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Italian Creative Agency Uses Ultimatte 12 for Building Virtual Reality Studio Sets Posted: 07/02/2020
Italian Creative Agency Uses Ultimatte 12 for Building Virtual Reality Studio Sets

Blackmagic Design today announced that ViSo Video Solutions has upgraded its virtual reality studios, relying on Ultimatte 12 compositing processors and URSA Broadcast cameras, to produce national television commercials and shows, for clients such as Sky Italia, Mediaset, ESL and Netco Sports.

Founded in 2010, the company not only offers clients its VR services, it also creates all computer generated (CG) and 3D assets needed in house, and provides all post production which includes editing and grading in DaVinci Resolve Studio.

“Augmented and virtual studio environments bring so many benefits to productions,” begins Luigi Nino, general manager at ViSo. “We chose to develop our VR system in house so that we could control every aspect, and customize materials, lighting, animations and effects for each clients’ specific needs.”

The studio’s VR set is 130 square meters and uses three tripod mounted URSA Broadcasts as well as a dolly mounted 4.5m jib on a six meter track. An ATEM 4 M/E Broadcast Studio 4K, with ATEM 1 M/E Advanced Panel, is used for live vision mixing.

Tags: Blackmagic Design | Blackmagic | Ultimatte | Green Screen | Compositing | Virtual Reality | VR | URSA Broadcast | DaVinci Resolve
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No Static AV Delivers Ultra HD Workflow for Annual Baby2baby Fundraising Gala Posted: 07/02/2020
No Static AV Delivers Ultra HD Workflow for Annual Baby2baby Fundraising Gala

Blackmagic Design today announced that LA based event production company No Static AV (NSAV) used an Ultra HD live production workflow featuring URSA Broadcast cameras and ATEM switchers to deliver in house AV and IMAG for the annual Baby2Baby fundraising gala, which raises millions of dollars for the nonprofit and the children living in poverty that it serves.

Held at the 3Labs event space in Culver City, CA, the Baby2Baby gala brings together celebrities, entrepreneurs and philanthropists, and the evening hosts the top chefs in Los Angeles, an exclusive auction and inspiring program, all while honoring this year’s Giving Tree Award winner, Chrissy Teigen. Past honorees include Amy Adams, Gwyneth Paltrow, Jennifer Garner, Kerry Washington, Kate Hudson, Drew Barrymore and Jessica Alba.

With no shortage of AV deliverables, NSAV used its mobile production unit featuring a custom made flypack designed specifically with the Baby2Baby gala in mind. The unit relied on several Blackmagic Design products, including four URSA Broadcasts complete with URSA Studio Viewfinders, four Camera Fiber Converters and four Studio Fiber Converters for fiber connectivity between the cameras and switcher, an ATEM 1 M/E Production Studio 4K and ATEM 1 M/E Advanced Panel for live switching, and a Smart Videohub 20x20 router to distribute content throughout the venue. NSAV also used an ATEM Camera Control Panel for remote camera control and Teranex AV standards converter for on the fly conversions.

NSAV praised the image quality from the URSA Broadcasts and the ease of use of the live production gear. The URSA Broadcasts were used for IMAG and the content was also recorded in camera in 4K and in 1080 at the mobile production unit. Camera Fiber Converters and Studio Fiber Converters were necessary for fiber communication between the cameras and the switcher, giving the team real time control of all camera aspects, and the ATEM Camera Control Panel allowed NSAV to properly adjust color correction, shading and shutter speed during rehearsals and the live show.

Tags: Blackmagic Design | Blackmagic | Ultra HD | Live Production | Live Stream | Fundraising Gala | URSA Broadcast | ATEM
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Sundance Nominee This is Not a Burial, Its a Resurrection Edited in DaVinci Resolve Posted: 07/02/2020
Sundance Nominee This is Not a Burial, Its a Resurrection Edited in DaVinci Resolve

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."

Tags: Blackmagic Design | Blackmagic | Sundance | Film Festival | DaVinci Resolve | Editing | NLE | Post Production
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Germanys Quatsch Comedy Club Edited with DaVinci Resolve Editor Keyboard Posted: 07/02/2020
Germanys Quatsch Comedy Club Edited with DaVinci Resolve Editor Keyboard

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.”

