Blackmagic Design products used on this year’s blockbusters. Here’s a list …

Not too shabby for an Aussie home grown company made good eh? (You can read an interview with BMD’s Grant Petty here.)

Blackmagic Design announced today that a number of the 2019 (USA) summer season’s worldwide film releases used numerous Blackmagic Design products during production and post, including its digital film cameras, DaVinci Resolve Studio editing, color correction, visual effects (VFX) and audio post production application, and more. This included some of the biggest blockbusters and expected blockbusters of the summer, such as “John Wick: Chapter 3 – Parabellum,” “Men In Black: International” and “Rocketman.”

Blackmagic Design products were used at nearly every stage of production and post production on various summer films created around the world. DaVinci Resolve Studio continues to be the go to application for many of the world’s leading editors, colorists and post production facilities, such as Company 3’s Stefan Sonnenfeld on “Dora and the Lost City of Gold,” Local Hero Posts’s Toby Martisius on “Brian Banks” and Goldcrest’s Adam Glasman on “Tolkien.”

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 on set production, from quirky comedies, such as “The Art of Self Defense,” to blockbuster action movies, such as “Dark Phoenix.”

For Post Production using DaVinci Resolve Studio or Fusion Studio:

“21 Bridges” colored by Tom Poole of Company 3;
“Ad Astra” colored by Greg Fisher of Company 3;
“Booksmart” colored by Alex Bickel of Color Collective at Technicolor;
“Boss Level” VFX Supervisor George Loucas of Baked Studios used DaVinci Resolve Studio for select post work as part of the VFX workflow;
“Brian Banks” colored by Toby Martisius for Local Hero Post;
“Dora and the Lost City of Gold” colored by Stefan Sonnenfeld of Company 3;
“Hallowed Ground” colored by Bradley Greer of Kyotocolor;
“The Hunt” colored at Technicolor;
“John Wick: Chapter 3 – Parabellum” colored by Jill Bogdanowicz of Company 3;
“Luce” colored by Alex Bickel of Color Collective, and VFX Supervisor Lucien Harriot of Mechanism Digital used Fusion Studio for visual effects;
“Men In Black: International” colored by Stephen Nakamura of Company 3;
“Rocketman” colored by Rob Pizzey of Goldcrest;
“The Secret Life of Pets 2” colored by Jason Hanel of EFILM;
“Tolkien” colored by Adam Glasman of Goldcrest.

The summer films that used Blackmagic Design products for production include:

“The Art of Self Defense” DIT Jared Jardu used a variety of Blackmagic Design routers and converters, as well as DaVinci Resolve for on set work;
“Boss Level” DIT Nina Chadha used DaVinci Resolve, DaVinci Resolve Mini Panel and Mini Converters to create daily LUTs on set;
“Dark Phoenix” DIT Julie Garceau used DaVinci Resolve, SmartScope Duo monitor, Smart Videohub 12×12 router, DeckLink Mini Recorder capture and playback card and various UltraStudio capture and playback devices, as well as various routers and converters on set;
“Fast and Furious Presents: Hobbs and Shaw” 2nd set DIT Simon Jori used UltraStudio Mini Recorder and DaVinci Resolve for on set work;
“Hallowed Ground” DP Michael Williams used URSA Mini 4K cameras for principal photography;
“John Wick: Chapter 3 – Parabellum” DIT Patrick Cecilian used DaVinci Resolve and UltraStudio capture and playback devices for on set work;
“Late Night” DIT Michael Maiatico used DaVinci Resolve as well as various routers and converters on set;
“Long Shot” DIT Julie Garceau used DaVinci Resolve, SmartScope Duo, Smart Videohub 12×12, DeckLink Mini Recorder and various UltraStudio capture and playback devices, as well as various routers and converters on set;
“Ma” DIT Paul Rahfield used various Blackmagic Design routers, converters and DaVinci Resolve for on set work;
“Spider-Man™: Far From Home” used DeckLink capture and playback cards for real time streaming of RAW footage, DaVinci Resolve for near set grading, and Smart Videohub 20×20 and Mini Converters on set.

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