Man With A Plan”;
• Technicolor’s Tony Dustin grades “Camping” and “Tell Me a Story”;
• Company 3’s Siggy Ferstl grades “Narcos: Mexico”;
• Deluxe’s Mark Wilkins grades “Bull”;
• Technicolor’s Tim Vincent grades “Criminal Minds” and “Dead To Me”;
• Encore’s Tony D’Amore grades “Elementary,” “The Punisher”, “Jessica Jones” and “Daredevil”;
• Encore’s Tim Stipan grades “God Friended Me”;
• Sim International’s Todd Bochner grades “Madam Secretary” and “Jane the Virgin”;
• Picture Shop Post’s Mason C. Young grades “NCIS”;
• Digitalfilm Tree’s Patrick Woodward grades “NCIS: Los Angeles” and “American Housewife”;
• Deluxe’s George Delaney grades “NCIS: New Orleans”;
• Company 3’s Tim Stipan grades “Ozark”;
• The Foundation’s Phil Azenzer grades “Black-ish”;
• Point 360’s Aidan Stanford grades “Fresh Off the Boat”;
• ColorTime’s Russell Lynch grades “A Million Little Things” and “Life In Pieces”;
• LA Studios’ Michael Mintz grades “Speechless”;
• Level 3 Post’s Scott Ostrowsky grades “The Goldbergs”;
• Company 3’s Dave Hussey grades “The Rookie”;
• Technicolor’s Tom Forletta grades ““Haunted”;
• Picture Shop Post’s George Manno grades “The Kominsky Method” and “Arrow”;
• Digitalfilm Tree’s Dan Judy grades “The 100”;
• Fueldfilms’ Kevin Kerwin grades “American Horror Story”;
• EFILM’s Tom Reiser grades “Riverdale”;
• Apache’s Shane Reed grades “Chef’s Table”;

Press Photography

Product photos of URSA Mini Pro, Micro Cinema Camera, Pocket Cinema Camera, Cinema Camera, Video Assist, DaVinci Resolve Studio, SmartView Duo, SmartScope Duo, UltraStudio, DeckLink, Converters and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

Fremont, CA - November 15, 2018 - Blackmagic Design announced today that more than 25 feature length and short films competing at the 2018 Austin Film Festival used Blackmagic Design digital film cameras and DaVinci Resolve Studio professional editing, grading and audio post production software.

Celebrating its 25th year, the Austin Film Festival focuses on the writers’ creative contribution to the film, and is unique for bringing professional and amateur screenwriters together to celebrate the role of screenplays in filmmaking. With a heavy focus on the art of story, the festival is intent on making the creators the stars, celebrating all aspects of filmmaking at the annual event. The 2018 Austin Film Festival begins Thursday, October 25th.

“We’re lucky to be able to find and support so many incredible films and filmmakers every year, and the fact that so many of the films we find—features, shorts, documentaries, narratives, animation—utilize Blackmagic Design cameras and DaVinci Resolve software I think speaks volumes,” said Harrison Glaser, Film Competition Director for the Austin Film Festival. “Blackmagic creates powerful products that help all levels of filmmakers make great films. We love seeing their impact on talented and deserving filmmakers grow each year.”

Feature films at the 2018 Austin Film Festival that used Blackmagic Design Cameras and/or DaVinci Resolve:

• “The Money Stone” colored by Natacha Ikoli of Blue Table Post;
• “Love Goes Through Your Mind” performed all transcodes and color with DaVinci Resolve. Portions of the film were also shot with a Blackmagic Cinema Camera 2.5k;
• “F/11 and Be There” was shot on a Blackmagic URSA Mini 4K and colored in DaVinci Resolve Studio;
• “Fishbowl” colored by Matthew Riggieri at Digital Dave;
• “Empathy Inc.” colored by Darin Quan;
• “Above the Clouds” DP Neil Oseman used the Blackmagic Micro Cinema Camera to capture in car shots as well as tracking shots;
• “Delia and Sammy” colored by Marilen Magsaysay;
• “Worlds of Ursula K. LeGuin” colored by Leo Hallal;
• “Alive” DP Charles Hamilton shot portions of the film on the Blackmagic Pocket Cinema Camera. Editor Rob Grant edited the film in DaVinci Resolve, and Brendon Rathbone colored in DaVinci Resolve;
• “Beyond the Night” colored by Dave Francis of Primal Films;
• “Speaking in Tongues” colored by Alex Grigoras;
• “Simple Wedding” Luke Cahill used DaVinci Resolve for titles, VFX and color.

