Blackmagic Design today announced that the company’s production and post products are being used to complete many of the fall 2018 season’s new and returning television shows and streaming series. More than 55 shows rely on Blackmagic Design’s digital film cameras; Fusion Studio visual effects (VFX), compositing, 3D and motion graphics software; and DaVinci Resolve Studio editing, color correction and digital audio software; as well as its switchers, routers, monitors and capture and playback devices.

Growing on the more than 40 fall TV shows announced in 2017, the 2018 shows, such as “Charmed,” “The Marvelous Mrs. Maisel” and “The Big Bang Theory” join the hundreds of top shows created with Blackmagic Design products.

DP Judd Overton relies on the URSA Mini Pro and Micro Cinema camera to capture unique angles and provide additional coverage on “No Activity” for CBS All Access. “I shoot a very cinematic look on a tight schedule,” said Judd Overton, cinematographer for “No Activity”. “I need to know my camera has the latitude and flexibility I need. The URSA Mini Pro and Micro Cinema Cameras are designed to work for post production and I know they have the image quality I need for the show. I’m always eager to put the Blackmagic cameras into play on a scene.”

Los Angeles based InvisEffects relies on DaVinci Resolve for a number of fall shows: “We use DaVinci Resolve almost every single day. It’s a vital part of our VFX workflow,” said Mike Gaines, owner of InvisEffects. “We use Resolve to conform and export hundreds of shots every episode, and it has saved us many times, such as when we tried to conform RED 8K to 4K and HD in a couple of different aspect ratios. It’s pretty incredible.”

Hollywood based VFX studio Muse VFX depends on Fusion Studio for VFX work and compositing on a wide range of shows. “Fusion Studio is a major part of our pipeline,” said John Gross, Founder and Creative Director of Muse VFX. “It’s a powerful creative tool with great flexibility and low overhead. It easily competes with other node-based compositing options at a fraction of their cost.”

Some of the 2018 fall series using Blackmagic Design cameras and hardware include:

• “Jack Ryan” DP Richard Rutkowski used Micro Studio Camera 4Ks as action and crash cameras, as well as to capture unique, remote angles;
• “Madam Secretary” DP Learan Kahanov used Pocket Cinema Cameras for specialized shots, including webcam, surveillance cameras and cell phone footage;
• “No Activity” DP Judd Overton used URSA Mini Pro, URSA Mini 4.6K, Micro Cinema Camera and Video Assist 4k;

For On-set Grading and DIT Work:

• “Bull” DIT Gabe Kolodny used Smart Videohub 40×40 router, Videohub Smart Control, SmartScope Duo 4K monitor and UltraStudio Express;
• “God Friended Me” DIT Abby Levine used UltraStudio 4K, UltraStudio HD Mini, DaVinci Resolve, and Mini Converters;
• “Madam Secretary” DIT Keith Putnam used Smart Videohub 20×20, Mini Converters, UltraStudio Mini Monitor, Media Express and DaVinci Resolve Studio for viewing camera original media, reviewing VFX comps from post, pulling high quality stills and PowerWindow work;
• “Splitting Up Together” DIT Francesco Suata used Smart Videohub 12×12;
• “Station 19” DIT Andrew Lemon used Smart Videohub 40×40;
• “The Goldbergs”DIT Kevin Mills used Smart Videohub 16×16, Mini Converter SDI Distribution, DeckLink Mini Monitor, DeckLink Mini recorder, SmartView Duo, DaVinci Resolve and Clean Switch 12×12;
• “All American” DIT Urban Olsson used DaVinci Resolve, Smart Videohub 12×12 and 20×20, UltraStudio HD Mini, DeckLink Mini Recorder and DeckLink Mini Monitor;
• “Crazy Ex-Girlfriend” DIT Sam McConville used ATEM 1 M/E Production Studio 4K switcher, SmartView Duo monitor, SmartScope 4K, Micro Converter HDMI to SDI, DaVinci Resolve and DeckLink Mini Recorder;
• “The Kominsky Method” DIT Dane Brehm used a Smart Videohub CleanSwitch 12×12, ATEM Production Studio 4K, Smart VideoHub 12×12, SmartView Duo, Smart Scope Duo 4K and an UltraStudio 4K;