Tags: Blackmagic Design | Blackmagic | DaVinci Resolve | Resolve | Editing | Editor Keyboard | Quatsch | Comedy | Post Production
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Blackmagic URSA Mini Pro on Tour with Little Mix Posted: 15/01/2020
Blackmagic URSA Mini Pro on Tour with Little Mix

Blackmagic Design today announced that live video for the European dates of Little Mix’s LM5 Tour was delivered by the LED Shed, who relied on acquisition and control hardware from Blackmagic Design. The solution featured URSA Mini Pro fiber chains and ATEM 4 M/E Broadcast Studio 4K.

LM5: The Tour is the sixth concert tour by British pop girl group, Little Mix. Opening at the WiZink Center in Madrid in September, the European tour has spanned 40 shows in total, concluding at London’s O2 Arena.

A multicamera fiber workflow was deployed for acquisition and IMAG relay, with two URSA Mini Pro cameras in the pit on a track and dolly system, two more front of house, and one in an elevated position at the back of the arena with a Canon 96x 4K long lens, to capture the band’s triangular platform that flew out across the venue.

The LED Shed’s Luke Levitt says: “We would usually have one camera in the pit, but with so much fast action on stage, having two meant that we could catch all of the choreography. It’s our job as video directors to make sure everyone in the room can see what’s going on, and it’s imperative to have as much movement in the cameras as possible to reflect that action.”

Tags: Blackmagic Design | Blackmagic | URSA Mini Pro | URSA | Live Production | ATEM | Little Mix | Concert | IMAG
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2019 Concerts and Music Festivals Delivered with Blackmagic Design Posted: 20/12/2019
2019 Concerts and Music Festivals Delivered with Blackmagic Design

Blackmagic Design today announced that live production workflows, featuring its products for acquisition, control and delivery, have been used on some of this year's biggest music festivals and concert tours.

 

Artists and events included Little Mix, Billie Eilish, Elton John, Fall Out Boy and Andrea Bocelli, as well as Festival Beauregard, Rocking the Daisies, Aftershock Festival and Sweden Rock.

 

As broadcast and AV workflows continue to converge, more and more rental and staging companies are now standardizing their video offerings to festivals and touring artists based on hardware solutions from Blackmagic Design. Not only has the amount of video demanded by the entertainment market increased in 2019, so too has the amount of 4K production for IMAG.

 

Tags: Blackmagic Design | Live Production | Concerts | Festivals | Live Switching | Cameras | Acquisition | IMAG
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Fusion Studio Used to Create Animated Feature, Latte and The Magic Waterstone Posted: 11/12/2019
Fusion Studio Used to Create Animated Feature, Latte and The Magic Waterstone

Blackmagic Design today announced that Grid VFX relied on Fusion Studio throughout its in house compositing pipeline to deliver newly released children’s animated feature, Latte & The Magic Waterstone.

Directed by Regina Welker, the team’s latest project ‘Latte & The Magic Waterstone’ involved the completion of more than 1,200 visual effects shots, including the complex compositing of background and foreground plates and CG render layers for 3D assets, lighting, procedural effects, and more.

“Latte was a huge project for us. It’s a feature animation with a limited budget, so we knew we had to work as efficiently as possible,” begins compositing supervisor at Grid, Laurens Bekaert.

“Fusion’s GPU accelerated render engine was amazing at being able to handle geometry and 3D space compared to alternative compositors. We could add smoke and particles behind our characters and see a good representation of how they would look in 3D instantly, without needing to re render.”

Tags: Blackmagic | Blackmagic Design | BMD | Fusion | Fusion Studio | VFX | Compositing | Post Production | Filmmaking | Animation
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Blackmagic Design Cameras and Switcher Power South Africas Rocking the Daisies Posted: 03/12/2019
Blackmagic Design Cameras and Switcher Power South Africas Rocking the Daisies

Blackmagic Design today announced that South African music festival, Rocking the Daisies, was powered by an end to end Blackmagic Design workflow, featuring Blackmagic URSA Broadcast and ATEM Constellation 8K.

Held at the Cloof Wine Estate in Cape Town and incorporating comedy, music, art and film, Rocking the Daisies (RTD) is one of the country’s biggest festivals. Live production for the three day event’s diverse international lineup, which included The 1975, Russ, Tash Sultana and Nasty C, was delivered by production company Bad Weather.

