by FilmInk Staff

Blackmagic Design products used on blockbusters like “Obsession,” “Backrooms” and “Billie Eilish: Hit Me Hard.”

Blackmagic Design announced that many of the summer’s biggest theatrical releases used a variety of its hardware and software. This includes Blackmagic PYXIS 6K digital film camera and Blackmagic Micro Studio Camera 4K G2 on “Billie Eilish: Hit Me Hard” and DaVinci Resolve Studio on dozens of domestic and international theatrically released films.

Summer films that used Blackmagic Design products for production include:

  • “Billie Eilish: Hit Me Hard and Soft” used PYXIS 6K, Blackmagic URSA Broadcast G2 camera, Blackmagic Micro Studio Camera 4K G2, Blackmagic Cloud Store, HyperDeck broadcast deck, ATEM live production switchers and various Teranex converters;
  • “The Breadwinner” DIT Qais Karadsheh used DeckLink Quad 2 and DeckLink Duo 2 capture and playback cards, a variety of Blackmagic Micro Converters and DaVinci Resolve;
  • “Carolina Caroline” DP Jean-Philippe Bernier, CSC, and DIT Cody Jones used DaVinci Resolve Studio for the dailies and on set color workflow;
  • “The Deb” DIT Michael Easter used various UltraStudio and DeckLink capture and playback devices, Blackmagic Mini Converters, SmartScope Duo 4K monitor, DaVinci Resolve Studio, DaVinci Resolve Mini Panel, Blackmagic Video Assist 5” 12G HDR monitor/recorder, Blackmagic Smart Videohub 20×20 router and Blackmagic Videohub Smart Control Pro;
  • “The Devil Wears Prada 2” DIT Patrick Cecilian used UltraStudio 4K Mini capture and playback device and DaVinci Resolve on set;
  • “Disclosure Day” [pictured] DIT Douglas K. Horton used DaVinci Resolve and various Blackmagic Micro Converters;
  • “Is God Is” behind the scenes DP Travis Henry shot using Blackmagic Pocket Cinema Camera 6K Pro digital film camera;
  • “Is God Is” DIT Matthew Richards used DeckLink Quad 2 capture and playback cards;
  • “Mayday” DIT Julie Garceau used various DeckLink capture and playback cards and DaVinci Resolve;
  • “Mutiny” DP Brendan Galvin used DaVinci Resolve on set to maintain visual continuity;
  • “Obsession” DIT Andrew Nibbi used DaVinci Resolve for LUT creation and dailies processing;
  • “One Spoon of Chocolate” DIT Chad Oliver used DaVinci Resolve and a variety of Blackmagic Mini Converters, Blackmagic Videohub routers and UltraStudio capture and playback devices;
  • “Over Your Dead Body” DP Matthew Weston used DaVinci Resolve on set for LUT creation and look management;
  • “Power Ballad” DIT Barry Doyle used DeckLink capture and playback cards and DaVinci Resolve for dailies processing;
  • “Resident Evil” DIT Ryan Nguyen used Blackmagic Videohub 20×20 12G, DaVinci Resolve and a variety of Blackmagic Mini Converters;
  • “Saccharine” Editor Sean Lahiff used UltraStudio 4K Mini for capture and playback;
  • “The Sheep Detectives” DIT Tom Gough used UltraStudio capture and playback devices;
  • “Spa Weekend” DIT Michael Easter used various UltraStudio and DeckLink capture and playback devices, Blackmagic Mini Converters, SmartScope Duo 4K, DaVinci Resolve Studio, DaVinci Resolve Mini Panel, Blackmagic Video Assist 5” 12G HDR, Blackmagic Smart Videohub 20×20 and Blackmagic Videohub Smart Control Pro;
  • “Stop!That!Train!” DP Luka Bazeli used DaVinci Resolve for on set LUT creation and dailies transcoding;
  • “Thrash” DP Matthew Weston used DaVinci Resolve on set for LUT creation and look management; and
