Real-World Digital Cinema Technology

Richard Lackey - Cinema Camera Specialist, Producer, Post Producer and Writer. Sharing honest opinions, experience and views on Digital Cinema Technology and Industry.

“Gallipoli” Uses Blackmagic URSA and Production Camera 4K

Keep an eye out for what looks to be a fantastic upcoming Australian mini-series “Gallipoli”. According to a Blackmagic Design press release on Monday URSA and Production Camera 4K were involved, along with DP John Brawley for VFX plates shot in Turkey. Congrats John!

“Blackmagic Design today announced the new television mini series “Gallipoli” used Blackmagic URSA EF and Blackmagic Production Camera 4K cameras to capture a variety of scenes and shots throughout the show. This included using the URSA to capture the show’s stunning opening title sequence.”

“Ivin used Blackmagic Production Camera 4K to capture VFX plates for CGI for the large number of battle scenes featured. Carrying the camera to the shores of Turkey with DOP John Brawley, Ivin was able to capture the plates in rugged terrain thanks to the camera’s lightweight yet tough build.”

Click here for the full press release.

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Size Does Matter – Arri’s New Baby

With NAB still a month and a half away we’ve had two major announcements in a week from the top two players in digital cinema acquisition. Only a few days ago Red Digital Cinema’s Jarred Land announced initial details of the upcoming upgrade program for Dragon owners to a new camera body named Weapon. In true Red style, exact details…

Sailing with the Blackmagic URSA in 4K UHD

I am excited to share the edit of the recent URSA test shoot. There is not much footage out there at the moment from URSA so I am hoping that many find this of some interest. Shot in 4K RAW 3:1, mostly at 80fps and graded in DaVinci Resolve based on a Kodak 2383 print stock LUT. Uploaded to Youtube at 4K although I don’t have a 4K TV to see how it looks at full resolution.

Thanks to Marcel Beck (www.mxbstudios.com) for shooting such great images and RAK Sailing Academy (www.raksailingacademy.com) for letting us shoot aboard their Lutra 30v1.

Make sure you set the quality setting to 1080p. I’d love to hear from anyone who streams and watches it at full 4K!

Stop Obsessing About Camera Specs

Dear aspiring filmmaker, here’s a tip to avoid being lost forever in an ocean of mediocrity. Stop obsessing about camera specs, in fact, forget about the damn camera and learn to craft a story, learn to write, learn to direct, find your voice. Your camera is a tiny, forever changing spec of insignificance. If you want to be a cinematographer, again,…

Round Trippin’

A “round-trip” workflow is one in which you begin and end your project in your NLE, and use a dedicated grading and finishing tool (DaVinci Resolve in our case) in the middle. This lets you start with “offline” and end with “online” quality compressed media that won’t kill your system, and still have all the advantages of RAW where it counts most.

CinemaDNG Final Cut Pro – DaVinci Resolve Round-Trip Workflow (Mac)

A step-by-step guide to a offline/online round-trip editorial workflow with Final Cut Pro and DaVinci Resolve using 4K CinemaDNG RAW media. Software Versions: DaVinci Resolve 11 Final Cut Pro X 10.1.3 (must be 10.1.1 or later for XML import/export) Media: 4K CinemaDNG RAW 3:1 media (Blackmagic Design URSA) Step 1 – Create ProRes Proxies (DaVinci Resolve) Create a new project and…

CinemaDNG Premiere Offline – DaVinci Resolve Round-Trip Workflow (Mac)

A step-by-step guide to a offline/online round-trip editorial workflow with Adobe Premiere CC 2014 and DaVinci Resolve using 4K CinemaDNG RAW media. Software Versions: DaVinci Resolve 11 Adobe Premiere CC 2014 Media: 4K CinemaDNG RAW 3:1 media (Blackmagic Design URSA) Step 1 – Create ProRes Proxies (DaVinci Resolve) Create a new project and import CinemaDNG media into Media Pool. Check and…