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Press Release

Blackmagic Design announced that more than 45 films and series at the 2017 Sundance Film Festival used its digital film cameras, DaVinci Resolve Studio grading, editing and finishing solution, Fusion Studio visual effects (VFX) and motion graphics software, Video Assist monitor and recorder, and other products throughout production and post production.

Some of the festival’s most anticipated films and series were shot and completed using Blackmagic Design products, including “Carpinteros (Woodpeckers)” which was shot with an URSA Mini 4.6K, “Colossal” that used Fusion Studio for its VFX, and many films such as “A Ghost Story,” “The Big Sick,” “The Discovery,” ”The Hero” and “Rebel in the Rye” that were graded using DaVinci Resolve Studio.


Gente-fied a MACRO Digital series by Marvin Lemus

Some of the Sundance Films That Used Blackmagic Design Cameras and Gear:
“Beatriz at Dinner” shot by DP Wyatt Garfield with a workflow supported by an UltraStudio for playback, HDLinks for monitoring, and a Smart VideoHub for routing, and with selective use of DaVinci Resolve Studio by VFX Supervisor George Loucas of BakedFX;
“Brigsby Bear” shot by DP Christian Sprenger using a Video Assist and Mini Converters Analog to SDI;
“Carpinteros (Woodpeckers)” shot by DP Hernán Herrera with an URSA Mini 4.6K digital film camera;
“Casting JonBenet” shot by DP Michael Latham with a Blackmagic Production Camera 4K, using an UltraStudio Mini Monitor for display output;
“Colossal” VFX done with Fusion Studio by Compositing Supervisor Eric Doiron of Intelligent Creatures;
“A Ghost Story” post team used a Pocket Cinema Camera for several VFX shots;
“The Little Hours” Editor Ryan Brown used an UltraStudio Mini Monitor for Thunderbolt-based playback; and
“Oklahoma City” Director Barak Goodman and team used a post production workflow supported by UltraStudio 4K, UltraStudio Mini Monitor, Teranex 2D Processor and Blackmagic UltraScope PCIe card.