  • “Zombucha!” DIT Jackson McGahey used DaVinci Resolve, a variety of DeckLink capture and playback cards and Blackmagic Video Assist monitor/recorders.
  • Summer films that used DaVinci Resolve Studio for post production include:
  • “Backrooms” graded by Joseph Bicknell of Company 3;
  • “Balls Up” online editing and finishing completed by Future Associate;
  • “Corporate Retreat” Editor Alex Oppenheimer used it to create MXFs of reference QuickTimes received from VFX vendors;
  • “The Death of Robin Hood” graded by Tom Poole of Company 3;
  • “The Deb” graded by Jamie Hediger;
  • “Deep Water” graded by Senior Colorist Quique Cañadas of Cube Post;
  • “The Dink” graded by Tony Dustin of Company 3;
  • “Dirty Hands” graded by Ryan Croft of Periscope Post and Audio;
  • “Evil Dead Burn” graded by Fabien Pascal of Lux;
  • “Gail Daughtry and the Celebrity Sex Pass” graded by Charlie Tucker of Point 360;
  • “Girls Like Girls” graded by Ryan Croft and Michael Nehs of Periscope;
  • “The Highest Stakes” graded by Jivko Chakarov of Nu Boyana;
  • “Hokum” graded by Gary Curran of Outer Limits Post;
  • “In the Grey” graded by Finlay Reid of Goldcrest Post, with online editorial by Georgina Cranmer and Guilhem Coulibaly;
  • “Insidious: Out of the Further” graded by Mitch Paulson of Picture Shop;
  • “Is God Is” graded by Tim Masick of Company 3;
  • “jackass: best and last” graded by Alastor Arnold of FotoKem;
  • “Magic Hour” online edited by Kyle Boston;
  • “Masters of the Universe” graded by Stephen Nakamura of Company 3;
  • “Michael” graded by Stefan Sonnenfeld, with additional color correction provided by Adam Nazarenko of Company 3;
  • “Minions and Monsters” graded by Jason Hanel of Company 3;
  • “Mother Mary” graded by Alex Bickel of Color Collective;
  • “Normal” conformed and online edited by Philip Stilman of Post Soup;
  • “Normal” graded by Senior Colorist Rob Pizzey of Goldcrest Post;
  • “Obsession” graded by Jake White of Company 3;
  • “The Odyssey” digital color graded by Senior Digital Colorist Kostas Theodosiou of FotoKem;
  • “Outcome” graded by Siggy Ferstl of Company 3;
  • “Over Your Dead Body” graded by Bill Ferwerda of Company 3;
  • “Passenger” graded by Walter Volpatto of Picture Shop;
  • “Pizza Movie” graded by Tony D’Amore of Picture Shop;
  • “Power Ballad” graded by Donal O’Kane of Screen Scene;
  • “Project Hail Mary” graded by David Cole of FotoKem;
  • “Resident Evil” graded by Stephen Nakamura of Company 3;
  • “Saccharine” graded by CJ Dobson of Moodlab at The Post Lounge;
  • “Scary Movie” graded by Stefan Sonnenfeld, with additional color by Yoomin Lee of Company 3;
  • “The Sheep Detectives” graded by Supervising Colorist Greg Fisher of Company 3, with additional color by Gareth Thomas;
  • “Spider-Man: Brand New Day” graded by Tom Poole of Company 3;
  • “Star Wars: The Mandalorian and Grogu” graded by Mike Sowa of FotoKem;
  • “Stop!That!Train!” graded by Siggy Ferstl of Company 3;
  • “The Stranger” graded by Richard Deusy at M141;
  • “Teenage Sex and Death at Camp Miasma” graded by Mikey Rossiter of Rare Medium;
  • “Thrash” graded by Dave Hussey of Company 3;
  • “Tom Clancy’s Jack Ryan: Ghost War” graded by Supervising Colorist Stefan Sonnenfeld, with additional color by Yoomin Lee of Company 3;
  • “The Weight” graded by Nazzareno Neri of WePost; and
  • “Young Washington” graded by Thor Roos of Company 3.

About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com/au.

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