“Down With The King” Captured With Blackmagic Pocket Cinema Camera 6K

Independent feature film “Down with the King” was shot with Blackmagic Pocket Cinema Camera 6K digital film cameras, relying on their dual native ISO to capture the majority of the film only using natural light.

DP Danny Vecchione and Second Camera Operator Connor Lawson used two Pocket Cinema Camera 6Ks to capture the film, pairing them with anamorphic lenses and Blackmagic Video Assist 7” 12G HDR monitor/recorders. Shooting in Blackmagic RAW, Vecchione was confident that he could push the image during the darker scenes and make it work in post with the color correction tools in DaVinci Resolve Studio editing, color grading, visual effects (VFX) and audio post production software. The film was then graded by Alex Berman of Goldcrest Post NY with a DaVinci Resolve Advanced Panel.

The Pocket Cinema Camera 6Ks’ miniaturized handheld design allowed Vecchione to be nimble so he could quickly react to the scenes as they progressed. Using a mix of professional and nonprofessional actors and a mostly handheld approach contributed to film’s authentic and almost documentary-like feel.

“To capture the unique approach to storytelling that we were going for, we needed to allow for a lot of space for the actors and have an extremely small footprint for the crew,” explained Diego Ongaro, Director. “We used the Pocket Cinema Camera 6Ks since they allowed us to be as stripped down and flexible as possible while still shooting anamorphic. We couldn’t have achieved the same feel with a different setup because we would have needed more crew, which would have ultimately changed the dynamic. My goal was to have more people in front of the camera than behind it, and we were able to attain that with Blackmagic Design.”

You might also like...

2024 BEITC Update: ATSC 3.0 Broadcast Positioning Systems

Move over, WWV and GPS. New information about Broadcast Positioning Systems presented at BEITC 2024 provides insight into work on a crucial, common view OTA, highly precision, public time reference that ATSC 3.0 broadcasters can easily provide.

Next-Gen 5G Contribution: Part 2 - MEC & The Disruptive Potential Of 5G

The migration of the core network functionality of 5G to virtualized or cloud-native infrastructure opens up new capabilities like MEC which have the potential to disrupt current approaches to remote production contribution networks.

Designing IP Broadcast Systems: Addressing & Packet Delivery

How layer-3 and layer-2 addresses work together to deliver data link layer packets and frames across networks to improve efficiency and reduce congestion.

Next-Gen 5G Contribution: Part 1 - The Technology Of 5G

5G is a collection of standards that encompass a wide array of different use cases, across the entire spectrum of consumer and commercial users. Here we discuss the aspects of it that apply to live video contribution in broadcast production.

Designing IP Broadcast Systems: Integrating Cloud Infrastructure

Connecting on-prem broadcast infrastructures to the public cloud leads to a hybrid system which requires reliable secure high value media exchange and delivery.