The Yardbirds Documentary Shot on Blackmagic URSA Cine 12K LF

The Yardbirds Documentary Shot on Blackmagic URSA Cine 12K LF

Brie Clayton March 7, 2025

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Cinematic deep dive into the Yardbirds' legacy, told through large format cinematography for Sky Arts.

Despite their status as one of the most influential British bands of the 1960s, the Yardbirds had never been the focus of a definitive retrospective documentary. Though their story had been explored before, a truly comprehensive documentary only took shape when Nick Samwell-Smith, son of bassist Paul Samwell-Smith, approached Director and DP James Tonkin of London based Hangman.

With the passing of former guitarist Jeff Beck in 2023, it seemed that if we didn't push to make this film, we might miss the chance to talk with enough people from the time who were either part of the band or close to them, noted Tonkin, director and colorist on the project.

With Nick's close connection to his father and former band members, Hangman had unparalleled access to bring the documentary The Yardbirds: In Their Own Words together. Initial filming began in October 2023 with a trip to France to film Paul Samwell-Smith and drummer Jim McCarty, followed by an interview in early 2024 with former guitarist Jimmy Page.

A promo teaser was initially filmed using alternative high resolution cinema cameras and Leica R primes. Although I was happy with the images, I knew I needed to optimize my production workflow for future interviews. Once the project was fully greenlit by mid 2024, I needed to consider the best camera package for the documentary, said Tonkin.

Capturing that legacy meant relying on interviews with band members and those connected to or influenced by them. For Tonkin, that required a camera capable of delivering both stunning visuals and an efficient production workflow.

Time on location was limited, Tonkin explained. Setting up interviews in hotels or people's homes, lighting them, setting up sound, and composing the best and most considered cinematic interview images, all had to be done quickly.

The URSA Cine 12K LF was the only camera I felt truly comfortable with for this workflow, especially as I recorded sound straight into the camera and often filmed for two to three hours at a time for a single interview, he said. Filming at the highest possible resolution allowed me to compose a wider frame and crop for mid shots, achieving two shots with one camera setup.

He added, I conducted several tests and what impressed me most was both the extended dynamic range from the URSA Cine 12K and also the incredibly sharp images from the new large format sensor. Sharpness was crucial for this project, as I knew I'd potentially be blowing up the 12K frame by 200 percent for the mid shots from the interviews.

With a crew consisting of just Tonkin and the executive producer, efficiency was key. The limited setup time meant relying on a single camera for interviews, making every shot count. The production spanned the U.K., Europe, and the U.S., requiring careful management of travel logistics and gear.

To streamline the workflow, proxies were created on set and sent immediately to post for transcripts, editing, and review. Having access to both the content and visuals of past interviews proved invaluable, ensuring consistency in framing and tone. A gallery of stills within DaVinci Resolve Studio further helped maintain visual cohesion throughout the project. Once principal photography began, the same lighting approach and lensing choices were carried through, reinforcing a unified aesthetic.

As a colorist, I have an advantage in my approach to filming and lighting. I know what I can achieve with the image, what I need to protect in highlights and shadows, and how far I can push RAW images in post, Tonkin noted. I framed interviews with enough space to see the locations within the frames and opted for a 2.35:1 aspect ratio. I believe this wider frame subtly influences how the audience perceives the images.

The lighting approach was kept simple, favoring a single source key light to shape the subject while using practical lights or natural daylight from a window to add depth. During the grade, online, and finishing stages, DaVinci Resolve Studio played a crucial role in honing the look. I employed masking techniques for vignette adjustments and selective isolation, helping to subtly direct focus within the frame, while the Film Look Creator plugin became a staple for adding halation, light grain, and shaping the overall color look, explained Tonkin.

A significant portion of the documentary included archival imagery, much of which was too low resolution to use without upscaling. This process took several weeks, reducing noise and artifacts while adding resolution. Only once I was happy with the resolution did I begin to regrade and treat the footage, said Tonkin.

Hangman delivered a final 90 minute feature length documentary to Sky Arts in 4K SDR. I am glad we were able to push for a full feature duration, as the band's story could not have been easily condensed into an hour long film, said Tonkin.

Looking back on the project, Tonkin believes the URSA Cine 12K LF was the ideal choice. No other camera could have allowed me to shoot in such high resolution while comfortably delivering two separate images from the same frame. The ability to record uninterrupted interviews for extended periods also proved crucial. Most importantly, the camera produced stunning images that transported viewers into the homes and locations of the contributors. It was the ideal choice for telling this story, he concluded.

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