Do you know what I love? I love being able to use the same cameras or software as a big Hollywood Summer Blockbuster. I know what we see on screen has more to do with the talent behind the camera or edit, but it sure does help my self-esteem to have some of the same equipment. I mean Hi8 is going to look like Hi8. Of this year’s summer worldwide film releases 25 of them used Blackmagic Design products in some way. It could be a URSA Mini, Resolve, or a Pocket Cinema Camera which make great crash cameras. Either way, these films listed below found a use for Blackmagic Design’s products in some way.

For example, DP Jas Shelton used the Pocket Cinema Camera’s small size for shots on the film “The House,” while Editor Alan Edward Bell used Fusion Studio to create VFX while editing “The Dark Tower.” DaVinci Resolve Studio as a robust color corrector is being used by colorists and post-production facilities like Deluxe’s Company 3 with “Alien: Covenant” and “Wonder Woman” and Goldcrest Post with “My Cousin Rachel,” among others.

Blackmagic Design Cameras Used

• “Blood Feast” DP Roland Freitag used a Production Camera 4K to shoot the film;
• “A Ghost Story” post team used a Pocket Cinema Camera for several VFX shots;
• “The House” DP Jas Shelton used a Pocket Cinema Camera to shoot select scenes;
• “Spider-Man: Homecoming” used Pocket Cinema Cameras for certain action shots;
• “Un, Deux, Trois” DP Mathieu Gari used a Pocket Cinema Camera to shoot the film; and
• “Unlocked” DP George Richmond used Pocket Cinema Cameras to shoot select scenes.

DIT Work

• “Beatriz at Dinner” DP Wyatt Garfield used a workflow supported by an UltraStudio for playback, HDLinks for monitoring and a Smart Videohub for routing;
• “The Mummy” DIT Francesco Sauta used DaVinci Resolve Studio, DaVinci Resolve and Smart Videohub 12×12 for on-set grading and film camera matching;
• “Spider-Man: Homecoming” DIT Francesco Sauta used DaVinci Resolve Studio, DaVinci Resolve and Smart Videohub 12×12 for on-set grading and DIT work;
• “Transformers: The Last Knight” DITs Steve Freebairn and Zach Hilton of Freehill Productions used Universal Videohub 72×72 and Smart Videohub 12×12, a SmartScope Duo monitor, DaVinci Resolve Studio, various DeckLink PCIe cards and Mini Converters for engineering, data management and 3D signaling;
• “Unlocked” DIT Joshua Callis-Smith used DaVinci Resolve Studio for on-set grading; and
• “War for the Planet of the Apes” 2nd Unit DIT Mark Allan used an UltraStudio Express capture and playback device, HDLinks and DaVinci Resolve Studio for on-set grading and DIT work.

For Color Grading using DaVinci Resolve Studio:

• “Alien: Covenant” by Colorist Stephen Nakamura of Deluxe’s Company 3;
• “Bad Buzz” by Colorist Guillaume Lips;
• “Beach Rats” by Colorist Nat Jencks;
• “The Big Sick” by Colorist Alex Bickel of Color Collective at Technicolor PostWorks;
• “Blood Feast” by Colorist Mathias Geck;
• “The Book of Henry” by Colorist Stefan Sonnenfeld of Deluxe’s Company 3;
• “Djam” by Colorist Olivier Dassonville for Lumières Numériques;
• “A Ghost Story” by Colorist Joe Malina;
• “Girls Trip” by Colorist Andrew Francis of Sixteen19;
• “The Hero” by Colorist Mike Howell of Color Collective;
• “An Inconvenient Sequel: Truth to Power” by Colorist Leo Hallal;
• “Landline” by Colorist Joe Gawler of Harbor Picture Company;
• “Mil Coses Que Faria Per Tu” by Colorist Toni Anglada of DELA, which also used DaVinci Resolve Studio for conforming and online editing;
• “The Mummy” by Colorist Stefan Sonnenfeld of Deluxe’s Company 3;
• “My Cousin Rachel” by Colorist Adam Glasman of Goldcrest Post, which also used DaVinci Resolve Studio for conforming and online editing;
• “Nur ein Tag” by Colorist Felix Hüsken of Farbkult;
• “Tigermilch” by Colorist Claudia Gittel;
• “Un, Deux, Trois” by Colorist Alexandra Pocquet;
• “Wallay” by Colorist Gadiel Bendelac for Lumières Numériques; and
• “Wonder Woman” by Colorist Stefan Sonnenfeld of Deluxe’s Company 3.