The main stage featured three central LED screens, making up one canvas, the middle being a 6 x 6 meter square and each outer screen 3.6 x 6 meter high. There were two 5.4 meter wide by 8.4 meter high IMAGs stage left and right. “With both side screens essentially being portrait, we had to be careful with how we framed our shots, making sure that everything was centered,” reveals live director Simon Wilkes.

“We used the URSA Broadcast for acquisition; front of house we had a single camera with a very long lens and a supplementary Micro Studio Camera 4K locked off just next to the sound desk,” he explains. “In front of the stage we had a jib mounted URSA Broadcast, and another on a dolly. On stage was a roaming camera op and a handful of the micro cameras positioned in key positions for additional cutaways.”

Bad Weather’s Jonathan Bandli adds: “The image quality of these cameras was something that the festival had never experienced before; good in low light and they handled the dynamic range of a large stage with heavy contrast so elegantly. Our solution just completely changed the perception of the festival organizer’s previous experience with live camera systems.”

Tags: Blackmagic Design | BMD | Blackmagic | Live Production | Festival | IMAG | URSA Broadcast | ATEM Constellation | ATEM PPU
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PIgmento Switches to DaVinci Resolve Studio for HDR Delivery Posted: 20/11/2019
PIgmento Switches to DaVinci Resolve Studio for HDR Delivery

Blackmagic Design today announced that Madrid based post house, Pigmento Color Grading, has switched to DaVinci Resolve Studio as part of a facility upgrade for HDR color correction and IMF format delivery.

Founded by Fernando Martinez and Pepe Abellàn, colorists with more than 20 years of audiovisual finishing experience, Pigmento has rapidly formed a reputation for delivering a boutique, tailored service to both broadcasters and OTT clients throughout Europe.

The team’s credits include episodic features such as The Pier, Locked Up and Emmy Award winning Money Heist, which has gone on to be a global success.

Spurred by increasing client demand for Dolby Vision, HDR10+ and IMF ready workflows, DaVinci Resolve Studio has now been installed as the primary online, grading and mastering solution within Pigmento’s two state of the art grading suites and two additional support workstations for conform, VFX pulls and deliveries.

Featuring Intel’s Dual Xeon SuperMicro processors paired with NVIDIA Tesla K80 and RTX2080ti graphics cards respectively, the grading suites feature Sony BVM-HX310 and Dolby PRM 4220 reference monitors and DaVinci Resolve Mini Panels for control. Underpinning the setup is 180TB of shared storage, with a 600TB NAS for backup.

Tags: Blackmagic Design | Blackmagic | DaVinci Resolve | Resolve | HDR | Streaming | IMF Delivery | Post Production
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Pocket Cinema Camera 6K Shoots Rare Show Content for Mumford and amp; Sons Posted: 15/11/2019
Pocket Cinema Camera 6K Shoots Rare Show Content for Mumford and amp; Sons

Blackmagic Design today announced that award winning live director, Steve Price, used the Blackmagic Pocket Cinema Camera 6K to create a cinematic, slow motion backdrop for Mumford & Sons’ recent appearance at the iHeart Radio music festival in Las Vegas.

Although the rise of LED technology has seen screens become an essential creative element of concert and festival productions, some artists, including the British indie folk band, prefer the focus to be on the live performance, with some clever staging and lighting to help lead the atmosphere.

With two weeks to go till the band were due to headline the festival, where the stage was almost entirely built from LEDs, a new approach was critical. “Other acts on the bill included Miley Cyrus, Alicia Keys, Def Leppard and Chance the Rapper, so it was important to stand out visually and create a unique identity for the set given the diverse lineup,” begins Steve.

“We decided to keep things simple with a classically beautiful ‘analogue’ aesthetic, with some slow motion, based around nature and people,” he reveals. “Time was tight as we were also in the midst of a US tour, and I needed to get back to the UK to pick up kit.

“I needed a camera that was capable of 120fps, that also wasn’t too bulky for a one-man shoot. That brought me to the Blackmagic Pocket Cinema Camera 6K which allowed me to travel as light as possible, while still being able to produce the stunning image that I like in Blackmagic’s larger cameras.”

