Blackmagic Design today announced that the new psychological thriller “Huracán” was shot using a Blackmagic URSA Mini Pro 4.6K digital film camera. Premiering this month on HBO and available to stream on HBO Max, the film was also graded with DaVinci Resolve Studio.
Directed by Cassius Corrigan, who also wrote and starred in the film, “Huracán” follows an aspiring mixed martial arts (MMA) fighter who suffers from Multiple Personality Disorder. Produced by DELALUZ PICTURES, “Huracán” is a deep dive into the complexity and nuances of severe mental illness, with visceral and authentic MMA fight action, all set in the beautifully diverse neighborhoods of the “real” Miami.
DP Mike McGowan used an URSA Mini Pro 4.6K as the A camera for the film, capturing everything from intensely emotional dialogue and therapy scenes, to wild and action packed MMA fight scenes, to stunning landscapes throughout Miami.
According to Corrigan, “After previously using an URSA Mini Pro 4.6K to shoot a commercial, I knew that it would deliver the quality I needed to make an extremely beautiful and cinematic feature film. With a tight shooting schedule, we needed a camera that we could really put through its paces during our extensive preproduction testing. The URSA Mini Pro 4.6K delivered just that, with an intuitive Blackmagic OS that let us hit the ground running and an interchangeable lens mount that gave us flexibility when we needed it.”
“The URSA Mini Pro 4.6K’s color science, especially when combined with DaVinci Resolve Studio, allowed us to really develop the look we wanted for the film,” said Corrigan. “Especially in the brighter scenes, the warm and beautiful colors of Miami popped through the screen, giving our aesthetic the dynamism I really wanted.”
Further developing the film’s look, Colorist Luis Castañeda used DaVinci Resolve Studio to create the film’s vibrant, textural, and naturalistic aesthetic.
“We were able to achieve a rich and nuanced look on a budget through DaVinci Resolve Studio’s ability to maximize the color science in the URSA Mini Pro 4.6K’s sensor,” Corrigan added. “Our lighting setups were always as minimal as possible, but we were able to work around that by leveraging the camera’s dynamic range and DaVinci Resolve Studio’s Power Windows. Adding to the look, we used DaVinci Resolve Studio to create a custom film grain, which really helped us define the final aesthetic of the movie.”
