FREMONT, Calif.—Blackmagic Design has announced that many of the 2021 summer season’s worldwide film releases used Blackmagic Design products during production and post, with creatives involved in those films deploying its digital film cameras and its DaVinci Resolve Studio software for editing, color correction, visual effects production and more.
The list of films using the products included some of the biggest blockbusters and expected blockbusters of the summer, such as “The Green Knight,” “Jungle Cruise,” “Spiral” and “Cruella.”
For the summer films, DaVinci Resolve was used many of the world’s leading editors, colorists and post production facilities, including Company 3’s Jaimie O’Bradovich on “Werewolves Within”, Wild Union Post’s Alex Noble on “Holler” and HARBOR’s Joe Gawler on “After Yang.”
“‘After Yang’ benefited greatly from the flexibility of DaVinci Resolve Studio’s node structure,” said Gawler. “Using nodes downstream of our main balancing work, the filmmakers and I were able to quickly experiment with a variety of more stylized palates, while simultaneously tightening the continuity within each scene.”
During production, Blackmagic Design cameras were used on a variety of films and scenes, while the company’s various routers, capture and playback devices, monitors, DaVinci Resolve and Mini Converters were used on DIT carts to help manage onset production, from suspense thrillers such as “Old” to horror movies like “Candyman”, Blackmagic Design reported.
The summer films that used Blackmagic Design products for production included:
“Candyman” DIT James Notari used UltraStudio 4K recorders, Smart VideoHub 12x12 and SmartView Duo for his onset work;
“CODA” DIT Leonard A. Mazzone used Smart Videohub 16x16 and UltraStudio 4K for his onset work;
“Down with the King” DP Daniel Vecchione and director Diego Ongaro used two Pocket Cinema Camera 6Ks and two Video Assist 12G HDRs for principal photography;
“Don’t Breathe 2” cinematographer Pedro Luque used Pocket Cinema Camera for unique angles during production, and DIT Veljko Vukasovic used DaVinci Resolve Studio, UltraStudio 4K Extreme, Mini Monitor and Mini Recorder for his onset work;
“Free Guy” DIT Daniel A Hernandez used DaVinci Resolve Studio and UltraStudio capture and playback devices for onset work;
“False Positive” visual effects supervisor John Bair of Phosphene used Pocket Cinema Camera 6K and DaVinci Resolve Studio to capture VFX elements and plates, and VFX supervisor Alex Noble of Wild Union Post used DaVinci Resolve Studio as part of his VFX workflow;
“F9” DIT Joe Steel used UltraStudio Mini capture and playback devices, Smart Videohub and DaVinci Resolve Studio for onset work.
“Jungle Cruise” DIT Jason Bauer used Smart Videohub 20x20, Decklink Duo, various Micro Converters and DaVinci Resolve Studio on set;
“Old” editor Brett M. Reed used UltraStudio 4K Mini;
“Stillwater” DIT Daniel A Hernandez used DaVinci Resolve Studio and UltraStudio for onset work;
“The Killing of Two Lovers” cinematographer Oscar Ignacio Jimenez used DaVinci Resolve Studio for onset dailies review;
“The Water Man” DIT Sean Rawls used Smart Videohub 20x20, Multiview 4 HD, Decklink 4K Pro, Decklink HD Extreme 3D, Blackmagic Video Assist 7" 3G, UltraStudio HD Mini, UltraStudio Recorder 3G and DaVinci Resolve Studio onset;
“Werewolves Within” DIT Brandon Kelley used DaVinci Resolve Studio, UltaStudio Mini Monitor, UltraStudio Mini Recorder and Teranex;
“Wrath of Man” DIT Daniele Colombera used a variety of Blackmagic Design capture and playback devices, Mini Converter, Mini Monitor, SmartScope Duo, Smart Videohub and DaVinci Resolve for on set work.
Films that used DaVinci Resolve Studio for grading and editorial included:
“All the Streets Are Silent” graded by Samuel Gursky of Irving Harvey;
“After Yang” graded by Joe Gawler at HARBOR;
“Black Widow” graded by Jill Bogdanowicz at Company 3;
“Cruella” graded by Tom Poole at Company 3;
“Down with the King” graded by Alex Berman at Goldcrest Post;
“Dream Horse” graded by Rob Pizzey at Goldcrest Post Production;
“The Green Knight” graded by Alastor Arnold at FotoKem;
“In the Earth” graded by Rob Pizzey at Goldcrest Post Production;
“Spiral” graded by Joanne Rourke at Company 3,
“Stillwater” graded by Tom Poole at Company 3;
“The Killing of Two Lovers” was graded by Drew Tekulve, and the film was edited with DaVinci Resolve Studio by Robert Machoian at 433 Pictures;
“The Protégé” graded by Vanessa Taylor at Nu Boyana Studios, London;
“The Hitman’s Wife’s Bodyguard” graded by Vanessa Taylor at Nu Boyana Studios, London;
“Werewolves Within” graded by Jamie OBradovich at Company 3.
Films using DaVinci Resolve Studio or Fusion Studio for visual effects work included:
“Catch the Fair One” visual effects supervisor Lucien Harriot of Mechanism Digital used Fusion Studio for VFX work;
“Holler” visual effects supervisor Alex Noble of Wild Union Post used DaVinci Resolve Studio as part of his VFX workflow;
“Joe Bell” visual effects supervisor George Loucas of Baked Studios used DaVinci Resolve Studio as part of his VFX workflow;
“The Loneliest Whale: The Search for 52” visual effects supervisor Alex Noble of Wild Union Post used DaVinci Resolve as part of his VFX workflow;
“Spiral” executive producer Martín López Funes of Malditomaus used DaVinci Resolve Studio and Fusion Studio for the film’s visual effects under the leadership of VFX supervisor Jon Campfens of Switch VFX;
“Werewolves Within” visual effects supervisor Lucien Harriot of Mechanism Digital used Fusion Studio for VFX work;
“Zola” visual effects supervisor Alex Noble of Wild Union Post used DaVinci Resolve Studio as part of his VFX workflow.
