Artlist Uses URSA Mini Pro 12K For Behind the Process Documentary

Artlist Uses URSA Mini Pro 12K For Behind the Process Documentary

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Brie Clayton May 6, 2021

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Blackmagic Design announced today that royalty free music licensing and stock footage company Artlist.io used the Blackmagic URSA Mini Pro 12K and Pocket Cinema Camera 6K cameras to shoot the newest spot for the platform, Behind the Process: a 2020 Documentary.

Vice President of Creative for Artlist Liran Friedman set out a goal to produce a documentary that focused on the creative freedom the platform's creators have, and show what those same creators could achieve during a pandemic challenged 2020. The film followed four artists: two musicians from Artlist, a filmmaker for Artgrid (the platform's stock footage portal) and a YouTube content creator, during their creative process. We wanted to show how we can help these artists achieve freedom to create, said Friedman, and how we ultimately can combine all of them together into one high quality platform.

data-src=https://gcs.creativecow.net/wp-content/uploads/2021/05/06011845/2-artlist.jpg alt= class=lazyload wp-image-2409643 data-srcset=https://gcs.creativecow.net/wp-content/uploads/2021/05/06011845/2-artlist.jpg 1000w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06011845/2-artlist-300x164.jpg 300w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06011845/2-artlist-768x420.jpg 768w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06011845/2-artlist-624x341.jpg 624w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06011845/2-artlist-50x27.jpg 50w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06011845/2-artlist-100x55.jpg 100w data-sizes=(max-width: 1000px) 100vw, 1000px />Friedman reached out to popular YouTube filmmaker Austen Paul. We started with Austen since he uses Artlist in a super creative way and offered him to take part in the production, said Friedman. He agreed, and we started playing with the idea of accompanying him as he works on one of his projects. We wanted to combine the polished style of Netflix documentaries with a more candid, fly on the wall style. It was really important for us to document a real project of Austin's, as opposed to making one up for the purpose of the documentary.

With Paul in place, Friedman brought aboard Los Angeles based cinematographer Corey Hour to shoot the project. Corey came in and gave his input on the overall look, location and gear. He offered to shoot with the URSA Mini Pro 12K and showed us a few references. We immediately agreed this would be our camera. The Blackmagic 12K gives us everything we need; high quality image, a professional look and ease of use, allowing our crew to freely document any scene, without having to pause for breaks.

data-src=https://gcs.creativecow.net/wp-content/uploads/2021/05/06011914/3-artlist.jpg alt= class=lazyload wp-image-2409644 data-srcset=https://gcs.creativecow.net/wp-content/uploads/2021/05/06011914/3-artlist.jpg 1000w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06011914/3-artlist-300x164.jpg 300w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06011914/3-artlist-768x420.jpg 768w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06011914/3-artlist-624x341.jpg 624w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06011914/3-artlist-50x27.jpg 50w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06011914/3-artlist-100x55.jpg 100w data-sizes=(max-width: 1000px) 100vw, 1000px />Hour, an accomplished commercial and narrative cinematographer based in Los Angeles, chose to use both the 12K and the Pocket Cinema Camera 6K, the latter as B camera. The style they wanted us to go for was a very open, organic, conversation between the creator and audience, said Hour. They asked us not to light or use any key sources other than the available light on location. Fortunately, the great image out of the cameras using that ambient light worked in our favor for the shots and this project.

Even though shooting with a camera capable of 12K resolution, the new sensor meant the team could shoot at 4K without crop, and still utilize the full sensor of the camera. We shot the entire project in 4K DCI, using Blackmagic RAW. It was comforting to know that I had such flexibility if needed, to shoot multiple frame rates, to change the resolution up to 12K if we needed it, all with the Gen 5 color science. This is really the best camera Blackmagic Design has to offer. It gave me as the DP such confidence.

data-src=https://gcs.creativecow.net/wp-content/uploads/2021/05/06012032/4-artlist.jpg alt= class=lazyload wp-image-2409645 data-srcset=https://gcs.creativecow.net/wp-content/uploads/2021/05/06012032/4-artlist.jpg 1000w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06012032/4-artlist-300x164.jpg 300w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06012032/4-artlist-768x420.jpg 768w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06012032/4-artlist-624x341.jpg 624w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06012032/4-artlist-50x27.jpg 50w, https://gcs.creativecow.net/wp-content/uploads/2021/05/06012032/4-artlist-100x55.jpg 100w data-sizes=(max-width: 1000px) 100vw, 1000px />Hour focused on the documentary style, using a combination of the 12K and Pocket 6K cameras on sliders and body rigs, as well as simply handheld. Shooting a high concept project with a limited crew presented us with many challenges. It took us nearly three hours to light, rig and stage the entire location before we could begin rolling the first take. Having cameras I was confident in, and the fl

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