In Broadcast - February 2020 - 31

31

www.inbroadcast.com | Vol: 10 - Issue 2 | February 2020

InStudio

'Into the Rising Sun'
Mini-Series Shot on Blackmagic

A Japanese-Canadian co-production has used Pocket Cinema Camera 6Ks, Pocket Cinema Camera 4K
and URSA Mini Pro 4.6K G2 to shoot mini-series Into the Rising Sun...

T

he mini-series, which premiered
on Canada's CHCH, saw Echo Bay
Media shoot in Blackmagic RAW and
rely on DaVinci Resolve Studio for
colour grading.
Into the Rising Sun was produced in
partnership with Japanese network
TSS and follows Echo Bay Media
Cofounder and Producer Scott
Wilson as he travels throughout the
lesser seen parts of Japan, exploring
a variety of scenic areas while riding
a motorcycle. The series was shot
and directed by Echo Bay Media
Cofounder Andre Dupuis and allows
viewers to experience the wonders of
Japan's countryside.

Pocket Cinema Cameras in use on Into the Rising Sun

that flexibility with its efficiency,
Fly-on-the-wall
providing the best image quality
When choosing gear for the
for the smallest file size."
project, Wilson and Dupuis knew
Rounding out the workflow, the
they needed cameras that were
Pocket Cinema Camera 4K was
light and portable, but that still
used as the night vision camera
provided the best cinematic look
in near zero light, such as a dark
for the series. By pairing two
temples or night rides, or when
Pocket Cinema Camera 6Ks with
the team wanted to create shots
a Pocket Cinema Camera 4K, Wilson
with very little depth of field.
and the team were able to capture
specific moments of Japanese culture
Interview Workhorse
without being obtrusive.
In addition, Dupuis used the URSA
Blackmagic
"We love being a fly-on-the-wall Pocket Cinema
Mini Pro 4.6K G2 as the workhorse for
Camera 6K
in the way we do things, and it was
spoken content, such as interviews,
way easier because of how compact and perfect the shots in post. It made because of its professional XLR inputs,
the Pocket Cinema Cameras are. run and gun situations feasible."
accessible audio controls, built in ND
For example, when we were walking
"The camera's small footprint, filters, and extra two stops of latitude.
into a temple, a festival, or enjoying ability to shoot in Blackmagic RAW, A Pocket Cinema Camera 6K was used
a culinary experience, we relied on and 13 stops of dynamic range worked in conjunction with the URSA Mini Pro
the Pocket Cinema Cameras as they perfectly with our stabilizer," said 4.6K G2 to cross shoot the interviews,
wouldn't disrupt the moment and Dupuis. "It allowed us to capture shots matching flawlessly.
captured things with a proper reality. that would normally require very
"Having two more stops of dynamic
That was amazing and really important expensive, purpose built camera cars range had me reaching for the URSA
to us," said Wilson.
with heavy cameras and gimbals."
Mini Pro 4.6K G2 more often than
The Pocket Cinema Camera 6K also
The ability to shoot in
provided Echo Bay Media with the Blackmagic RAW proved to
extra resolution they needed. This be a significant benefit
was a huge benefit while shooting the for Dupuis while capturing
motorcycle scenes specifically.
the
documentary
"There were times when Andre was style footage.
hanging out the side of a minivan on
"When we are shooting
a highway with the Pocket Cinema documentary style, we
Camera 6K rigged up to a stabilizer, need to travel with three
getting shots of me on the motorcycle. copies of the footage for
In these instances, bumps and redundancy. This means the
wobbles were inevitable," said Wilson. hard drive fills up quickly," Dupuis
"However, because of the extra explained. "Travelling the world with
resolution we had when shooting in as little weight and bulk as possible
6K, we could easily dial in, stabilize is crucial. Blackmagic RAW gives us Blackmagic URSA Mini Pro 4.6K G2

not," said Dupuis. "Additionally, having
built in ND filters is so important
to me, as I often want to stick to
a specific F Stop for consistent depth
of field throughout a scene. I have that
control here with the twist of a knob."
Throughout production, Dupuis
and the crew shot in Blackmagic
RAW, and Echo Bay Media's colourist
Ryan Edwardson graded the series in
DaVinci Resolve Studio.
"When working with multiple
cameras in a mixed lighting scene,
Blackmagic RAW helps ensure
accurate colour matching and blending
to create a sense of uniformity when
cutting," Edwardson noted. "From
the flexibility of colour temperature
fine tuning in Blackmagic RAW, to
the colour matching of Image Wipe
combined with Qualifier RGB picker,
DaVinci Resolve Studio makes it
possible to add studio precision to
run and gun documentary multi
camera work."
As legacy Blackmagic Design users,
Echo Bay Media plans to continue
using its existing gear in upcoming
productions. "We've been
using
Blackmagic
Design
for more than ten years,
ever since the original HD
Blackmagic Pocket Cinema
Camera. We are really
happy with how 'Into the
Rising Sun' has turned out
with the newest gear and
can't wait to embark on our next
journey with Blackmagic Design,"
concluded Wilson.


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In Broadcast - February 2020

Table of Contents for the Digital Edition of In Broadcast - February 2020

Contents
In Broadcast - February 2020 - Intro
In Broadcast - February 2020 - Cover1
In Broadcast - February 2020 - Cover2
In Broadcast - February 2020 - Contents
In Broadcast - February 2020 - 4
In Broadcast - February 2020 - 5
In Broadcast - February 2020 - 6
In Broadcast - February 2020 - 7
In Broadcast - February 2020 - 8
In Broadcast - February 2020 - 9
In Broadcast - February 2020 - 10
In Broadcast - February 2020 - 11
In Broadcast - February 2020 - 12
In Broadcast - February 2020 - 13
In Broadcast - February 2020 - 14
In Broadcast - February 2020 - 15
In Broadcast - February 2020 - 16
In Broadcast - February 2020 - 17
In Broadcast - February 2020 - 18
In Broadcast - February 2020 - 19
In Broadcast - February 2020 - 20
In Broadcast - February 2020 - 21
In Broadcast - February 2020 - 22
In Broadcast - February 2020 - 23
In Broadcast - February 2020 - 24
In Broadcast - February 2020 - 25
In Broadcast - February 2020 - 26
In Broadcast - February 2020 - 27
In Broadcast - February 2020 - 28
In Broadcast - February 2020 - 29
In Broadcast - February 2020 - 30
In Broadcast - February 2020 - 31
In Broadcast - February 2020 - 32
In Broadcast - February 2020 - 33
In Broadcast - February 2020 - 34
In Broadcast - February 2020 - 35
In Broadcast - February 2020 - 36
In Broadcast - February 2020 - 37
In Broadcast - February 2020 - 38
In Broadcast - February 2020 - 39
In Broadcast - February 2020 - 40
In Broadcast - February 2020 - 41
In Broadcast - February 2020 - 42
In Broadcast - February 2020 - 43
In Broadcast - February 2020 - 44
In Broadcast - February 2020 - 45
In Broadcast - February 2020 - 46
In Broadcast - February 2020 - 47
In Broadcast - February 2020 - 48
In Broadcast - February 2020 - 49
In Broadcast - February 2020 - 50
In Broadcast - February 2020 - 51
In Broadcast - February 2020 - 52
In Broadcast - February 2020 - Cover3
In Broadcast - February 2020 - Cover4
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