Chimp Crazy Docuseries Captured with Blackmagic Design
Blackmagic URSA Mini Pro 12K captured critical interviews for the hit Max series.
Blackmagic Design today announced that the hit docuseries “Chimp Crazy” was shot with Blackmagic URSA Mini Pro 12K and Blackmagic Pocket Cinema Camera 6K digital film cameras. The cameras’ versatility and reliability allowed the team to capture dynamic interviews and engaging storytelling for the twist filled series.
From Director Eric Goode (“Tiger King”), “Chimp Crazy” explores the world of chimpanzees living in captivity and the women who raise and love them. Featuring Alan Cumming, the docuseries follows cautionary tales of what happens when chimps are brought into people’s families and homes. The series was captured by DPs Benji Lanpher, Gabe Mayhan, Christopher Messina and Ryan Nethery, with Clint Byrne providing additional cinematography.
Byrne captured six interviews for the docuseries, including notable sit downs with Cumming and reporter Cheyenne Roundtree. “My setup typically included the URSA Mini Pro 12K as the semi close up camera, so they could punch in more in post if needed, an URSA Mini Pro 4.6K G2 for the wide shot, and one Pocket Cinema Camera 6K for additional angles, with another on a gimbal. The interviews with Roundtree and Cumming also featured Goode, so we made sure to have extra cameras ready for verité,” explained Byrne. “Some locations were set up by production and others were in the subjects’ homes, which required us to be a bit more adaptable and use a kit that allowed for a quick set up.”
Byrne also noted that this setup allowed for more dynamic interview coverage. “While one of the defining looks is established ultra wide frames, it’s hard to consistently cut back to those shots and have impact without fatigue. What I loved about the Blackmagic Design setup we used was it gave us a variety of extra angles, so we didn’t always have to go back to the same wide or tight shot. It provided the director and editor more choices and kept things refreshing for the audience,” he said.
Having previously worked with the series’ producers and director on another documentary, Byrne was familiar with the style of well directed, artistic frames and wide shots that they were striving for. “I knew the standard they were looking for, which can take a bit of time to craft. It was an exciting challenge to do it well in a short period of time with not a lot of crew. You have to work smart and be decisive to create a plan almost as soon as you see the space. I personally love lighting, so I like to find creative, fast ways to make a strong, soft light in various situations. On top of a well crafted, interesting composition, I was also moving fast to set up multiple angles before talent even sits down, since their arrival is often included in the final edit.
“Since I have a huge arsenal of Blackmagic Design cameras, I could use an extra camera or two to be more creative and not limited by budget. From experience, I know I can use any of my Blackmagic cameras from different generations and not have to worry about color matching,” Byrne added.
“I love working on documentaries because I get to walk in a different life for a bit, try on that world and examine something people don’t often get to see up close. It’s an honor to do that, but it’s also a responsibility to do it with some respect,” Byrne noted. “When shooting docs, it’s not unheard of to be in dangerous spots or around dangerous people. I’ve worn bulletproof vests, hung out of cars and helicopters, walked through the rainforest, hiked to Everest, and skateboarded 26 mph while holding a camera, all to get the shot. But obviously working with animals requires a different approach because animals are not reliable, even when they are used to being around humans.”
He continued, “Filming the interviews for ‘Chimp Crazy’ was helpful since I got to hear the stories and knew the danger of chimps by the first time I filmed with Chance, one of the notable chimpanzees featured in the series. While shooting those scenes, communication was super important, as well having a backup plan and always keeping my guard up. Safety was of the utmost importance, so the less I had to think about the technology, the better, which is why having reliable gear was crucial for this project.
“What I love about Blackmagic Design is I’m never fussing with menus or settings; I can smoothly transition to change shutter speed, change audio, or switch to slow motion. The cameras feel engineered by someone who uses them. They have become my top choice because I never have to ask my AC, ‘can you change this setting?’ I might still ask, but not because I can’t find it.”
Byrne concluded, “I’ve been shooting with Blackmagic Design for years, and I’m always confident in the cameras because I’ve worked on plenty of projects where the post house or editor will reach out on the side and comment how much they love working with my footage. I’d like to say it’s because I am such an amazing cinematographer, but it’s because Blackmagic has really nailed it for post. Blackmagic RAW is exceptional, the color science is great, and if you know how to expose and compose, you will get great footage.”
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