Short films at the 2018 Austin Film Festival that used Blackmagic Design Cameras and/or DaVinci Resolve:

• “Goodbye Sirena” colored in DaVinci Resolve;
• “Connections” colored in DaVinci Resolve;
• “The Backward Astronaut” colored in DaVinci Resolve;
• “Suspicion” shot on the Blackmagic URSA Mini 4.6K and colored in DaVinci Resolve;
• “Human Sun” colored in DaVinci Resolve;
• “Minor Key” colored in DaVinci Resolve;
• “SIN-SFO” colored in DaVinci Resolve;
• “Breasts” colored in DaVinci Resolve;
• “Down” colored in DaVinci Resolve;
• “Max and the Monster” colored in DaVinci Resolve;
• “Clean Break” colored in DaVinci Resolve;
• “Root for the Villain” colored in DaVinci Resolve;
• “Holy Moses” colored in DaVinci Resolve;
• “My Friend Shokat” colored in DaVinci Resolve;
• “LIKE” edited and colored in DaVinci Resolve;
• “The Wormwood Star” was shot with a Blackmagic Ursa Mini Pro and colored with DaVinci Resolve;
• “SHENJI458” colored in DaVinci Resolve.

Press Photography

Product photos of URSA Mini Pro, URSA Mini 4.6K, Micro Cinema Camera, Pocket Cinema Camera, DaVinci Resolve Studio and all other Blackmagic Design products are available at www.blackmagicdesign.com/media/images

About Blackmagic Design

Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.

CHIBA CITY, JAPAN—Blackmagic Design today at Inter Bee 2018 announced two product developments, a major update to its DaVinci Resolve 15.2 editing, color correction, VFX and audio post software and the new Blackmagic Audio Monitor 12G, an upgraded version of is rackmount audio monitoring solution.

The DaVinci Resolve update features an upgrade to the editing timeline, which now draws at a higher frame rate making editing and trimming feel faster and more responsive; visual dup detection to tell users when the same clip has been used more than once; and a redesigned keyboard, Blackmagic said.

New features make pancake editing –the editing of clips between multiple timelines—easier and faster. Users can load timelines or compound clips into the source viewer and edit them into the current timeline in their decomposed state. Using the X key, editors can mark a clip in the source timeline and edit it directly into the active program timeline, the company said.

Available for download from the Blackmagic Design website, DaVinci Resolve is free of charge to all current DaVinci customers.

The Blackmagic Audio Monitor 12G includes a 12G-SDI video input, HDMI output, analog and AES/EBU inputs, a class D amplifier, dual subwoofers, extended range speakers and LCD and precision meters to display VU, PPM and loudness ballistic scales, the company  said.

The audio monitor’s multi-rate 12G-SDI connection switches speed automatically based on the input signal, making it compatible with all SD, HD, UltraHD and DCI 4K equipment and formats up to 2160p60. The unit also comes with a 12G-SDI loop through to output the original signal to other equipment and an HDMI output to monitor the signal of a big-screen TV, the company said.

The 1RU unit includes precision audio meters and LCD screens. Twenty-seven multi-colored RGB LED segments per channel are available to make the meter highly customizable, the company said. The Blackmagic Audio Monitor 12G is powerful enough to be heard in noisy environments, such as broadcast equipment rooms and OB trucks.

Inter BEE takes place in Chiba City, Japan, Nov. 14-16.