Blackmagic Design announced that more than 25 of the 2018 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 and audio post production application and more. This included some of the biggest blockbusters and expected blockbusters of the summer, such as “Deadpool 2,” and “Jurassic World: Fallen Kingdom.”
Blackmagic Design products were used at nearly every stage of production and post production on various summer films created around the world. DaVinci Resolve continues to be the go-to application for many of the world’s leading editors, colorists and postproduction facilities, such as EFILM’s Skip Kimball on “Deadpool 2,” Harbor Picture Company’s Joe Gawler for “Solo: A Star Wars Story” and “Mile 22” by Stefan Sonnenfeld of Company 3.
The summer films that used Blackmagic Design products for production include:
- Marvel Studios’ “Avengers: Infinity War” DIT Kyle Spicer used DaVinci Resolve, UltraStudio, SmartVideohub 40×40, DeckLink Quad 2, DeckLink Mini Monitor and a variety of converters for on-set work;
- Marvel Studios’ “Ant-man and Wasp” DIT Daniele Colombera used a variety of Blackmagic Design capture and playback devices, Mini Converter, Mini Monitor, SmartScope Duo, Smart Videhub and DaVinci Resolve for on-set work;
- “The Darkest Minds” Action Unit DP Paul Hughen, ASC, and Action Unit Director Jack Gill used four Micro Studio Camera 4Ks as small and lightweight stunt cameras;
- “Deadpool 2” DIT Simon Jori used DaVinci Resolve and ATEM 1M/E for greenscreen/bluescreen and on-set work;
- “Dog Days” DIT Dane Brehm used Smart Videohub CleanSwitch 12×12, SmartScope Duo and SmartView Duo for on-set work;
- “The First Purge” DIT Lewis Rothenberg used UltraStudio 4K, HDLinks and Smart Videohub 20×20 and Smart Videohub 16×16 for on-set work;
- “Hotel Artemis” DIT Lonny Danler used DaVinci Resolve, a Micro Videohub and DeckLink Mini Monitor for on-set work;
- “Mile 22” DIT Urban Olsson used Teranex Mini SDI to HDMI, MultiView 4, Smart Videohub 20×20, DeckLink 4K Extreme 12G, Ultrastudio 4K, Ultrastudio and DaVinci Resolve for on-set work and for the creation of an on-set VR monitoring solution for the film’s director;
- “Overboard” DIT Mark Allan used DaVinci Resolve, HDLinks and UltraStudio Express for on-set work;
- “Show Dogs” DIT Thomas Patrick used DaVinci Resolve, HyperDeck Studio, SmartView monitors and Videohub monitors for on-set;
- “Siberia” DP Eric Koretz used a Micro Studio Camera 4K with a Video Assist 4K, as well as DaVinci Resolve and a DaVinci Resolve Micro Panel for testing different looks on-set;
- “Sicario: Day of the Soldado” DIT Ryan Nguyen used various routers, Mini Monitors and DeckLink cards, along with DaVinci Resolve on-set; and
- “Skyscraper” 2nd Unit DIT Mark Allan used HDLink, UltraStudio Express and DaVinci Resolve for on-set work.
For Post Production using DaVinci Resolve Studio:
- “Adrift” by Stefan Sonnenfeld of Company 3;
- “American Animals” by Rob Pizzey of Goldcrest for The Orchard;
- “Deadpool 2” by Skip Kimball of Deluxe’s EFILM;
- “Hearts Beat Loud” by Mike Howell of Color Collective;
- “Juliet, Naked” by Nat Jencks of Goldcrest;
- “Jurassic World: Fallen Kingdom” by Adam Glasman of Goldcrest;
- “A Kid Like Jake” by Nat Jencks of Goldcrest;
- “Madeline’s Madeline” by Nat Jencks of Goldcrest;
- “Mile 22” by Stefan Sonnenfeld of Company 3;
- “The Miseducation of Cameron Post” by Nat Jencks of Goldcrest;
- “On Chesil Beach” by Tom Poole of Company 3;
- “Overboard” by Trent Johnson of MTI Film;
- “RBG” by Ken Sirulnick of Glue Editing & Design, along with Fusion Studio for stabilizing work;
- “Sicario: Day of the Soldado” by Stephen Nakamura of Company 3;
- “Skyscraper” by Stefan Sonnenfeld of Company 3;
- Disney Lucasfilms’ “Solo: A Star Wars Story” by Joe Gawler of Harbor Picture Company;
- “Sorry to Bother You” by Sam Daley at Goldcrest;
- “Sorry to Bother You” for VFX by Darren Orr of Beast; and
- “SuperFly” by David Hussey of Company 3.
Rom-Com Mainstay Hugh Grant Shifts To The Dark Side and He’s Never Been Happier
After some difficulties connecting to a Zoom, Hugh Grant eventually opts to just phone instead.
"Sorry about that," he apologizes. "Tech hell." Grant is no lover of technology. Smart phones, for example, he calls the "devil's tinderbox."
"I think they're killing us. I hate them," he says. "I go on long holidays from them, three or four days at at time. Marvelous."
Hell, and our proximity to it, is a not unrelated topic to Grant's new film, "Heretic." In it, two young Mormon missionaries (Chloe East, Sophie Thatcher) come knocking on a door they'll soon regret visiting. They're welcomed in by Mr. Reed (Grant), an initially charming man who tests their faith in theological debate, and then, in much worse things.
After decades in romantic comedies, Grant has spent the last few years playing narcissists, weirdos and murders, often to the greatest acclaim of his career. But in "Heretic," a horror thriller from A24, Grant's turn to the dark side reaches a new extreme. The actor who once charmingly stammered in "Four Weddings and a Funeral" and who danced to the Pointer Sisters in "Love Actually" is now doing heinous things to young people in a basement.
"It was a challenge," Grant says. "I think human beings need challenges. It makes your beer taste better in the evening if you've climbed a mountain. He was just so wonderfully (expletive)-up."
"Heretic," which opens in theaters Friday, is directed by Scott Beck and Bryan Woods, co-writers of "A Quiet Place." In Grant's hands, Mr. Reed is a divinely good baddie — a scholarly creep whose wry monologues pull from a wide range of references, including, fittingly, Radiohead's "Creep."
In an interview, Grant spoke about these and other facets of his character, his journey... Read More