Packing a real punch for Bangshock


John Milkovich TV-Bay Magazine
Read ezine online
by John Milkovich and Jamie Milkovich
Issue 88 - April 2014

Headed up by Creative Director and DP John Milkovich, and Chief Post Production Editor Jamie Milkovich, Vancouver-based media company Bangshock recently took their Ninja 2 on a shoot to capture the Thailand Superfight Thepprasit Pattaya. The Ninja 2s feather weight and rugged build proved to be the ideal combination for this run-and-gun production.

This was our first experience with an external recorder and the Ninja 2 proved to be a pretty decent external monitor too. The build, size and weight are ideal for what we need. says John. No more out-of-focus-stress, and when I combine the 5D III magnification option with the Ninja 2s focus peaking feature Im always on target. I also enjoy the reduction it offers against the effects of image degradation caused by in-camera compression.

We tend to use a variety of cameras, depending on the requirements and logistics of the project and we have a good stock of lenses, tripods, lights, c-stands, modifiers, sound etc. Bangshock is a relatively young company, but were past the new kid on the block phase, with some respectable customer credentials in our portfolio. Our current essential assets include GoPro Hero3s, Canon 5D Mk III, and 5D Mk III. We have our eyes on a few HD and 4K cameras - the BMDPC 4K and a NAB rumored Sony DLSR 4K cameras are the front runners - and intend to pair up a Samurai Blade to the eventual new addition.

When it comes to rigging with the Ninja 2, weve used Tilta Rig, Jag 35, PNC GB2 Gear Box on an old modified Cavision handheld rig but accessories vary due to shooting environments and project scope - weve also added LEDs, sound kits, focus adapters, etc. The video of the Muay Thai stadium in Thailand was a great configuration, an ideal balance between capturing quality compositions and run-and-gun manoeuvrability. Having the Ninja 2 for that particular shoot significantly upped the production value without limiting or hampering filming.

Media is a big consideration for us and every shoot with the Atomos Ninja 2 we pack 2 master caddies with 750 GB Western Digital Black, 7200 RPM hard drives, with a combined capacity of about 15 hours of footage. The WDs have been very reliable and we take care never to completely fill a drive; every production has downtime which gives us a great opportunity to transfer footage onto our ASUS g750 laptop, as well as an external HD. This is a mandatory extra layer of security for us.

Clean uncompressed HDMI out of the 5D III does not drastically improve resolution; it does, however, noticeably bump color information from our 8-bit camera sensor to record in 10-bit, giving my colorist more latitude in post. Youd think ProRes HQ would be reason alone to buy the Ninja 2, but I regard the workflow and SmartLog features as a bonus return on investment.

On occasion a shot can be dropped, this not to the fault of the drives or the Ninja 2 its the result of camera man error. There are times when you simply cannot resist the urge to rush in for the unexpected There, there, record, hit record, go, go, spur of the moment shot. It happens, you abandon the plan for a quick capture, a dropped shot is the result of an unreasonably methodical set-up, hence vibrations. Its a gamble you must accept on run-and-guns, having said this does not mean you have to be gentle or delicate with the Ninja 2, its a well-constructed piece of Hardware that is built for battle. Im often in situations where you cant always handle with care.

Before we committed to the Ninja 2 we had to do a lot of research prior to understand what the value of clean uncompressed HDMI out would do for us. We capture clean uncompressed HDMI out in 10-bit ProRes HQ 4:2:2 quality which offers more color data latitude for editing and every bit-depth helps, so you take it wherever you can.

Chief post-production editor at Bangshock, Jamie Milkovich, adds: Once the footage is backed up, it is copied to a Samsung 500GB SSD for editing. I edit with Adobe Premiere Pro CC and color grade with either SpeedGrade or Magic Bullet. The system that Im using is a Windows 7 64bit, i73930k processor-based, Asus P9X79 Pro mobo with 32 GB RAM and a Nvidia GTX 780 graphics card, which gives me the horse power I need, even to edit multiple video layers in real-time.

Founded in 2012 Bangshock provide creative media solutions ranging from web commercials, corporate promos and event videos. You can read more about the production on Thailand Superfight Thepprasit here

www.bangshock.com.
www.atomos.com.


Tags: iss088 | Bangshock | Ninja 2 | Atomos | Jamie Milkovich | John Milkovich
Contributing Author John Milkovich

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Atomos Ninja2 Recorder at IBC 2013

