“After shooting some tests, we realized we needed a camera that could handle the richness of the greenscreen and the fidelity of the tracking markers, but that was flexible enough to support our sometimes run-and-gun workflow where we could grab SSDs and go,” said Flowers. “We also had to stay conscious of our budget and the fact that we needed two cameras for weeks of shooting.”
“We set both cameras at the same f-stop and shot flat, which allowed us to light the talent correctly because we didn’t have any interference from the greenscreen,” Flowers said. The camera’s high dynamic range ensured that when we added the color back later, we could pull a better key in the composite. The Blackmagic Cinema Camera was perfectly suited for our workflow. ProRes is a great native codec, and the ability to pop out an SSD with ProRes and seamlessly copy it over to the editing system was amazing. We even edited on site, and the rough composites allowed us to stay on track with what we needed.”
“During one scene, we had the two cameras on shoulder rigs in a very tight kitchen,” Flowers said. “The scene would have never happened if not for the Blackmagic Cinema Camera. There was so much movement that a DSLR would have sacrificed quality and any other camera would have been unwieldy and sacrificed movement. The Blackmagic Cinema Camera feels like a DLSR but shoots like a professional cinema camera. And it’s so intuitive that I was able to take over shooting one day. It provided us with the freedom to experiment with shots, let us achieve the look and feel that we wanted and allowed us to make the movie we wanted to make.”
Produced by Scruffy.TV, Hero Punk is still in the final editing and finishing stages. Blackmagic Design’s DaVinci Resolve will be used for color grading.