Blackmagic Design Cameras and Gear Used for Many 2022 Oscar Nominated Films

By
published

Blackmagic Design’s equipment and software were used on a variety of the films nominated for the 94th Academy Awards, such as `The Power of the Dog,’ `Belfast’ and `Spider-Man: No Way Home'

No Time to Die
`No Time to Die' was one of the Oscar-nominated films that used Blackmagic Design technologies. (Image credit: Nicola Dove)

FREMONT, Calif.—In the runup to the the 94th Academy Awards on March 27, Blackmagic Design has issued congratulations to a number of production and post-production professionals who used its digital film cameras, DaVinci Resolve Studio editing, color grading, visual effects (VFX) and audio post production software, and other technologies. 

Some of the Oscar nominated films that used Blackmagic Design gear during production included:

  • “Attica” DP Kevin J. Burroughs used ATEM Mini live production switcher to show camera angles during remote interviews for the documentary;
  • “CODA” DIT Leonard A. Mazzone used Smart Videohub 16x16 router and UltraStudio 4K capture and playback device for on set work;
  • “Free Guy” DIT Daniel A. Hernandez used DaVinci Resolve Studio and UltraStudios for on set work; and
  • “Spider-Man: No Way Home” VFX Supervisor Kelly Port used five Pocket Cinema Camera 4Ks as witness cameras during VFX shooting.

Some of the Oscar nominated films that used DaVinci Resolve Studio and accompanying gear during post production include:

  • “Ascension” was graded by Cédric von Niederhäusern using DaVinci Resolve Micro Panel;
  • “Belfast” was graded by Rob Pizzey and online edited and finished by Russell White, both of Goldcrest Post;
  • “Don’t Look Up” was graded by Matt Wallach of Company 3;
  • “Drive My Car” was graded by Yumeto Kitayama of Imagica Entertainment Media Services, Inc.;
  • “Free Guy” was graded by Skip Kimball of Company 3;
  • “The Hand of God” was graded, conformed and finished by Grande Mela Digital Film Srl, which also provided dailies color services;
  • “Lead Me Home” was graded by Leo Hallal and online edited and finished by Ashley Pagán of ZAP Zoetrope Aubry Productions;
  • “The Mitchells vs. the Machines” was graded by Natasha Leonnet of Company 3;
  • “Nightmare Alley” was graded by Stefan Sonnenfeld of Company 3, with DaVinci Resolve Studio also being used in the VFX pipeline by the team at MR. X (which has since merged with the MPC brand);
  • “No Time to Die” was graded by Matt Wallach of Company 3, with DaVinci Resolve Studio also being used in the VFX pipeline by VFX Supervisor Matt Tinsley of TPO VFX;
  • “On My Mind” was edited, composited, graded and finished by Thomas Engell of Sound Sunrise;
  • “The Power of the Dog” was graded by Trish Cahill at Soundfirm;
  • “Shang-Chi and the Legend of the Ten Rings” was graded by Jill Bogdanowicz and additional colorists Jared Pecht and Charles Bunnag, all of Company 3;
  • “Spider-Man™: No Way Home” was graded by Jill Bogdanowicz of Company 3, with DaVinci Resolve Studio also being used in the VFX pipeline by the team at MR. X (which has since merged with the MPC brand) and by VFX Supervisor Ed Bruce's team in SSVFX who used it for VFX editorial, dailies and reviews, and live color sessions;
  • “Summer of Soul (...Or, When the Revolution Could Not Be Televised)” was graded by Yohance Brown;
  • “Three Songs for Benazir” was graded by Brian Hutchings, with IMF delivery completed by Joe Bogdanovic at Different By Design;
  • “tick, tick…BOOM!” was graded by Stephen Nakamura of Company 3;
  • “West Side Story” VFX Supervisor Aaron Weintraub of MR. X (which has since merged with the MPC brand) used DaVinci Resolve Studio in the VFX pipeline; and
  • “When We Were Bullies” was graded by Robert Arnold of Lateral Films using DaVinci Resolve Mini Panel, DeckLink 4K Extreme 12G capture and playback card, DeckLink Mini Recorders and Mini Converters SDI to Audio.
CATEGORIES
George Winslow
George Winslow

George Winslow is the senior content producer for TV Tech. He has written about the television, media and technology industries for nearly 30 years for such publications as Broadcasting & Cable, Multichannel News and TV Tech. Over the years, he has edited a number of magazines, including Multichannel News International and World Screen, and moderated panels at such major industry events as NAB and MIP TV. He has published two books and dozens of encyclopedia articles on such subjects as the media, New York City history and economics.