BCA Show Preview - 86

86

SUNTEC SINGAPORE

A part of

SHOW PREVIEW | 26-28 June 2018

MARINA BAY SANDS * SUNTEC SINGAPORE

Hyperlight Delivered in HDR
with Blackmagic Design
Blackmagic Design's range of digital film cameras, including
the URSA Mini 4.6K and URSA Mini Pro, were used in the
filming of Sci-Fi short Hyperlight...

H

yperlight is a science fiction thriller from
writer and director Nguyen Anh Nguyen
(Akira Project and Temple).
Post-production for Hyperlight was
completed in DaVinci Resolve Studio,
including the edit and grade, while the visual
effects were completed in Fusion Studio
and overseen by VFX supervisor Santiago
Menghini. According to DP Simran Dewan,
the URSA Mini's compact form factor and
ergonomics made it the ideal choice for
Hyperlight as the majority of the film takes
place within the confines of a spaceship.
"Being lightweight and easy to use, the URSA
Mini allowed us to readily switch between a
variety of different setups on a quick release
plate," he says. "Not only that, we could
manoeuver into the tight corners of the set to
create unique angles."

Dewan pushed to shoot in CinemaDNG
RAW as his preferred workflow. "You end up
with a much thicker digital negative with more
latitude and information for post-production.
Treating the camera as I would any other film
stock, I rated it at 800 ISO but metered for
500 and paired it with a set of vintage Kowa
anamorphic lenses. I've always imagined
film in this format, and the lens perfectly
complemented the colour fidelity of the 4.6K
sensor."
The URSA Mini was rigged for a Chapman
Hybrid dolly and a Ronford-Baker Atlas tripod
head. "On an indie shoot, you are always
limited by time, so the camera was constantly
being moved from one setup to another on
a quick release plate; we were often tearing
down part of the set while setting up the next
scene at the same time."

Nguyen Anh Nguyen (centre)
on the Hyperlight set

Blackmagic's range
of digital film cameras
were used during filming

Subsequently, the rushes were synced to
the audio and converted to DNxHR for offline
in DaVinci Resolve Studio.
Editor Naomi Silver-Vézina relied on
management tools such as flags and
markers to help identify proxy clips, previz
shots, mockups and final shots. Resolve's
burn-in text functionality and titling tools
were also used to add precise notes to any
placeholders: a crucial aspect to such a VFX
heavy project. "The biggest advantage to
using DaVinci Resolve on Hyperlight was

in being able to move from the final editing
timeline to the grading environment and back
at will. Being able to switch to the colour
page in seconds allowed me to make fine
adjustments such as chroma keying and even
some minor compositing using masks, all of
which benefitted the final edit," says SiverVézina "What would have usually taken hours
of conforming or round-tripping between
software, we could do painlessly in minutes
with DaVinci Resolve."
www.blackmagicdesign.com

Octopus Newsroom to Demonstrate
Enhanced Octopus 8.1
Octopus Newsroom will demonstrate the expanded feature
set of its powerful and innovative newsroom computer
system on stand 6J2-01 at BroadcastAsia...

T

he Octopus team at the show will include
Peter Stokuč, Gabriel Jankó, Lukáš Kotek,
Miro Rusko and Jan Polak.
Optimised for use in television, radio,
sports and esports newsrooms, Octopus
provides all the facilities required from
start to completion of the news production
process plus the tools to publish content to
web and social media channels.
Octopus is scalable from a single channel
with just a few bulletins per day to fullscale 24/7 networks. Software-based, it
runs natively on Linux, Apple OS X and
Microsoft Windows. Mobile apps for Google
Android and Apple iOS tablets as well as
smartphones give reporters and editors
working remotely instant access to all wires,
rundowns and assignments. Field-based
staff can also edit stories within a rundown,
preview prompter text and create wires and

reports in the field.
Octopus version 8.1 adds a record number
of new capabilities designed to increase
newsroom efficiency. These include addition
of user rights for MOS devices; advanced
clip and rundown management; default
custom print form per menu item; detachable
notification widgets; drag-and-drop of
emails to topic from the most often used
desktop email clients; enhanced assignment
sorting and grouping; fast clip insertion/
replacement; fast conform of rundown timing
after a rehearsal; fast story editing; and freely
customisable colour coding of main menu
items.
A Journalist app can now record audio clips
for easy attachment to the relevant story, plus
there is live on-air insertion of social media
posts. Furthermore, named rundowns can
be displayed in the main menu; repeatable

assignments are now supported; and there
is rules-based archiving of social media
content.
Social media integration has also been
enhanced with the ability to handle Facebook
comments, while a Twitter posting now
allows 280 characters instead of the former
limit of 140 characters. Video can now be
posted direct from Octopus to Twitter as well.

Octopus delivers a
complete workflow solution

A key feature of the BroadcastAsia exhibit
will be the successful use of Octopus
for sports broadcasting. This application
generally centres on a more spontaneous
presentation style than the tightly scripted
approach used in most news productions.
Octopus is successfully used in both roles.
www.octopus-news.com
https://www.blackmagicdesign.com/products https://www.blackmagicdesign.com/products https://www.blackmagicdesign.com/products http://www.blackmagicdesign.com https://www.octopus-news.com/en/ https://www.octopus-news.com/en/ http://www.octopus-news.com
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