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15 2017 Sep

Le Bureau des Légendes Delivered in Ultra HD 4K with DaVinci Resolve Studio

Logo_blackmagic designFremont, CA  - Blackmagic Design has today announced its DaVinci Resolve Studio and DaVinci Resolve Advanced Panel were used to

complete picture post in Ultra HD 4K on the third season of award winning Canal+ French drama series, “Le Bureau des Légendes.”
Post production for the ten part series now available on Amazon Prime was completed at Paris based Digital Factory by freelance colorist Guillaume Lips. “Not only did we grade the entire series from beginning to end in Resolve, but we also delivered in Ultra HD 4K for the first time,” he begins.

The turnaround for completing the DI on each episode was incredibly tight according to Lips. “With only two days to complete an episode our workflow needed to be both fast and efficient. Not only did Resolve’s realtime performance provide first-class shot tracking but it also meant that we could work with the project native materials in 4K.”

While the main unit captured to ProRes 4444, there was a whole raft of smaller cameras used by the production’s second unit to shoot the action scenes. “Resolve’s extensive format and multi-codec support proved invaluable,” explains Lips. “We carried out a basic technical grade to adjust contrast levels and correct for the differences in color space and that gave us our starting point for the final DI.”

When grading scenes from Syria, Lips drew on DaVinci Resolve’s extensive toolset and a series of power windows to unlock the rich deep tones and add a large amount of contrast while still retaining enough detail in the highlights and shadows.

“In order to achieve that, I used the HDR capabilities in Resolve to finesse the midtones,” he reveals. “And when it came to skin tones I wanted to bring back as much softness as possible to mitigate any over-definition resulting from the 4K delivery which Resolve proved highly adept at handling.”

“As an experienced colorist I have worked with a lot of different grading systems in my career and I firmly believe that DaVinci Resolve remains one of the very best in the market today,” concludes Lips. “Used alongside the DaVinci Resolve Advanced Panel you have a very efficient way of working, which allowed me to complete the grade on this particular project in record time.”

15 2017 Sep

Avid Honored with 15th Emmy® Award for Technology and Engineering Innovation


Burlington, Mass.  – Avid® (Nasdaq: AVID), a leading global media technology provider for the creation, distribution and monetization of media assets for global media organizations, enterprise users and individual creative professionals, today proudly announced it has won a 2017 Emmy® Award for Technology and Engineering from the National Academy of Television Arts and Sciences (NATAS), the company’s 15th Emmy Award.

NATAS bestows Technology & Engineering Emmy Awards on companies that are the “tool makers” of the industry and have materially affected the television viewing experience.  This year, NATAS’ Technology & Engineering Achievement Committee honors Avid editing technology that’s widely used by an overwhelming number of the media and entertainment industry’s top creative and editing talent who produce some of the world’s most popular television shows.  The award specifically recognizes Avid’s “Pioneering Development of a Computerized Hard-Disk Storage Based Digital Non-Linear, Multi-Stream Multi-Camera System,” identifying the influence of Avid Media Composer®, the industry’s preeminent nonlinear editing system.  Avid will receive its latest Emmy during the 69th Annual Technology & Engineering Emmy Awards ceremony on Sunday, April 8, 2018 in Las Vegas.

“Our 2017 Emmy Award is immensely gratifying for Avid employees everywhere as we continue to focus on delivering innovations of enduring value for the media and entertainment industry,” said Avid Chairman & CEO, Louis Hernandez, Jr.  “All of us at Avid are especially grateful to our global customer community, which drives our innovation.  Our 15 Emmys, two Oscars® and Grammy® embody our strong bond with our customers and users, who inspire us and trust us to deliver tools and platforms that are instrumental in telling their stories in increasingly engaging and more powerful ways.”

