Blackmagic Pocket Cinema Cameras and DaVinci Resolve Used on Esquire Network s Brew Dogs

Blackmagic Pocket Cinema Cameras and DaVinci Resolve Used on Esquire Network's Brew Dogs' Fremont, CA - October 9, 2014 - Blackmagic Design today announced that three Pocket Cinema Cameras are being used to shoot footage for Esquire Network's hit television show Brew Dogs, including driving scenes, food and beer photography and character hero shots. DaVinci Resolve is being used to color grade the series by Kelly Reese of Deluxe, a global leader in media and entertainment services.

Brew Dogs follows James Watt and Martin Dickie, owners of the UK's fastest growing brewery, as they travel across America visiting different beer towns, celebrating distinctive craft beers and creating their own locally inspired drafts. Director and Executive Producer Jared Cotton, of Brew Dogs production company Custom Redtail Partners, works closely with DP Todd Bell to create a documentary style show with a cinematic look to it.

There is very little time to produce an insane amount of content, all while ensuring it has a cinematic aesthetic, said Jared. Since the aesthetic is so important, and driving scenes are such a big part of each episode, we wanted to do more than suction cup cameras to the dash, while not fully rigging a car with large cameras. Once we saw what the Pocket Cinema Cameras were capable of in terms of small footprint and image quality, we were hooked. We use them in almost every single scene because we want the entire series to feel cinematic.

One of my favorite driving scenes was shot at night on the Las Vegas strip using the actual car from Fear and Loathing in Las Vegas.' We couldnt damage a piece of film history, but we still wanted to get a great scene, said Todd. We mounted the cross shooting Pocket Cinema Cameras inside the car, which was much safer and would have been impossible with our main unit cameras because of their size. It was one of our most visually stunning scenes of the season. The detail, dynamic range and skin tones from the Pocket Cinema Camera are really impressive.

In addition to driving scenes, the Pocket Cinema Cameras are used to capture multiple angles and wide shots and are often mounted on main unit cameras to capture different shot sizes from the same perspective.

The show is about the process of making artisan, hand crafted beers, and the images should have that same love and attention to detail put into them, said Todd. I am blown away by the Pocket Cinema Camera's dynamic range. The amount of detail we are able to hold in the highlights outside of car shots, while holding detail in the shadows within the car, is amazing. The sharpness is even better than I had imagined, and rigging with the cameras is really fun and rewarding.

Previously, rigging a vehicle could take three hours and multiple crew members, but now we are ready to go in under 30 minutes, said Jared. The cameras also have a huge impact on product shots. We can leave our second unit DP, Jessica Fisher, at a location with a small lighting package and a Pocket Cinema Camera, not only saving time, but utilizing the cameras amazing sensor to properly showcase the real star of the show, the beer.

Shot in ProRes in Log to utilize the sensors entire dynamic range, colorist Kelly Reese benefits from having room to play with different looks during color grading with DaVinci Resolve.

Jared and Todd are passionate about color correction and dont want the typical over saturated reality show look. It needs to be more natural, more filmic, said Kelly. To help achieve this, they shoot in Log mode, which I'm very excited about as it allows me more range to work with and helps retain more highlight detail.

Because nearly all the footage is shot in Log, but from different cameras and under varying lighting conditions, I use color corrections before and after LUTs for maximum quality. I love that DaVinci Resolve allows LUTs to be applied on a node, he continued. For additional control of the gamma curve, I adjust the custom curves to get just the right amount of detail in the lower gamma and the upper gamma. In video color correction, it's easy to fall into the trap of just adjusting the Lift, Gamma and Gain and to forget about the in between areas. Custom curves are a good way to address that.

The bottom line is to apply organic looks, but with around 1,600 events per show, it has to be done quickly and efficiently. I use preset memories set for different looks and cameras, and I still have to modify the corrections for each shot, but they serve as great starting points, Kelly concluded. Our online editor works in his bay while I'm color correcting in my bay, which also makes for an incredibly efficient workflow. When there are new or revised shots for the show, he passes them to me, and I drop them onto a new track in my timeline. Having multiple tracks in Resolve really helps me stay organized.

Press Photography Product photos of Blackmagic Pocket Cinema Camera and DaVinci Resolve are available at www.blackmagicdesign.com/press/images.

About Blackmagic Design Blackmagic Design creates the world's highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design's DeckLink capture cards launched a revolution in quality and affordability in post production, while the company's Emmy award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engi

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