    Atomos Ninja2 Recorder at IBC 2013

  • Atomos Ronin at IBC 2013

    Atomos Ronin at IBC 2013

  • Atomos new Samurai Blade at IBC 2013

    Atomos new Samurai Blade at IBC 2013

  • Atomos at BVE 2013

    Atomos at BVE 2013

  • Atomos Ninja at NAB 2012

    Atomos Ninja at NAB 2012

  • Atomos Samurai Blade at BVE 2014

    Atomos Samurai Blade at BVE 2014

  • Atomos Ronin at BVE 2014

    Atomos Ronin at BVE 2014

  • Atomos Ninja Blade at BVE 2014

    Atomos Ninja Blade at BVE 2014

  • Atomos Shogun Inferno at BVE 2017

    Atomos Shogun Inferno at BVE 2017

  • Atomos Shogun and Ninja Star at NAB 2014

    Atomos Shogun and Ninja Star at NAB 2014

  • Atomos Operating System at NAB 2014

    Atomos Operating System at NAB 2014

  • Atomos at NAB 2014

    Atomos at NAB 2014

  • Atomos with the Samurai Blade on BroadcastShow LIVE at IBC 2013

    Atomos with the Samurai Blade on BroadcastShow LIVE at IBC 2013

  • Atomos talking 4K on BroadcastShow LIVE at IBC 2013

    Atomos talking 4K on BroadcastShow LIVE at IBC 2013

  • Atomos with the Ronin on BroadcastShow LIVE at IBC 2013

    Atomos with the Ronin on BroadcastShow LIVE at IBC 2013

  • Atomos with the Datacolor Spyder on BroadcastShow LIVE at IBC 2013

    Atomos with the Datacolor Spyder on BroadcastShow LIVE at IBC 2013

  • Datacolor Spyder on the Atomos stand at IBC 2013

    Datacolor Spyder on the Atomos stand at IBC 2013

  • Atomos Samurai Blade demonstration at NAB 2013

    Atomos Samurai Blade demonstration at NAB 2013

  • ATOMOS at BVE North 2012

    ATOMOS at BVE North 2012

  • Atomos at IBC 2012

    Atomos at IBC 2012

  • Atomos Samurai at NAB 2012

    Atomos Samurai at NAB 2012

  • Atomos at ProVideo2011

    Atomos at ProVideo2011

  • Atomos at IBC2011

    Atomos at IBC2011

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • Kit Overview from IBC 2015

    Kit Overview from IBC 2015

  • Philip Blooms recommendations at IBC 2014

    Philip Blooms recommendations at IBC 2014

  • Global Distribution at BVE 2012

    Global Distribution at BVE 2012

  • Jonathan Harrison at BVE North 2011

    Jonathan Harrison at BVE North 2011

  • Hireacamera at BVE North 2011

    Hireacamera at BVE North 2011

  • Global Distribution at IBC2011

    Global Distribution at IBC2011


Related Shows
  • Den Lennie meets Atomos at BVE

    Den Lennie meets Atomos at BVE


Articles
Shedding Light on the Blackmagic Pocket Cinema Camera 4k BMCPP4K
Garth de Bruno Austin “What is it about light that has us craving it?” Is the question asked in the opening seconds of Garth de Bruno Austin’s latest short, The Colour of Light. Exploring this natural, human need as well as our innate desire to control it, Garth’s film showcases everyday people going about their lives in differing degrees of luminance, whether that be an artificial streetlight or a natural morning sunrise.
Tags: iss134 | blackmagic | cinema camera | 4k | cpp4k | Garth de Bruno Austin
Contributing Author Garth de Bruno Austin Click to read or download PDF
Protecting the continuity of transmission
Lorna Garrett Your viewers love you. You consistently bring them their preferred channels 24/7. They’ve come to rely on you for their viewing pleasure. They never miss cheering on their beloved sports teams. They’re the envy of their friends as they watch live concerts of their favourite bands. They gather the family around and catch up on their must-see shows. They don’t have a bad word to say about you.
Tags: iss134 | garland | gpl | streaming | artel | disaster recovery | Lorna Garrett
Contributing Author Lorna Garrett Click to read or download PDF
An Epiphany Moment
Peter Savage 2 I had been negotiating the sale of my company and had reached the really hard end of the bargain. We were close to agreeing the final sum after a lot of too-much-give-and-not-enough-take negotiation. The solicitors were calling me, keen for a deal. It had come down to one sticking point and, in my hard ball “I am the Wolf of Wall Street” guise, I wasn’t going to let it go. It would make a value difference of 1.5% on the total outcome. Not much, you might think, but I had already nearly fallen out with the solicitors over their fees and I was giving my advisors an extremely hard time because the corporate adviser couldn’t see how I had already given more than an inch and the buyers were taking more than a mile. I was not going to let them win.
Tags: iss134 | azule | finance | Peter Savage 2
Contributing Author Peter Savage 2 Click to read or download PDF
AI in Media and Entertainment
David Candler Artificial Intelligence (AI) is a term appearing everywhere these days. What is happening in media and entertainment (M&E) that makes the industry ripe for AI? In other words, why does the M&E industry need AI?
Tags: iss134 | AI | wazee | David Candler
Contributing Author David Candler Click to read or download PDF
Keeping it remotely real
Reuben Such Everyone wants to do more with less. Always have, although it could be argued that doing more with more is something to aspire to, not many have that luxury. So let’s stick with the prevailing winds of doing more with less, and not just doing more, but doing it remotely, particularly in terms of production. Remote production, in particular, is getting a lot of attention in the field these days, but not so much in terms of the remote operation of fixed studios.
Tags: iss134 | remote control | IPE | IDS | Reuben Such
Contributing Author Reuben Such Click to read or download PDF