Powered by the MediaCentral® Platform, the industry’s most open and tightly integrated platform designed for media, Media Composer is the prevailing tool of choice for television and film editors, including award-winning individuals such as Peter Chakos, who won the 2016 Primetime Emmy Award for Multi-camera Picture Editing for a Comedy Series for Big Bang Theory, every nominee for the 2017 Primetime Emmy Award for Outstanding Single-Camera Picture Editing for A Drama Series, and every 2017 Academy Award nominee for Best Film Editing.

About Avid

Through Avid Everywhere™, Avid delivers the most open and efficient media platform, connecting content creation with collaboration, asset protection, distribution and consumption. Avid’s preeminent customer community uses Avid’s comprehensive tools and workflow solutions to create, distribute and monetize the most watched, loved and listened to media in the world—from prestigious and award-winning feature films, to popular television shows, news programs and televised sporting events, and celebrated music recordings and live concerts. With the most flexible deployment and pricing options, Avid’s industry-leading solutions include Pro Tools®, Media Composer®, Avid NEXIS®, Interplay®, ProSet™ and RealSet™, Maestro™, PlayMaker™, and Sibelius®. For more information about Avid solutions and services, visit, connect with Avid on FacebookInstagram, Twitter, YouTubeLinkedIn, or subscribe to Avid Blogs.


© 2017 Avid Technology, Inc. All rights reserved. Avid, the Avid logo, Avid Everywhere, Avid NEXIS, Interplay, Maestro, MediaCentral, Media Composer, PlayMaker, Pro Tools, ProSet, RealSet, and Sibelius are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. The Interplay name is used with the permission of the Interplay Entertainment Corp. which bears no responsibility for Avid products. Emmy and the Emmy statuette are registered trademarks of ATAS/NATAS. Academy Awards and Oscar are the registered trademarks and service marks of the Academy of Motion Picture Arts and Sciences. Grammy is a trademark of The National Academy of Recording Arts & Sciences, Inc. All other trademarks are the property of their respective owners. Product features, specifications, system requirements and availability are subject to change without notice.

15 2017 Sep

ASC Photo Gallery Exhibit Relaunches with New Images

ASC LogoThe American Society of Cinematographers (ASC) Photo Gallery  re-opened with a public debut on September 9 at the historic ASC clubhouse in Hollywood. The exhibit features an entirely new collection of still photographs by nine members of the organization, curated by Paris Chong, manager of Leica Gallery LA.

It will remain open to the public, by appointment, during weekdays from 11 am – 4 pm. To attend the opening night or visit the exhibit, contact

The ASC Photo Gallery is designed to showcase the artistic achievements of the organization’s members, which consist of 375 award-winning cinematographers from around the globe. The first exhibit opened in March to much success, prompting future editions.

“Still photography is the personal expression of the artist’s voice for many of our members,” notes Lieberman, Chairman of the ASC Photo Gallery Committee. “Images have inspired thousands of cinematographers over the decades, and we hope to encourage others by sharing our works of art so we may continue to fund outreach programs that influence the next generation of filmmakers.”

The ASC members participating in this new show include Antonio Calvache (Queen Sugar, Little Children), Richard Crudo (Justified, American Pie), Fred Elmes (The Night Of, Blue Velvet), Denis Lenoir (Still Alice, Uprising), Charlie Lieberman (My So-Called Life, Heroes), Karl Walter Lindenlaub (Suits, Houdini), Suki Medencevic (Stuck in the Middle, The Pixar Story), Steven Poster (Donnie Darko, Southland Tales), and Robert Primes (Felicity, My Antonia).

Each cinematographer contributed five photos. The 45 images on display are printed, framed and available for purchase. The limited-edition prints are numbered, signed and certified. Unlimited Edition Box Sets will also be available. Proceeds fund the nonprofit organization’s educational initiatives. Purchases will also be offered online via the ASC Store, where some photos from the March exhibit are still available.

For more information, contact or call (323) 969-4333.

