Antena 3 Documentary Produced with Pocket Cinema Camera 6K Pro and DaVinci Resolve Studio
Blackmagic Design today announced that docuseries “La penúltima y me voy” was shot on the Blackmagic Pocket Cinema Camera 6K Pro digital film camera with post production, including edit and color correction, completed on DaVinci Resolve Studio.
The eight episodes offer viewers a glimpse into the career and private life of Joaquín Sánchez Rodríguez, captain of the LaLiga football club Real Betis. Streamed by Antena 3 on ATRESplayer, the online video platform of the Atresmedia group, Seville based production house Proamagna produced the docuseries.
“Director Tomás Durán wanted to achieve a natural and realistic look typical of a docuseries but with a touch of dramatization to give the narrative around Joaquín, our diamond in the rough, an elegant and unique tone,” begins Iván Puente, technical coordinator at Proamagna.
The production worked in a log color space, avoiding any show LUTs until post production. “More often than not, there was rarely time to plan for or use complex lighting setups, which typically meant relying on natural light only,” he continues.
Puente adds, “With the locations and lighting conditions constantly changing, the combination of color science and dynamic range made the Pocket Cinema Camera 6K Pro ideal for the job, always capturing bright, crisp tones, even in high contrast situations.”
Director of photography and camera operator Juanma Martín confesses that the camera’s dual native ISO was another big plus, helping the production team control the images’ grain and texture. “Most of the time we worked at ISO 400 outside and ISO 1,250 indoors, with DaVinci Resolve Studio’s grain corrector applied in post, resulting in a nice cinematic image,” he revealed.
“The mix of portability and versatility were crucial camera attributes throughout production. The cup final posed some unique challenges as we needed to capture all aspects of Joaquín’s involvement in the game, some of which were less predictable,” notes Martín.
Post production relied on network attached storage (NAS) to manage all of the project rushes, with four editing stations running DaVinci Resolve Studio connected to the NAS via 10Gb Ethernet.
“We copied everything across and then ingested the media into a DaVinci Resolve project, organizing and sorting the clips and then using an SQL database to help index everything ahead of the multicam edit and grade,” explains Puente.
“This was our first complete video post experience in Davinci Resolve and we were impressed,” concludes Puente. “It proved incredibly stable throughout, despite an intensive and demanding multicamera edit. And the fact we achieved real time playback on camera original media was a huge time saver for us.”
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