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    Blackmagic Design technologies deployed in Oscar-nominated films

    By SHOOTUpdated:No Comments1451 Views
    FREMONT, Calif. --

    Blackmagic Design’s Pocket Cinema Camera digital film camera, as well as its DaVinci Resolve Studio editing, grading and finishing solution, were used on some of this year’s Oscar nominated films, including “Hacksaw Ridge,” “Arrival” and “Moonlight.”
     
    Some of the 2017 Oscar nominated films that used Blackmagic Design products include:

    • “4.1 Miles” graded with DaVinci Resolve by colorist Chris O’Dea;
    • “13 Hours: The Secret Soldiers of Benghazi” graded with DaVinci Resolve Studio by colorist Stefan Sonnenfeld of Deluxe’s Company 3;
    • “Arrival” graded with DaVinci Resolve Studio by colorist Joe Gawler of Harbor Picture Company;
    • “Fire at Sea” graded with DaVinci Resolve Studio by colorist Andrea Orsini of Grande Mela Film;
    • “Hacksaw Ridge” featured several action scenes shot on Pocket Cinema Cameras by DP Simon Duggan;
    • “Joe’s Violin” graded with DaVinci Resolve Studio by colorist Erik Choquette of Outpost Digital, the post facility for RadicalMedia;
    • “Moonlight” graded with DaVinci Resolve Studio by colorist Alex Bickel of Color Collective;
    • “Nocturnal Animals” graded with DaVinci Resolve Studio by colorist Siggy Ferstl of Deluxe’s Company 3;
    • “Silence” graded with DaVinci Resolve Studio by colorist Tim Stipan of Deluxe’s Company 3; and
    • “Tanna” graded with DaVinci Resolve Studio by colorist CJ Dobson.
    Tags:Blackmagic DesignDaVinci Resolve StudioPocket Cinema Cameras



    Raoul Peck Resurrects A Once-Forgotten Anti-Apartheid Photographer In “Ernest Cole: Lost and Found”

    Friday, November 22, 2024

    When the photographer Ernest Cole died in 1990 at the age of 49 from pancreatic cancer at a Manhattan hospital, his death was little noted.

    Cole, one of the most important chroniclers of apartheid-era South Africa, was by then mostly forgotten and penniless. Banned by his native country after the publication of his pioneering photography book "House of Bondage," Cole had emigrated in 1966 to the United States. But his life in exile gradually disintegrated into intermittent homelessness. A six-paragraph obituary in The New York Times ran alongside a list of death notices.

    But Cole receives a vibrant and stirring resurrection in Raoul Peck's new film "Ernest Cole: Lost and Found," narrated in Cole's own words and voiced by LaKeith Stanfield. The film, which opens in theaters Friday, is laced throughout with Cole's photographs, many of them not before seen publicly.

    As he did in his Oscar-nominated James Baldwin documentary "I Am Not Your Negro," the Haitian-born Peck shares screenwriting credit with his subject. "Ernest Cole: Lost and Found" is drawn from Cole's own writings. In words and images, Peck brings the tragic story of Cole to vivid life, reopening the lens through which Cole so perceptively saw injustice and humanity.

    "Film is a political tool for me," Peck said in a recent interview over lunch in Manhattan. "My job is to go to the widest audience possible and try to give them something to help them understand where they are, what they are doing, what role they are playing. It's about my fight today. I don't care about the past."

    "Ernest Cole: Lost and Found" is a movie layered with meaning that goes beyond Cole's work. It asks questions not just about the societies Cole documented but of how he was treated as an artist,... Read More

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