13 2017 Sep

VES Summit

Please join the Visual Effects Society’s 9th annual VES Summit ​on Saturday, October​ 28 at the Sofitel in Beverly HillsKeynote speakers include:  acclaimed director, Ava DuVernay, and visionary futurist, Syd Mead.

Join the 200+ industry decision-makers who consider the VES Summit their “must attend” event of the year.

The VES Summit features technical wizards, enlightened storytellers, fearless problem-solvers, VR pioneers, and VFX Visionaries.  Get the latest insights from:  Hollywood Data Hack Expert Hemu Nigam; IMAX Home Entertainment President, Jason Brenek; along with speakers from: Adobe, Autodesk, NVIDIA, SideFX, The Mill, WME with many more!

Register now to enjoy:

  • top thought-leading speakers
  • roundtable discussions on key industry topics
  • networking, lunch, cocktails and more!

Register at:

22 2017 Aug

EditFest 2017 Delivers Education and Inspiration

EFLA 2017 Collage 4

At the very crossroads of creativity, intent and execution of story-telling sits the editor.  Powering the vision, and guiding the process that begins on set with dailies and ends with the delivery – often many deliveries – that tell the story the creative team set out to tell. For 10 years, EditFest has put the world’s best editors on stage and in conversation with a wide variety of professionals and aspiring professionals who want to know about the choices, motivation, and back story of the editing room.

This year’s EditFest LA 2017, in a packed-to-the-rafters Main Theater at Disney Studios, brought forth a wonderful variety of editors to talk about their careers and work.  The audience was comprised of aspiring editors and assistants, working editors that included Oscar and ACE Eddie award winners, students, post professionals, and those who simply love hearing about how an editor puts a story in place.  From the first panel of Women Making the Cut to the Lean Forward panel that closed the day, ACE EditFest was a lively hit of a day.

The EditFest lineup included:

  • Lillian Benson, ACE  (Chicago Med, Maya Angelou: And Still I Rise)
  • Jackie Cambas, ACE (Zoot Suit, Mermaids, Cat People)
  • Richard Chew, ACE (Star Wars, The Conversation, Risky Business, I Am Sam, Singles, Bobby, The Public, One Flew Over the Cuckoo’s Nest)
  • Lisa Zeno Churgin, ACE (Cider House Rules, Gattaca, Reality Bites, Pitch Perfect)`
  • Kelley Dixon, ACE (Breaking Bad, Better Call Saul, The Walking Dead)
  • Edie Ichioka, ACE (Toy Story 2, The Boxtrolls)
  • Virginia Katz, ACE (Bride of Frankenstein, Beauty and the Beast, Dreamgirls)
  • Lynzee Klingman, ACE One Flew Over the Cuckoo’s Nest, War of the Roses, Little Man Tate
  • Robert Leighton (When Harry Met Sally, This is Spinal Tap, The Princess Bride)
  • Chris McCaleb (Breaking Bad, Narcos, Fear the Walking Dead)
  • Stephen Rivkin, ACE (Avatar, Pirates of the Caribbean, Avatar 2)
  • Paul Rubell, ACE (Blade, The Insider, Transformers, Thor)
  • Terilyn A. Shropshire, ACE (The Secret Life of Bees, Love & Basketball, Eve’s Bayou, Beyond the Lights)
  • Lynne Willingham, ACE (The X-Files, Ray Donovan, Bloodline)

Moderators included Norman Hollyn, Michael Krulik, Margot Nack, and Bobbie O’Steen.

The day ended with a cocktail reception on the lawn in front of the Main Theater, offering participants and panelists further opportunity to mingle and connect. EditFest will return to London in June of 2018 and to LA late in the summer of 2018.  EditFest Sponsors include Platinum Sponsor Blackmagic Design and Gold Sponsors Avid and Adobe and the Motion Picture Editors Guild. For further information, visit

21 2017 Aug

SIGGRAPH Introduces Technologies for the Digital Pipeline

By Debra Kaufman

SIGGRAPH, the Association of Computing Machinery’s special interest group in computer graphics and interactive techniques, draws the majority of its crowd from visual effects pros and animators. At this year’s conference, manufacturers and researchers revealed several new technologies with applicability to the digital pipeline, some with direct applications in post.