Tags: Blackmagic Design | Blackmagic | Pocket 6K | BMPCC6K | Filmmaking | Mumford & Sons | Show Content
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ATEM Constellation 8K Used For Live Production At Country Musics WE Fest Posted: 07/11/2019
ATEM Constellation 8K Used For Live Production At Country Musics WE Fest

Blackmagic Design today announced that its ATEM Constellation 8K live production switcher was used as part of an Ultra HD 12G-SDI and fiber live production workflow at WE Fest, the largest country music festival in the United States and the longest running in the world.

Now in its 37th year, the three day festival took place in Detroit Lakes, MN, in August 2019 with performances from stars such as Chris Stapleton, Keith Urban, Brooks and Dunn, LeAnn Rimes and more.

The ATEM Constellation 8K is the heart of a new flypack from Pennsylvania based full service video production company Upstage Video, which also includes Blackmagic Design’s Smart Videohub 12G 40x40 router, ATEM 2 M/E Broadcast Panel and more. Built specifically for the concert touring and music festival industry, the Ultra HD 12G-SDI and fiber flypack was responsible for switching and video distribution for WE Fest’s two 17’ x 27’ on stage screens and 12’ x 21’ front of house screen, as well as for closed circuit distribution and simulcasts in the VIP campsites and vendor areas.

“What’s unique about this flypack is that its modular design allows it to break into three racks with the director’s rack sitting front of house,” explained Upstage Video’s Project Manager Greg Brown. “In the U.S., most directors are typically set up backstage, while U.K. directors typically sit front of house so they can see lighting, etc. However, in the U.S., we’ve been seeing a trend where more and more directors prefer front of house because they want to have the energy from the show and the audience, which is hard to get backstage. It was important for us to develop a flypack that could easily provide a front of house director position with engineering backstage.”

Tags: Blackmagic Design | Blackmagic | BMD | Live Production | Festival | ATEM Constellation | Ultra HD Flypack | WE Fest | ATEM
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Chimney Uses DaVinci Resolve Studio for Real-Time Collaboration on The Dead Dont Die Posted: 07/11/2019
Chimney Uses DaVinci Resolve Studio for Real-Time Collaboration on The Dead Dont Die

Blackmagic Design today announced that Chimney relied on DaVinci Resolve Studio to collaborate in real time across its New York, NY, and Gothenburg, Sweden, locations while delivering visual effects (VFX) for the hit zombie movie “The Dead Don’t Die.” The international post production company also used Fusion Studio for select VFX work on the film.

“The Dead Don’t Die” follows the peaceful town of Centerville as it finds itself in a battle against the undead as zombies begin to rise from their graves. Directed by Jim Jarmusch, the zombie comedy stars Bill Murray, Adam Driver, Chloë Sevigny, Tilda Swinton and more.

The Chimney team produced more than 300 VFX shots for the film, with work happening simultaneously at its New York and Gothenburg locations. With Jarmusch and the film’s DP, Frederick Elmes, located in New York, Chimney needed to be able to collaborate in real time across locations so both teams could work closely with the filmmakers to discuss and implement changes during the VFX process.

“Since this film was Jim’s first VFX heavy project, we wanted to ensure that he felt comfortable and connected to the team throughout the entire process,” explained Chimney’s VFX Supervisor Sam O’Hare.

Chimney turned to DaVinci Resolve Studio’s collaboration capabilities for its ability to review EXR sequences in real time.

Tags: Blackmagic Design | Blackmagic | BMD | DaVinci Resolve | Resolve | Fusion | Post Production | Chimney | Filmmaking | Zombies
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URSA Broadcast Captures Hit Chilean Television Series Amor a la Catalan Posted: 07/11/2019
URSA Broadcast Captures Hit Chilean Television Series Amor a la Catalan

Blackmagic Design announced today that Chilean production company, AGTV, incorporated a full Blackmagic Design workflow, including six URSA Broadcast cameras, to produce the hit television series “Amor a la Catalán” for Canal 13, the second oldest television station in Chile.

“Amor a La Catalán” is a romantic comedy series created and directed by acclaimed television director and producer, Vicente Sabatini, and telenovela producer and owner of AGTV, Pablo Ávila. Having premiered this summer on Canal 13 with a second season already in the works, the series tells the story of Fernando, a baker who hides a secret from his family for more than thirty years.