Some of the Sundance Films and Series That Used DaVinci Resolve and DaVinci Resolve Studio:
“500 Years” by Colorist Ken Sirulnick of Glue Editing & Design;
“Beach Rats” by Colorist Nat Jencks;
“Before I Fall” by Colorist Alex Bickel of Color Collective at Technicolor PostWorks;
“The Big Sick” by Colorist Alex Bickel of Color Collective at Technicolor PostWorks;
“Carpinteros (Woodpeckers)” by Colorist Hernán Herrera;
“Dayveon” by Colorist Mike Howell of Color Collective;
“The Discovery” by Colorist Alex Bickel of Color Collective at Technicolor PostWorks;
“Family Life” by Colorist Daniel Dávila of Kine Imágenes;
“Free and Easy” by Colorist Wentao Li of Homeboy Digital Film Laboratory;
“Gente-fied” by Colorist Gonzalo Digenio;
“A Ghost Story” by Colorist Joe Malina;
“Golden Exits” by Colorist Jason Crump of Metropolis Post;
“The Hero” by Colorist Mike Howell of Color Collective;
“I Don’t Feel At Home In This World Anymore” by Colorist Andrew Francis of Sixteen19;
“ICARUS” by Colorist Luke Cahill of Different by Design;
“The Incredible Jessica James” by Colorist Mike Howell of Color Collective;
“Joshua: Teenager vs. Superpower” by Colorist Luke Cahill of Different by Design;
“Killing Ground” by Colorist Billy Wychgel;
“L.A. Times” by Colorist Aaron Peak of Wildfire Finishing, with online editing in DaVinci Resolve Studio done by Wildfire Finishing and by Editor John-Michael Powell, who also used an Intensity Extreme used for offline playback;
“Landline” by Colorist Joe Gawler of Harbor Picture Company;
“Legion of Brothers” by Colorist Brian Hutchings of Different by Design;
“Look and See: A Portrait of Wendall Barry” by Colorist Daniel Stuyck;
“Manifesto” by Colorist and Post Production Supervisor Jan Schöningh;
“The Mars Generation,” by Colorist Robert Crosby at Neptune Post, and Director Michael Barnett also used DaVinci Resolve Studio and numerous Teranex processors to transcode and convert more than 600 archival clips from more than 70 archival sources from around the globe;
“Motherland” by Colorist Daniel Stuyck;
“Mudbound” by Colorist Joe Gawler of Harbor Picture Company;
“My Happy Family” by Colorist Philip Whitfield of WeFadeToGrey;
“The New Radical” by Colorist Nat Jencks;
“NOBODY SPEAK: Hulk Hogan, Gawker and the Trials of a Free Press” by Luke Cahill of Different by Design;
“Novitiate” by Colorist Andrew Francis of Sixteen19;
“Oklahoma City” by Colorist Chris Connolly;
“Pineapple” by Colorist Robert Louis Garza;
“Rebel in the Rye” by Colorist Steven Bodner of Light Iron;
“RED DOG: True Blue” by Colorist Dee McClelland at Soundfirm;
“Rise” by Colorist Ryan Ruskay of VICE Canada;
“RUMBLE: The Indians Who Rocked the World” by Colorist Francis Hanneman of Studio Hanneman, and Colorist Tony Manolikakis of Rev13 Films;
“Shit Kids” by Colorist Brennan Barsell of Cinelicious, and Editor Salvador Pérez García for online editing;
“Sueño en otro idioma (I Dream in Another Language)” by Colorist Phaedra Robledo of Cinema Maquina;
“TAKE EVERY WAVE: The Life of Laird Hamilton” by Colorist Kevin Cannon of Different by Design;
“Tokyo Idols” by Colorist Francis Hanneman of Studio Hanneman;
“Unrest” by Colorist Andrew Balis of Different by Design;
“Where is Kyra?” by Colorist Joe Gawler of Harbor Picture Company;
“Whose Streets?” by Colorists Adam Inglis and Tif Luckenbill of Post Factory; and
“World Without End (No Reported Incidents)” by Colorist Jason Crump of Metropolis Post.

Press Photography
Product photos of all Blackmagic Design products, are available at www.blackmagicdesign.com/press/images.

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.

Boris FX is giving away 12 new presets based on Boris Continuum 10's powerful Title Studio tool – the next generation 2D/3D titling & animation plug-in. Download the package here and save time adding new fully customizable lower thirds to your library! Boris Continuum Complete 10 is the most complete plug-in collection available for Adobe Premiere Pro & After Effects; OpenFX hosts (Blackmagic DaVinci Resolve, Assimilate Scratch, Vegas Pro); Final Cut Pro X and Motion; as well as Avid Media Composer 5–8, Avid Symphony 5–6 and Avid Newscutter 9–10.

Sony has announced a new exclusive competition to bring creative documentary storytelling to the forefront of filmmaking. Celebrating the imagination and tenacity of content creators everywhere, one lucky winner will receive the new PXW-FS7M2K camera for their work.

Sony is giving documentary filmmakers the chance to win the incredible new PXW-FS7M2K. Entrants are asked to submit a brief one-minute documentary which showcases their storytelling capabilities, the content creator will be judged on the techniques used to deliver their story. All submissions should be uploaded to YouTube and entered via the Sony Professional form by the 12th March.

The top ten videos to receive the most YouTube likes from the 1st-12th March will be shortlisted and the winner and runner-up will be chosen by renowned filmmaker Philip Bloom. The winner and runner-up will both be announced during a live cinematic webinar on 22nd March, with the runner-up winning a Sony α7S II camcorder.

For more information and to take part, along with full terms and conditions, please visit this page.

Metabones unveiled 4 new products on the fifth anniversary of the original Smart Adapter. They are EF to E CINE Smart Adapter, EF to E CINE Speed Booster ULTRA, EF to E Smart Adapter V and EF to E Speed Booster ULTRA II.

