JamTV Shoots ‘Making Their Mark’ with Blackmagic Design Digital Cinema Cameras


Melbourne, Australia—Australian television production company JamTV filmed ‘Making Their Mark’, a seven-part series featuring a glimpse of six of the top teams in the Australian Football League, using Blackmagic Design URSA Mini Pro digital cinema cameras 4.6K G2 and Pocket Cinema Camera 6K.

The hit Amazon Prime Video series examines teams, their players and coaches from a whole new perspective with a mix of match footage and shots inside the teams’ clubs, executive rooms and executive rooms. the personal life of the players.

JamTV relied on multiple URSA Mini Pro 4.6K G2 cameras as the primary cameras and used the Pocket Cinema Camera 6K cameras for gimbal and off-speed shots, the company said.

“The reason we went with the Pocket Cinema Cameras and the URSA Mini Pros was that we had to shoot at high speed and these two cameras had the capability to do that and were at a price that worked for production. For some of the games we used up to five Blackmagic cameras, including two on ISO, two in the team rooms and one shot for color commentary, ”said cinematographer Matt Koopmans.

Shot during the 2020 season affected by COVID-19, JamTV captured over 2,500 hours and stored over 650TB of footage, all in Blackmagic RAW 8: 1. More than 20 cameramen across Australia shot the footage. To capture the different types of shots, they relied on the Blackmagic operating system’s ability to easily switch between frame rates and the camera’s ease of use, the company said.

“The feature of quickly switching from stop speed to 25 frames was a big plus for shooting a sports documentary, and that’s when Blackmagic cameras really took off,” Koopmans said.

“With the operators, it was the first time that some of them used Blackmagic cameras,” he continued. “I would talk every week about the details of what was needed for the shoots, and the guys have adjusted remarkably well with a camera that they haven’t had a lot of experience with. From an operational standpoint, the cameramen found the cameras very easy to adapt, and we were very happy with the look of the cameras.

All ingestion and offline edits were handled by Spark Post Production. Marcus Herrick of BluePost performed the color correction for the series using DaVinci Resolve Studio.

“In color grading the series, the biggest challenge was to match Blackmagic RAW with the game footage streamed in SDR. The images broadcast have a very defined “look” and the SDR often had cut out reflections. Fortunately, Blackmagic RAW has a lot of dynamic range. It also fits well, which made it easier to combine the grass and skin tones, ”Herrick said.

“Each game plan had at least three separate keys for skin tones, football pitch and highlight control,” he continued. “The introduction of the highlights of footage shown in the HDR world, especially stadium lights, gave them a type of HDR ‘flicker’. It required a careful mix of curves and touches to separate the highlights and eliminate the contamination of the colors to get them above 100 nits while still looking good I was able to do all of this effectively with DaVinci Resolve.

Herrick used DaVinci Resolve Studio’s color space transformation and group ranking tools to manage and calibrate older footage and game footage shot with other cameras and drones.

“Group ratings have been very helpful when scoring a game from a number of different sources. Being able to set up a look once for each camera and then apply it to all instances of the in-game shot was fantastic, ”Herrick said.

For the series, BluePost was also tasked with delivering both SDR and HDR, which included versions in UHD HDR10, HD HDR10, UHD SDR and HD SDR. BluePost has relied heavily on DaVinci Resolve Studio’s tight integration with Dolby Vision for streamlined HDR to SDR conversion and playback in any HDR format using DeckLink or UltraStudio capture and playback devices. by Blackmagic Design.

“Having both HDR and SDR deliverables, DaVinci Resolve Studio’s Dolby Vision tools have been a lifeline. Being able to grade in HDR and then having Dolby Vision Analysis to give you an SDR version was a huge time saver. To make it even better, the ability to rate HDR on one monitor and simultaneously view SDR on a second monitor gives you the confidence that both versions will look great, ”Herrick said.

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