Blackmagic, instrumental in many of the films nominated for the Oscars 2022

Once again, many of the films nominated for the Oscars have been shot or graded using Blackmagic Design solutions.

Both the Blackmagic Pocket Cinema Camera line of digital cameras and DaVinci Resolve Studio editing, colour grading, visual effects and audio post-production software were used on numerous films that were nominated for the 94th Academy Awards.

In total, four films benefited from Blackmagic Design products on set. On Attica, cinematographer Kevin J. Burroughs used an ATEM Mini live production mixer to show camera angles during interviews in the documentaries, which were conducted remotely; on CODA, digital imaging technician Leonard A. Mazzone used Smart Videohub 16×16 matrix and an UltraStudio 4K device to capture and play back footage on set; on Free Guy, digital imager Daniel A. Hernandez used DaVinci Resolve Studio and UltraStudio devices on set; and on Spider-Man: No Way Home, special effects supervisor Kelly Port used five Pocket Cinema Camera 4K units as control cameras during the visual effects scenes.

DaVinci Resolve takes centre stage

Meanwhile, DaVinci Resolve Studio software once again featured prominently on the Oscar roster, reaffirming its position as the leading colour grading and finishing software in the film industry. This is the list of all the films in which the Blackmagic Design system has been used:

• Ascension: graded by Cédric von Niederhäusern using a DaVinci Resolve Micro Panel.
• Belfast: graded by Rob Pizzey and edited online and finalised by Russell White (Goldcrest Post).
• Don’t look up: graded by Matt Wallach (Company 3).
• Drive my car: graded by Yumeto Kitayama (Imagica Entertainment Media Services, Inc.).
• Free guy: colour-coded by Skip Kimball (Company 3).
• The hand of God: graded, conformed and finished by Grande Mela Digital Film Srl, also in charge of the colour correction of the dailies;
• Lead Me Home: graded by Leo Hallal and line-edited and finalised by Ashley Pagán (ZAP Zoetrope Aubry Productions).
• The Mitchells vs. the Machines: colour edited by Natasha Leonnet (Company 3).
• Nightmare Alley: graded with DaVinci Resolve Studio by Stefan Sonnenfeld (Company 3). The team of MR. X team (now part of the MPC brand) also used the program for visual effects generation.
• No time to die: colour grading with DaVinci Resolve Studio by Matt Wallach (Company 3). Visual effects supervisor Matt Tinsley (TPO VFX) also used the software for visual effects.
• On my mind: edited, composited, graded and finished by Thomas Engell (Sound Sunrise).
• The Power of the Dog: Graded by Trish Cahill (Soundfirm).
• Shang-Chi and the Legend of the Ten Rings: graded by Jill Bogdanowicz with colour grading specialists Jared Pecht and Charles Bunnag, all of Company 3.
• Spider-Man: No Way Home: colour corrected by Jill Bogdanowicz (Company 3) using DaVinci Resolve Studio, which was also used by both the MR. X (now part of the MPC brand) in the creation of visual effects and by Ed Bruce’s team (SSVFX), in the editing of visual effects, copy, revisions and colour grading sessions.
• Summer of Soul (…or when the revolution couldn’t be televised): colour grading by Yohance Brown.
• Three Songs for Benazir: graded by Brian Hutchings. Joe Bogdanovic (Different By Design) was in charge of the IMF files.
• Tick, tick… BOOM!: graded by Stephen Nakamura (Company 3).
• West Side Story: supervisor Aaron Weintraub (MR. X, now part of the MPC brand) used DaVinci Resolve Studio software for visual effects production.
• When we were bullies: graded by Robert Arnold (Lateral Films) using a DaVinci Resolve Mini Panel, a DeckLink 4K Extreme 12G capture and playback card, DeckLink Mini Recorder units and Mini Converter SDI to Audio devices.