To bring the story to life with a higher production value while still staying on budget, AGTV decided to incorporate a Blackmagic Design workflow, starting with the URSA Broadcast cameras.

“We saw how Canal 13 used Blackmagic Design on ‘Runaways,’ and we wanted to recreate the workflow to achieve the same quality,” said Cesar Norambuena, operations manager at AGTV. “For ‘Amor a la Catalán,’ we had the URSA Broadcasts divided into two groups: unit one consisted of three cameras used as our main cameras in studio, and unit two consisted of two cameras used mostly for outdoor scenes. Our sixth camera functioned as a backup for the crew.”

By using three cameras at once in studio, Norambuena and the crew were often able to shoot scenes in one take, eliminating the need for reshoots to capture different angles or reactions from the actors. Unit two was set up for “grab and go” use, with the cameras’ batteries always charged, allowing the crew to grab them as needed to shoot outdoors.

Tags: Blackmagic Design | Blackmagic | BMD | URSA Broadcast | AGTV | Chile | Canal 13 | Amor a la Catalan
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Koreas Esports VGS Arena Built Using Blackmagic Design 12G 4K Workflow Posted: 07/11/2019
Koreas Esports VGS Arena Built Using Blackmagic Design 12G 4K Workflow

Blackmagic Design today announced that VSGame, a Korean eSports content creation and online streaming company, built a 4K eSports game live streaming and broadcast system using URSA Broadcast cameras, ATEM 4 M/E Broadcast Studio and a number of other Blackmagic Design products. The system was installed at Korea’s famous esports VSG Arena, which now is also the first full 4K end to end eSports arena in Korea.

This Blackmagic Design centric streaming and broadcast solution was adopted by VSGame to produce live event coverage and regular eSports entertainment content. It is used for tournaments for some of the world’s biggest games, such as Starcraft, Dungeon Striker, Dragon Next and PUBG, as well as for smaller gaming sessions and meetings.

The arena will also be used to deliver regular eSports entertainment content profiling VSG Arena’s own eSports team, ‘Actoz Stars,’ and the games their evolving roster of eSports athletes are training for and competing in.

To meet the various needs of the arena, VSGame had to design a 4K workflow that could easily be adjusted to fit whatever type of stream or audience using the facility.

VSGames chose a workflow including four URSA Broadcast Cameras, an ATEM 4 M/E Broadcast Studio 4K paired with an ATEM 2 M/E Broadcast Panel and an ATEM Television Studio Pro 4K for video switching, an ATEM Camera Control Panel, HyperDeck Studio 12G broadcast deck, Smart Videohub 12G 40x40 router, Teranex AV converters, SmartView 4K monitor, ATEM Talkback Converter 4K, Blackmagic Audio Monitor and Teranex Mini Converters.

Tags: Blackmagic Design | BMD | Blackmagic | esports | Korea | ATEM | Teranex | URSA Broadcast | 4K
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The End of the F***ing World Season Two Graded In DaVinci Resolve Posted: 07/11/2019
The End of the F***ing World Season Two Graded In DaVinci Resolve

Blackmagic Design today announced that CHEAT has continued its expansion with DaVinci Resolve Studio, adding a new HDR ready grading suite as well as a research and development lab.

This adds to CHEAT’s three preexisting grading suites, which include Linux machines with dual Intel Xeon E5-2600 v4 processors supported by four Nvidia GTX 1080Ti GPUs and the DaVinci Resolve Advanced Panel.

The first project to be realized through the new workflow is The End of the F***ing World season 2. Returning following the critically acclaimed first season, which has been nominated for BAFTA and Primetime Emmy Awards, the grade on series two was led by CHEAT’s owner and colorist Toby Tomkins.

“Season two was a challenge because it introduced a new director, new DPs and a new production designer. It was also our first Dolby Vision grade as a facility,” says Toby. “There was a lot of pressure to ensure we delivered to the same high standards expected of us from our work on season one.”

Tags: Blackmagic Design | Blackmagic | BMD | DaVinci Resolve | HDR | Netflix | Dolby Vision | CHEAT | Post Production
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