For VFX with Blackmagic Design cameras, DaVinci Resolve and Fusion Studio:

• Muse VFX Founders and Visual Effects Supervisors John Gross and Fred Pienkos and their team use Fusion Studio to composite “Charmed,” “Madam Secretary,” “NCIS” and “The Neighborhood”;
• BluFire Studios Owner and VFX Supervisor Matt Hoffman and his team use Fusion Studio for “The Outpost;”
• Crafty Apes VFX Editors Brock Shekelton and Heather Taylor use DaVinci Resolve Studio as part of their VFX editorial work on “Legacies”;
• VFX Supervisor Lesley Robson-Foster uses an URSA Mini Pro and Pocket Cinema Camera 4K for VFX plates on “The Marvelous Mrs. Maisel”;
• InvisEffects owner Mike Gaines used DaVinci Resolve for conform, plate output for VFX on “Speechless,” “Single Parents,” “Happy Together” and “Mixtape”;
• Filmworks/FX NY VFX Supervisor Mike Warren and his team uses DaVinci Resolve as an integral component of their VFX pipeline, along with an Intensity Shuttle for Thunderbolt for playback and Production Camera 4Ks for VFX shots for “Blue Bloods;”
• Fuze FX created a driving plate rig using Micro Cinema Cameras for use on a variety of projects including “Happy Together”;
• VFX Legion used DaVinci Resolve to manage plates in their VFX pipeline.

For Post Production with DaVinci Resolve Studio:

• Technicolor’s David Aaron Waters grades “Lore”;
• Technicolor’s Roy Vasich grades “The Man in the High Castle”, “Station 19”, “Grace and Frankie” and “Prince of Peoria”;
• Sim International’s John Persichetti grades “Dynasty”;
• Technicolor’s Sparkle grades “Mom,” “The Big Bang Theory,” “How To Get Away With Murder,” “Supernatural” and “Man With A Plan”;
• Technicolor’s Tony Dustin grades “Camping” and “Tell Me a Story”;
• Company 3’s Siggy Ferstl grades “Narcos: Mexico”;
• Deluxe’s Mark Wilkins grades “Bull”;
• Technicolor’s Tim Vincent grades “Criminal Minds” and “Dead To Me”;
• Encore’s Tony D’Amore grades “Elementary,” “The Punisher”, “Jessica Jones” and “Daredevil”;
• Encore’s Tim Stipan grades “God Friended Me”;
• Sim International’s Todd Bochner grades “Madam Secretary” and “Jane the Virgin”;
• Picture Shop Post’s Mason C. Young grades “NCIS”;
• Digitalfilm Tree’s Patrick Woodard grades “NCIS: Los Angeles” and “American Housewife”;
• Deluxe’s George Delaney grades “NCIS: New Orleans”;
• Company 3’s Tim Stipan grades “Ozark”;
• The Foundation’s Phil Azenzer grades “Black-ish”;
• Point 360’s Aidan Stanford grades “Fresh Off the Boat”;
• ColorTime’s Russell Lynch grades “A Million Little Things” and “Life In Pieces”;
• LA Studios’ Michael Mintz grades “Speechless”;
• Level 3 Post’s Scott Ostrowsky grades “The Goldbergs”;
• Company 3’s Dave Hussey grades “The Rookie”;
• Technicolor’s Tom Forletta grades ““Haunted”;
• Picture Shop Post’s George Manno grades “The Kominsky Method” and “Arrow”;
• Digitalfilm Tree’s Dan Judy grades “The 100”;
• Fueldfilms’ Kevin Kerwin grades “American Horror Story”;
• EFILM’s Tom Reiser grades “Riverdale”;
• Apache’s Shane Reed grades “Chef’s Table”;