Blackmagic Design Used to Create 70+ Fall 2022 TV and Streaming Series

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Shows using Blackmagic Design technologies included “The Lord of the Rings: The Rings of Power”

The Walking Dead
The Walking Dead (Image credit: AMC)

FREMONT, Calif.—Blackmagic Design has announced that more than 70 of the fall 2022 season’s television shows and streaming series, such as “The Lord of the Rings: The Rings of Power,” were created with its Blackmagic URSA Mini Pro 12K and Blackmagic Pocket Cinema Camera digital film cameras, DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio post production software as well as other technologies from the company. 

“On ‘Rings of Power,’ we used Blackmagic Design products throughout our whole cloud based pipeline,” Ron Ames, producer, “The Lord of the Rings: The Rings of Power” said. “From camera capture to exhibition, Blackmagic Design hardware and software played an integral role in streamlining the flow of image based data. We utilized the full suite of tools from image capture through editorial, VFX and final color correction.”

Some of the fall 2022 series that used Blackmagic Design cameras include:

  • “Big Sky” DP Ken Glassing used the Pocket Cinema Camera 4K for select shots;
  • “CSI: Vegas” DP Christian Sebaldt used the Pocket Cinema Camera 4K, Pocket Cinema Camera 6K, Pocket Cinema Camera 6K Pro and the URSA Mini Pro 12K for various specialty shots;
  • Cinematographer Steve Gainer shot “Life By Ella” with the URSA Mini Pro 12K;
  • “The Lord of the Rings: The Rings of Power” Producer Ron Ames used Pocket Cinema Camera 6K Pros for a variety of witness camera, VFX plate and live stream eyeline work, as well as various converters for real time color reviews;
  • “Station 19” Cinematographer Christian Sebaldt (episodes 515, 517) used the Pocket Cinema Camera 4K, Pocket Cinema Camera 6K, Pocket Cinema Camera 6K Pro and URSA Mini Pro 12K for various specialty shots;
  • “The Game” DP Darren Genet, ASC, used Pocket Cinema Camera 6K Pros for select shots;
  • Crafty Apes On Set Supervisor Josh Stevens used Pocket Cinema Camera 4K to capture background actor elements for “Heels;” and
  • “Young Rock” DP Judd Overton used URSA Mini Pro 12K and Pocket Cinema Camera 6K Pro for a variety of shots.

Some of the fall 2022 series that used Blackmagic Design for VFX include:

  • VFX Supervisors John Gross and Fred Pienkos of Muse VFX chose Fusion Studio for compositing “NCIS Season 20,” “The Neighborhood,” “What We Do in the Shadows” and “Wolf Pack;”
  • "Blue Bloods” VFX Supervisor Mike Warren of Filmworks/FX NY used Blackmagic Production Camera 4Ks for VFX shots, as well as DaVinci Resolve Studio within the VFX pipeline and Intensity Shuttle for playback;
  • Shaley Brooks of Iris Digital Post used Fusion Studio for light VFX work with “Home Economics;”
  • "The End Is Nye" in house VFX Supervisor Arthur Mesa and Jeremy Nelson used Fusion Studio for pre and post vis, as well as finalizing the show; and
  • Crafty Apes’ Editorial team used DaVinci Resolve Studio as part of their VFX editorial work on “The Peripheral.”
  • "The Pocket Cinema Camera 4K and its high powered and nimble package has allowed us to efficiently shoot high quality images that we’ve used in countless feature and episodic projects,” said On Set Supervisor Josh Stevens of Crafty Apes. “Everything from plates for concept mockups, VFX elements, green screen background plates, and more. Its micro 4/3 lens mount allows us to work with virtually any lens out there along with speed boosters that open up a whole new level of low light capability. It’s a workhorse in a pony’s body."

Some of the fall 2022 series that used DaVinci Resolve Studio for post production include:

  • “A Million Little Things,” “Young Rock” and “Reboot” graded by Russell Lynch of Colortime;
  • “Abbott Elementary,” “Anne Rice’s Interview With the Vampire,” “Kung Fu” and “The Walking Dead S11: The Finale Episodes” graded by Chris Boyer of Picture Shop;
  • “American Gigolo” graded by Shane Harris of Picture Shop;
  • “Baking It” and “Wipeout” graded by Yoram Tal C.S.I.;
  • “Big Sky,” “DC’s Stargirl” and “The Cleaning Lady” graded by Paul Allia of Picture Shop;
  • “Blue Bloods” graded by Andrew Geary of Company 3;
  • “Bob Hearts Abishola” graded by Sparkle of Picture Shop;
  • “Chef vs. Wild” and “Rat in the Kitchen” graded by Ricardo Martinez;
  • “Chesapeake Shores” graded by Achim Kapitza of 24 Frames;
  • “Yellowjackets” graded by Patrick Woodard of Point.360;
  • “Grey’s Anatomy” and “How We Roll” graded by Randy Starnes and Andrew Starnes of Arsenal FX Color;
  • “Growing Up” graded by Sal Malfitano of Nice Shoes;
  • “Legacies,” “Vampire Academy” and “Roswell, New Mexico” graded by Charlie Tucker of Point.360;
  • “Home Economics” graded by Shaley Brooks of Iris Digital Post;
  • “Joe Pickett,” “New Amsterdam” and “The Good Doctor” graded by Larry Field of Arsenal FX Color;
  • “Law and Order,” “Law and Order: Organized Crime” and “The Lord of the Rings: The Rings of Power” graded by Skip Kimball of Company 3;
  • “Murdoch Mysteries” graded by Michael Dobroski of Picture Shop;
  • “Ms. Marvel” graded by Matt Watson of Marvel Studios Finishing;
  • “NCIS Season 20” and “NCIS Hawaii” graded by George Delaney of Picture Shop;
  • “NCIS LA” graded by Thomas Galyon of DigitalFilm Tree;
  • “Our Kind of People,” “Rapsh!t” and “With Love” graded by Rory Gordon of Arsenal FX Color;
  • “Reginald The Vampire” Editor Lisa Binkley used Blackmagic eGPU for remote post work;
  • “Saturday Night Live” filmed pieces graded by Elias Nousiopoulos;
  • “Station 19” graded by Roy Vasich of Picture Shop;
  • “SWAT” graded by Siggy Ferstl of Company 3;
  • “Tell Me Lies” graded by Mark Kueper of Picture Shop;
  • “The Endgame” graded by Aidan Stanford of Arsenal FX Color;
  • “The Good Fight” graded by Steven Bodner of Picture Shop;
  • “The Next Thing You Eat” graded by Scott Klein of Light Iron;
  • “The Rookie” graded by Dave Hussey of Company 3;
  • “The Simpsons” graded by Jason Fabbro of Picture Shop;
  • “Walker” graded by Tony D’Amore of Picture Shop;
  • “Yellowstone” graded by Bob Festa of Company 3; and
  • “Young Sheldon” graded by George Manno of Picture Shop.

Some of the fall 2022 series that used Blackmagic Design for production include:

  • “Goldbergs” DIT Kevin Mills used Smart Videohub 16x16 router, Smart Videohub CleanSwitch 12x12, SmartView Duo monitor, DaVinci Resolve, DeckLink Mini Monitor playback card, DeckLink Mini Recorder capture card, various Mini Converters and Blackmagic MultiView 4 HD;
  • “All American” DIT Urban Olsson used Smart Videohub 20x20, DeckLink Duo 2, DeckLink 4K Extreme 12G, UltraStudio HD Mini capture and playback device, UltraStudio 4K, Multiview 4, Micro Converter SDI to HDMI 12G and DaVinci Resolve Studio;
  • “Gossip Girl” DIT Chloe Walker used Smart Videohub 20x20 and UltraStudio Express;
  • “Anne Rice’s Interview With the Vampire” DIT Imanuel Smith used DaVinci Resolve Studio and UltraStudio 4K Mini;
  • “Kung Fu” DIT Jonathan Yip used Smart Videohub 20x20, Smart Videohub Master Control Panel, Videohub Smart Control Pro, MultiView 4, DeckLink 8K Pro, DeckLink Duo 2, Micro Converter BiDirectional SDI/HDMI 12G, Mini Converter SDI Distribution 4K, SmartView Duo 4K and DaVinci Resolve;
  • “La Brea” DIT Reece Flemming used Smart Videohubs, DaVinci Resolve, Video Assist 5” 12G HDR monitor and recorder and Blackmagic MultiDock;
  • “Life By Ella” DP Steve Gainer used DaVinci Resolve for on set color correction;
  • “Motherland” and “911: Lonestar” DIT Michael Sanchez used UltraStudio 4K and Smart Videohub 20x20;
  • “Reasonable Doubt” DIT Rob Rogers used various ATEM live production switchers;
  • “Station 19” DIT John Reyes used DaVinci Resolve Studio for on set color correction;
  • “Wedding Season” DIT Kerr Loy used DaVinci Resolve Studio to DeckLink Mini Monitor 4K, and;
  • “Wellington Paranormal” DIT Alex Boyd used UltraStudio Mini Monitor and Mini Converter SDI to Audio.
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.