Blackmagic Studio Camera records Wedding Talk on set

Streaming Series Wedding Talk Relies on Blackmagic Cloud Store Mini for Streamlined Post Workflow

Blackmagic Design today announced that season one of the Chicken Soup for the Soul Entertainment and Love Stories TV streaming series “Wedding Talk” was created with a Blackmagic Design production and post workflow. Using Blackmagic Cloud Store Mini and Blackmagic Cloud Pod network storage solutions coupled with Blackmagic Cloud, the post team collaborated both locally and remotely, capitalizing on DaVinci Resolve Studio for end to end post to increase efficiency and meet tight network deadlines.

In “Wedding Talk,” Olympic gold medalist and commentator Tara Lipinski is joined by event planner José Rolón and wedding designer Jove Meyer as they examine today’s wedding trends and showcase cinematic wedding films from around the world. Shot in front of a 60 ft. wide by 15 ft. tall LED volume wall, CEO and Executive Producer of To Whom It May Concern Productions Jess Loren wanted to marry technology and drama to put a new spin on the wedding genre.

“There’s a wealth of fantastic wedding videos out there, and Love Stories TV works with videographers across the globe to license their content,” explained Loren. “We wanted to take the concept of watching amazing wedding videos and uplevel it, using technology as a differentiator. We wanted to over dramatize it, taking cues from EDM, neon lights and dark tones, as well as using the LED wall behind the hosts to present the content in a visually stunning and epic way.”

Four Blackmagic Studio Camera 4K Pros, complete with Blackmagic Zoom Demands and Blackmagic Focus Demands, and two Blackmagic Pocket Cinema Camera 6K digital film cameras captured the show in Blackmagic RAW. All cameras, along with a teleprompter and the feed from the LED wall, were fed into an ATEM Mini Extreme ISO live production switcher.

“We recorded all feeds simultaneously, so we had all the materials in one place,” noted Director and Editor Erick Geisler. “The ATEM allowed us to record ISOs and the line cut, spitting out a DaVinci Resolve project file and making post that much easier from the get go. During post, we used DaVinci Resolve Studio and Blackmagic Cloud to their fullest.”

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With three editors, one colorist, one graphic artist and two dialogue mixers, Blackmagic Cloud was essential to the workflow. “I immediately bought Cloud Store Minis and Cloud Pods and put everyone on the same network, and it just all worked,” said Geisler. “The Cloud Store Mini is a magic box. We had multiple people editing off it at the same time, it kept up with everyone, and there were no hiccups. It couldn’t have been easier to collaborate using the proxy workflow in the cloud, and going between different machines and relinking was completely seamless.”

According to Geisler, the further into post the team went, the more the lines blurred between the different departments. “The minute the cut was ready, the mixers could start working on dialogue, and we as editors were even working on the dialogue at times in anticipation to help them out. It really blurred the lines between editorial and sound,” he explained.

Geisler concluded, “The only way we could pull off a show like this with the tight turnaround time and budget was with Blackmagic Design since we had the complete production to post ecosystem. I couldn’t take any chances using various pieces of gear and color spaces that could lead to problems. Everything from the performance to features to the price point exceeded our expectations.”


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