CGI requires high performance, and manufacturers debuted speedier, more capable computer platforms at SIGGRAPH. Nvidia showed a solution “for creatives who like to have a laptop to work away from their desk, but want graphics performance when they are sitting behind it.” Partnering with Sonnet, maker of Thunderbolt expansion products, and unnamed others, Nvidia will ship in September what it calls an eGPU chassis, an external graphics card that allows anyone who needs high-performance to be mobile, from video editors to VFX artists. Nvidia has targeted video editors as an industry segment that can benefit from the eGPU, but dailies and finishing colorists could as well. Quadro P4000, P5000 or P6000 ‘workstation’ class cards are inside the eGPU. For use with Adobe Premiere Pro or Maya, the eGPU can be outfitted with Titan X gamer cards “with a specially tuned driver.”

Nvidia also highlighted its DGX Station, which it describes as a “desktop supercomputer,” advertising it as “as powerful as a render farm with 150 servers.” The company also debuted its accompanying OptiX 5.0 ray-tracing engine. A major announcement for us was using artificial intelligence to speed the rendering process, specifically the removal of noise which is part of the raytracing process,” said Nvidia vice president of developer marketing Greg Estes about the OptiX 5.0. “As the post world moves from CPU based rendering for GPU based, this is a big deal. Our data shows it’s 54 times faster than a dual Xeon CPU server node.”

PNY Technologies introduced its PNY PREVAILPRO P4000 and P3000 mobile workstations, with an Nvidia Max-Q design, that can drive up to four 4K UHD displays at once, according to vice president Steven Kaner. The systems are designed “to drive next generation workflows” across a range of industries including media and entertainment. Featuring Pascal architecture, Intel Core CPUs and HM175 Express Chipset, the new mobile workstations are also “incredibly light and thin” as well as powerful. The size is 14.96-inches by 9.8-inches by 0.73-inches and the weight is 4.8 pounds.

With regard to using them for display of 4K content, both PREVAILPRO systems feature a 15.6-inch 4K UHD or FHD display, and can drive three external displays at up to 4K resolution, which the company claims is “a feature unavailable on any competing system.” The P4000 mobile workstation “supports fully immersive VR, Nvidia VRWorks software development kit, and innovative immersive VR environments based on the Unreal or Unity engines.”

Dell, which is marking the 20th anniversary of its Precision Workstations, updated its tower and rack chassis workstations, with an aim to “handle complex, creative workloads, including development and deployment of artificial intelligence and machine learning technologies.” The new 5829, 7820 and 7920 Towers and a 2U 7920 rack integrate the latest Skylake-X Xeon processors, with up to 28 core Xeons, and are based on the C261 chipset. The towers hold up to 1.5 TB of 2666 MHz RDIMM memory in 4 or 6 channel configurations. The tower and rack workstations will be available October 3.

Virtual reality and machine learning/artificial intelligence were also on show, with the debut of a VR Theater to show off content. Among the product offerings, HP debuted a professional-level version of its VR backpack PC. The Omen X was launched in June for gamers, but the new HP Z VR Backpack is aimed at professional environments. The PC features an Intel Core i7 processor and Nvidia Quadro P5200 graphics chip with 16GB of its own RAM. Nvidia also used artificial intelligence to power its Isaac Lab robot. At SIGGRAPH, visitors could play dominoes with Isaac in a virtual world (via VR headset) simulated through Project Holodeck. The idea behind Isaac wasn’t to create an unbeatable robot, but rather to show how simulation and virtual reality “can help robots learn the much more nuanced task of interacting with people,” to ultimately learn skills such as “the ability to pour a cup of coffee, provide care for the elderly, perform surgery, or play a game of dominoes.”

