Blackmagic Design today announced that teaser content to support the launch of Assassin’s Creed Valhalla was shot on the URSA Mini Pro 4.6K G2 in Blackmagic RAW, and was edited and graded in DaVinci Resolve Studio.
The ten minute action short was written, directed and shot for Ubisoft Germany by filmmaker and stunt expert, Vi-Dan Tran. The full film will sit on Ubisoft’s and T7 Production’s YouTube channels, and also be used to create highlight clips for social media to help build anticipation around the game’s launch.
The story focuses on Helga, a brave villager looking for warriors to help her protect the community, and the game’s main character, Eivor, who steps up to accept the mission.
“There are two timelines in the film, a tavern where the characters are discussing the quest, and then the middle sequence is a flashback action scene, which almost has a music video feel, with an epic score and complex fight choreography,” explains Vi-Dan. “We shot at 3K anamorphic at a variety of frame rates and also at 4.6K at 120fps. This ensured that the fight moves were captured smoothly, but also allowed us to add slow motion touches, for example when Helga’s sister, Astrid, faces the camera and flicks out her hair.”
With 25 crew and more than 30 actors and extras, it was a welcome return to an onset shoot, although care was taken to ensure everyone was safe. “It was vital that each element felt grounded and authentic, so we shot at an amazing village set that has been built specifically for LARP (live action role play),” continues Vi-Dan. “There’s no electricity or studio lighting, so we had to rely on the URSA Mini Pro’s sensor to capture as much detail as possible.”
To create the rich, cinematic aesthetic he wanted, Vi-Dan paired the URSA Mini Pro 4.6K G2 with Atlas anamorphic lenses. “The combination was honestly incredible from the outset. All of the detail that I wanted to capture in the costumes, the weapons and the skin tones was just stunning,” he continues. “I was pleased with the shoot as a whole, but the tavern scene, which we shot as one transitional take, was a particular highlight. The camera moves past all these faces, and the atmosphere feels so immersive, you can’t help but feel a part of it.”
For post, Vi-Dan has worked exclusively in DaVinci Resolve for his most recent projects. “The Blackmagic RAW Q5 rushes move effortlessly into Resolve, and I do everything within the software; edit, grade, sound design, even some effects in Fusion,” he explains. “It keeps the process incredibly simple, but the features within each page of the software are incredibly powerful. It’s the perfect solution for getting extremely high quality results, throughout acquisition and post.”
