The first Mexican digital manufacturing sport present “Club Cinépolis Desafío India”, a 15-episode collection, was shot in Blackmagic RAW with Blackmagic URSA Mini Pro 12K digital movie cameras.
Mexico’s first digital Production sport present was produced with Blackmagic Design, as “Club Cinépolis Desafío India” relied on Blackmagic URSA Mini Pro 12K for cinematic manufacturing. Club Cinépolis, a main world leisure firm with roots in Latin America, partnered with Mexico primarily based manufacturing firms Bestia Lab and Simplemente, additionally the undertaking’s methods integrator, for the 15-episode collection, obtainable on Cinépolis’ YouTube channel.
The new collection was shot in Blackmagic RAW with Blackmagic URSA Mini Pro 12K digital movie cameras and captivated audiences each week with a median 150K viewers per episode, changing into a social media phenomenon. For the brand new collection Club Cinépolis took manufacturing to the following stage by taking pictures the second season inside a studio at Foro Centro de Producción Virtual outfitted with greater than 200 meters of LED screens, placing eight contestants within the middle of a cine multiverse to compete for a lifetime of free movie show tickets and a journey to India. Each episode featured the contestants finishing challenges in a completely different digital world primarily based on completely different genres, starting from motion to fantasy.
Inspiration from ‘The Mandalorian’
“Partnering with Bestia Lab to produce this revolutionary virtual game show in Mexico for Cinépolis was a huge adventure for us at Simplemente,” mentioned Mónica Reina, cofounder and president of Simplemente. “Nothing like this had ever been done before, so we took inspiration for the set from ‘The Mandalorian’ and ‘The Batman’ as these two films relied heavily on virtual production environments.”
Here is a few extra details about the undertaking:
With manufacturing to be accomplished in simply 10 days, the crew wanted a dependable workflow that allowed them to realize the cinematic outcomes they had been in search of inside funds.
“We needed a mix of powerful cameras for this type of show, each with unique characteristics that would allow us to be versatile on set,” mentioned Reina. “Three URSA Mini Pro 12Ks, positioned throughout the set, were easy to control remotely, and the ability to work with the resolution from 12K to 4K enabled us to zoom and recompose the images to create new shots, effectively doubling and tripling the amount of angles without having to rely on more gear or operators.”
URSA Mini Pro 4.6K G2 for chicken’s eye view
She continued, “We also equipped ourselves with two Pocket Cinema Cameras 6Ks as they were easy to grab and move on set for alternative, close up shots of the contestants. We shot in 6K using these cameras as we wanted to take full advantage of the sensor and not have to crop the size of the image. Also, an URSA Mini Pro 4.6K G2 was mounted on a crane for a bird’s eye view of the contestants while they completed their missions.”
The cameras fed into an ATEM Constellation 8K reside manufacturing switcher, full with ATEM 1 M/E Advanced Panel 10, and an ATEM Mini Pro reside manufacturing switcher included numerous set feeds, which offered an outline of your entire set for logistical planning and was shared with distant manufacturing employees through Zoom to see how the present was coming collectively day by day.
“We selected the ATEM Constellation 8K due to its ability to handle a large number of inputs and work with high resolution signals in 8K, which was necessary for our technical requirements. The switcher allowed us to integrate all video sources and make complex transitions without loss of quality. In a production like ‘Cinépolis,’ this was essential to maintaining consistency in each take,” Reina famous.
Playback from any digital camera at any time
To sustain with the nonstop tempo of manufacturing, the crew relied on seven HyperDeck Studio 4K Pro broadcast decks to file the digital camera feeds, with exhausting drives able to go on to modifying, which proved to be a enormous time saver.
“Being able to capture all cameras in one place also meant we could offer playback from any camera at any time,” added Reina. “This gave great confidence to our camera operators, who could always see the big picture of how the project was developing. It gave them all the immediate benefits of a live broadcast, and we also relied on DaVinci Resolve Studio for quick cuts and to review scenes during production.”
“We are so motivated to start shooting the third season of this fun show,” Reina concluded. “We are confident that with the Blackmagic Design workflow we’ve established, we are positioned for success and continued innovation. The integration we have across all our Blackmagic Design gear is truly remarkable and helps us achieve what is usually a complex production more easily.”