18 2017 Aug

Blackmagic Design Announces New Audio and KeyKode Reader for Cintel Film Scanners

Blackmagic Design recently announced the new Cintel Audio and KeyKode Reader accessory for its Cintel Film Scanner, which lets customers scan audio and KeyKode information along with images from the scanner, all in realtime. The new audio and KeyKode reader accessory is available for $3,495 from Blackmagic Design resellers worldwide.

Member News - BMD CintelThe new Cintel Audio and KeyKode reader lets customers capture high quality audio along with KeyKode information directly from their film as they are scanning it. The reader features a magnetic audio head or deep red LED illumination supporting 16/35mm cyan, high magenta dye, silver optical or 16mm magnetic audio tracks, with advanced optics, electro formed slits, and precision mechanical adjustments for azimuth to deliver the best possible audio capture with incredible high frequency response, perfectly synchronized with the video. The precision capstan encoder automatically corrects wow and flutter, allowing customers to accurately capture audio, even when the scanner speed changes.

The new reader also gives customers the ability to scan KeyKode from their film. KeyKode numbers provide a way to identify each unique film frame, making it easier to correlate the film frames with their corresponding video frames after scanning is complete. This greatly simplifies post production workflows, especially when cutting or re-cutting previously edited material that comes from different rolls of film.

“Cintel Film Scanners are the most popular film scanners in the world,” said Grant Petty, Blackmagic Design CEO. “The new Cintel Audio and KeyKode Reader is exciting because it allows both audio and picture to be scanned at the same time, and in perfect synchronization. Plus, customers also get KeyKode information that helps to dramatically speed up post production workflows!”

18 2017 Aug

Hollywood Relies on Avid to Create Summer Blockbusters

Customers rely on Avid creative solutions to bring War for the Planet of the Apes, Baby Driver, Wonder Woman, Spider-Man: Homecoming and many other hit movies to the big screen 

Avid recently announced that Hollywood’s top creative talent entrusted Avid’s comprehensive tools and workflow solutions to produce this summer’s hottest films. Powered by the MediaCentral® Platform, the industry’s most open, tightly integrated and efficient platform designed for media, Avid’s leading creative tools once again delivered the needed speed, efficiency and collaboration capabilities required to bring many exciting stories to the big screen this summer.

With a star-studded ensemble featuring Ansel Elgort, Kevin Spacey, Jon Bernthal, Jon Hamm, Jamie Foxx and Eliza González, action hit Baby Driver follows the story of a successful getaway driver who uses music to be the best in the business. After meeting the girl of his dreams, Baby tries to escape his life of crime, but any hope for a fresh start is complicated as he’s drawn into working for a crime boss whose heist will threaten everything, including his true love. Editors Paul Machliss and Jonathan Amos relied on the industry’s preeminent editing solution, Avid Media Composer®, to bring director Edgar Wright’s musically driven, adrenaline-pumping film to life. Machliss worked on-set alongside Wright during filming, employing the speed and flexibility of Media Composer to edit in real time and keep pace with production.

“Editing Baby Driver on set for director Edgar Wright brought a new meaning to the concept of a ‘fast-turnaround’ – and I’m not necessarily referring to the driving of the stunt vehicles,” said Machliss. “Media Composer’s AMA function allowed me to give Edgar near-instantaneous feedback to a take. Seconds after he yelled ‘Cut!’ I would have the shot in the timeline, judgment would be pronounced and he could move on. It was, however, the only time I’ve had to wear a seatbelt while editing.”

In War for the Planet of the Apes, the final installment in the successful Planet of the Apes franchise, protagonist Caesar and his apes are forced into a deadly battle against the humans that could have catastrophic consequences for both the apes and the planet.