The headline feature of EF to E CINE Smart Adapter and EF to E CINE Speed Booster ULTRA is a positive-lock EF lens mount carried over from the critically acclaimed Metabones EF-FZ CINE Smart Adapter, a perfect companion to the positive-lock mount of the new Sony FS7 Mark II camera. All 4 new products are equipped with a rubber gasket to protect the E-mount connection from dust and moisture. To promote ease-of-use, an LED indicates the adapter's operation mode, optical image stabilization operation and communication status. A dedicated switch controls in-body image stabilization (IBIS) on Sony cameras equipped with SteadyShot INSIDE.

EF to E CINE Speed Booster ULTRA and EF to E Speed Booster ULTRA II feature the same world-renowned Speed Booster ULTRA optics by Caldwell Photographic and WB Designs that make lenses brighter, wider and sharper.

Metabones recounts the beginnings of the world's first fully electronic EF to E mount adapter 5 years ago, with only aperture control and auto-magnify (requires lens with distance information) but no autofocus support back then. Over the years firmware work has significantly expanded its capabilities. Today, the very same original Smart Adapter, though long discontinued, can still be upgraded to leverage the latest firmware benefits such as smooth iris (lens support required), fast contrast detection autofocus on all E-mount cameras, eye-AF, direct manual focus (DMF), zoom and distance display (requires lens with distance information), assignable custom button and 5-axis image stabilization (requires camera support).

Since the advent of the original EF to E Smart Adapter 5 years ago, Metabones has assumed a pivotal role in the mirrorless revolution. Cinematographers and photographers all over the world are armed with unprecedented flexibility of lens and camera choice.

EF to E CINE Smart Adapter will be available in February 2017 for 449 USD ex. VAT, and EF to E CINE Speed Booster ULTRA will be offered at the same time for 699 USD ex. VAT. Availability and pricing of EF to E Smart Adapter V and EF to E Speed Booster ULTRA II are to be determined.



New products:

• Canon EF-E mount T CINE Speed Booster ULTRA (MB_SPEF-E-BT3)
• Canon EF-E mount T CINE Smart Adapter (MB_EF-E-BT6)
• Canon EF-E mount T Speed Booster ULTRA II (model number MB_SPEF-E-BT3)
• Canon EF-E mount T Smart Adapter (MB_EF-E-BT5)

New key features:

• CINE models feature a new positive-lock EF lens mount. (Patent pending)
• Rubber gasket protects E-mount connection from dust and moisture.
• Compatible with Sony FS7 Mark II camera
• Status notification LED light
• Dedicated switch controls in-body image stabilization (IBIS)

Electronic features:

• Fast contrast-detect AF on all E-mount cameras.
• Phase-detect autofocus support on A7RII, A7II, A6300 and A6500.
• Smooth iris support with the latest Canon (2009+), Tamron (SP series 2013+) and Sigma (2016+) lenses
• Supports 5-axis in-body image stabilization of A7II, A7RII and A7SII. (Distance information from lens required; 3-axis IBIS if lens does not transmit distance information.)
• Powered by camera body. No external power source required.
• Aperture control from camera body.
• Custom function button assignable to more than 50 functions on A7 series and A6300/A6500.
• High performance 32-bit processor and efficient switched-mode power supply.
• Supports image stabilization (IS) lenses.
• Supports electronic manual focusing (e.g. EF 85/1.2L II and discontinued EF 50/1.0L)
• EXIF support (focal length, aperture, zoom range)
• Distance and zoom display on VG and FS series camcorders, A7 series and A6300/A6500 (lens with distance information support required).
• Auto magnify (lens with distance information support required)
• Auto "APS-C Size Capture" on full-frame cameras.

Optical (Speed Booster models only) / Mechanical Features:

• Increase maximum aperture by 1 stop.
• Increase MTF.
• Makes lens 0.71x wider.
• Advanced 5-element/4-group optical design incorporating ultra-high index tantalum-based optical glass by Caldwell Photographic in the USA (patent).
• Felt material flocked inside the opening to reduce internal reflection.
• The tripod foot is detachable and compatible with Arca Swiss, Markins, and Photo Clam ball heads.