“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...

Location Shooting: What Kind Of Place Is It?

Capturing the essence of a location in a single shot or series of shots can present a range of challenges for the itinerant DOP.

Migrating To The Cloud Takes Careful Planning For Work-From-Home Workflows

It was late in 2018 when a major public broadcaster in the UK came to London-based 7FiveFive, a technology solutions provider, with a growth challenge. Their postproduction department had about 75 edit positions throughout the building working off a shared storage SAN…

Transforms: Part 8 - Aperture Effect

Here we look at some practical results of transform theory that show up in a large number of audio and visual applications.

Broadcast Audio Workflow: Part 1 - News, Sports & Chat Shows

We continue our series on Broadcast Audio Systems with a discussion about workflow with multi-award winner Robert Edwards. We look at general purpose workflows, and some considerations for different types of production across news, sports and chat shows. As the…

Creating Virtual Production Environments With Production Supervisor Don Bitters

Much of the attention enjoyed by virtual production currently goes to the spectacular stages with LED displays the size of half a dozen cinema screens. The material we put on those displays, though, can come from a number of places,…