Re-recording mixer and supervising sound editor William Files used Avid’s industry-standard professional audio solutions—including Pro Tools | HD™, Pro® Tools | HDX and the Pro Tools | S6 modular control surface—to deliver the best sounding mixes faster. Files and his team also relied on Avid shared storage solutions to stay organized and share content regardless of their location.

“Working on such a large-scale film can be very challenging, but Avid’s audio and storage solutions enabled us to collaborate seamlessly and efficiently,” said Files. “Pro Tools and the S6 console gave us the freedom to experiment in order to create the dramatic sounds of the epic battle between the apes and the humans.”

The film industry’s top creative professionals relied on Avid solutions to create numerous other summer blockbusters, including Wonder Woman, The Beguiled, Dunkirk, Atomic Blonde, Spider-Man: Homecoming, Pirates of the Caribbean: Dead Men Tell No Tales, The Dark Tower, Detroit, King Arthur: Legend of the Sword, Alien: Covenant, Transformers: The Last Knight, Valerian and the City of a Thousand Planets, and The Hitman’s Bodyguard.

“Each year, an overwhelming number of the industry’s top creative and award winning professionals as well as nearly every major feature film rely on Avid tools to tell their story,” said Jeff Rosica, President at Avid. “At Avid, we remain dedicated to the innovation of our platform and tools to help the creative community worldwide do their work in even more efficient and powerful ways.”


18 2017 Aug

Fortium CEO Mathew Gilliat-Smith to Speak at IBC Cyber Security Program

Mathew Gilliat-Smith, CEO, Fortium

Mathew Gilliat-Smith, CEO, Fortium

Fortium Technologies, a leading developer of digital file security solutions for the media and entertainment industry, will participate in two expert panel discussions at IBC’s C-Tech Cyber Security Program. The invitation-only event is being held in conjunction with IBC 2017, September 14-19, at the RAI in Amsterdam.

Fortium Technologies CEO Mathew Gilliat-Smith will join other industry leaders for a discussion on Cyber Governance entitled Taking the Right Steps. Panelists will review case studies and discuss what can be done to avoid the same mistakes. They will outline security measures that companies in the broadcast industry must take to avoid becoming victims of hackers…and what measures to have in place if a security breach occurs. The session is scheduled for September 15 at 11:15 a.m. at Room G102-3. Session host is Michael McEwen, Director General, North American Broadcasters Association (NABA).

“Cybercrime is on the increase and is here to stay. Piracy can occur at any point in the digital supply chain and a security breach will lead to significant financial loss, disrupts roll-out plans and potentially causes lasting damage to a company’s reputation,” said Gilliat-Smith. “Organizations need to constantly review the changing threats and budget for the cost of using the proper tools and protocols to defend against and stay ahead of hackers.”

Gilliat-Smith will also participate in the program’s penultimate session, What If… Moderated by ex Sony Pictures Entertainment CTO Spencer Stephens, the panel will examine security scenarios, some based on real events, and offer practical advice on how to manage and avoid such crises. Panelists will also include representatives of the European Broadcasting Union and Microsoft’s Azure managed services division. The session is slated for September 15 at 4:00 p.m. at Room G102-3.

“Everyone understands the importance of protecting data, but many organizations are not fully aware of the nature of the threat, or have comprehensive plans for meeting the challenge,” said Stephens. “This program will offer a perspective on the scope of the problem and suggest options that can help organizations avoid becoming victims.”

Fortium Technologies offers a variety of software solutions for encryption, copy protection and file security. Its customers include major networks, producers, distributors and service providers. Fortium’s at-rest encryption software MediaSeal is used by companies in the film, television and broadcast industries worldwide to protect data during post-production processing. Gilliat-Smith is CEO and co-founder of the company.

To register your Interest in attending IBC’s C-Tech Cyber Security Program, please visit

The full IBC Conference and Exhibition is scheduled for 14-19 September.


18 2017 Aug

Revolution Music Video Completed with URSA Mini Pro and DaVinci Resolve Mini Panel

Blackmagic Design recently announced that DP Vance Burberry used its URSA Mini Pro digital film camera and Video Assist 4K monitor/recorder to shoot the music video for songwriter and performer Van William’s song “Revolution,” which features Swedish folk duo First Aid Kit. Burberry, who has shot music videos for Guns N’ Roses, Pearl Jam, Santana, Coldplay and more, also used DaVinci Resolve Studio and the DaVinci Resolve Mini Panel for color grading.

Member News - BMD Ursa

Directed by Grant James and produced by Milkt Films, the song tells the story of a relationship full of conflict and its eventual demise. “It’s an emotional performance delivered by Van, as well as Klara and Johanna Söderberg (First Aid Kit) within the confines of a black void,” said James. “The focus was to compose moving portraits of the artists that express the meaning behind the lyrics of the song as they go through an emotional journey individually and together. The result delivers a variety of raw and striking imagery that balances the fine line between high fashion cinematography and keeping our subjects grounded in their own natural aesthetic and realism.”

Burberry added, “We went with a black and white look to help emphasize the photography and story as much as possible. We wanted the look to evolve as the story progressed, so it was essential to have strong photographic images to work with, which is why I chose the URSA Mini Pro. The camera’s 15 stops of dynamic range really shone in grayscale, and you need that wide gamma of dynamic range when you are into deep shadows and blacks through to over-exposed edges, which roll off very film-like with the URSA Mini Pro.”

Burberry also noted that the URSA Mini Pro’s tactile controls helped him change settings and check looks without missing a beat. “We jumped around from 23.98 fps to 60 fps and having that high frame rate button right on the outside of the camera was super handy,” he explained. “I also looked at RAW and LOG a lot, using grayscale and false color to check exposure. I assigned RAW to function one (F1) and false color to function two (F2) and could easily switch between the looks with the press of a button. I love that the function buttons are customizable.”

“I also loved being able to drop in the URSA Mini Pro’s built-in ND filters depending on the shot,” he added. “The quality of light was not always the same, and I also shot a little hot at 800 ASA and used the ND filters. This allowed me to shoot at a wider aperture to achieve a shallower depth of field. All these added features were extremely useful and streamlined my workflow.”

“I used the URSA Mini 4.6K on several occasions, but this was my first experience with the URSA Mini Pro, and the design and control upgrades are fantastic,” said James. “I enjoy the filmic nature of all Blackmagic Design’s cameras and how simplified the workflow crossover is from production to post. Since we shot the video in high-contrast black and white, the camera allowed us to get those rich blacks while maintaining plenty of detail within the camera’s dynamic range to control our final product.”

In post, Burberry used DaVinci Resolve Studio and the DaVinci Resolve Mini Panel to enhance the theme. “The video starts out with a clean look, and as the story is told, the artists’ hair gets messier and they’re screaming and crying. By the end, they look terrible in a very beautiful way,” he said. “I started off less contrasty and open in the midtones, and as the song intensified, I decreased the midtone detail just to soften everything up. I then increased contrast and darkened up the midtone details, as well as pushed the highlights hard. Increased midtone detail also brought out the texture of the skin thanks to the detail captured with the URSA Mini Pro.”

“We really pushed the image, but it still stayed beautiful and clean, and DaVinci Resolve Studio’s exceptional tracker came in handy. It’s easy to move, change size, softness and curve; its power is incredible,” Burberry concluded. “On top of that, the DaVinci Resolve Mini Panel made it so easy to add nodes, save and recall stills, move back and forth in frames, build Power Windows and more. It’s incredibly efficient since all the buttons are at my fingertips, and the panel itself is the real deal – it’s solid and sturdy. It really helps me be able to complete these projects myself, which is fantastic.”

Van William’s The Revolution EP will be released via Fantasy Records on September 8th, 2017. To view the music video, please visit: For more information about Van William and The Revolution EP, please visit: