Blackmagic Design cameras and gear used in many 2022 Oscar nominated films


FREMONT, Calif.—Ahead of the 94th Academy Awards on March 27, Blackmagic Design congratulated a number of production and post-production professionals who used its digital cameras, DaVinci Resolve Studio editing, color grading colors, visual effects (VFX) and audio post-production software and other technologies.

Some of the Oscar nominated films that used Blackmagic Design gear during production include:

  • DP “Attica” Kevin J. Burroughs used the ATEM Mini live production switcher to show camera angles during remote interviews for the documentary;
  • “CODA” SAYS Leonard A. Mazzone used the Smart Videohub 16×16 router and UltraStudio 4K capture and playback device for on-set work;
  • “Free Guy” SAYS Daniel A. Hernandez used DaVinci Resolve Studio and UltraStudios for on-set work; and
  • “Spider-Man: No Way Home” visual effects supervisor Kelly Port used five Pocket Cinema Camera 4Ks as witness cameras during the visual effects shoot.

Some of the Oscar-nominated films that used DaVinci Resolve Studio and accompanying equipment during post-production include:

  • “Ascension” was color graded by Cédric von Niederhäusern using DaVinci Resolve Micro Panel;
  • “Belfast” was scored by Rob Pizzey and edited and completed online by Russell White, both of Goldcrest Post;
  • “Don’t Look Up” was noted by Matt Wallach of Company 3;
  • “Drive My Car” was reviewed by Yumeto Kitayama of Imagica Entertainment Media Services, Inc.;
  • “Free Guy” was noted by Skip Kimball of Company 3;
  • “The Hand of God” was graded, edited and finalized by Grande Mela Digital Film Srl, who also provided daily color services;
  • “Lead Me Home” was scored by Leo Hallal and edited and completed online by Ashley Pagán of ZAP Zoetrope Aubry Productions;
  • “The Mitchells vs. the Machines” was noted by Natasha Leonnet of Company 3;
  • “Nightmare Alley” was noted by Stefan Sonnenfeld of Company 3, with DaVinci Resolve Studio also being used in the VFX pipeline by the MR team. X (which has since merged into the MPC brand);
  • “No Time to Die” was noted by Matt Wallach of Company 3, with DaVinci Resolve Studio also being used in the VFX pipeline by VFX Supervisor Matt Tinsley of TPO VFX;
  • “On My Mind” was edited, composed, scored and finished by Thomas Engell of Sound Sunrise;
  • “The Power of the Dog” was noted by Trish Cahill of Soundfirm;
  • “Shang-Chi and the Legend of the Ten Rings” was noted by Jill Bogdanowicz and fellow colorists Jared Pecht and Charles Bunnag, all of Company 3;
  • “Spider-Man™: No Way Home” was noted by Jill Bogdanowicz of Company 3, with DaVinci Resolve Studio also being used in the VFX pipeline by the MR team. X (which has since merged into the MPC brand) and by VFX supervisor Ed Bruce’s team in SSVFX who used it for VFX editorial, dailies and reviews, and live color sessions;
  • “Summer of Soul (…Or, When the Revolution Could Not Be Televised)” was noted by Yohance Brown;
  • “Three Songs for Benazir” was noted by Brian Hutchings, with the IMF delivery completed by Joe Bogdanovic at Different By Design;
  • “Tick, tick… BOOM! was noted by Stephen Nakamura of Company 3;
  • Aaron Weintraub, visual effects supervisor of MR’s “West Side Story.” X (which has since merged into the MPC brand) used DaVinci Resolve Studio in the VFX pipeline; and
  • “When We Were Bullies” was scored by Robert Arnold of Lateral Films using DaVinci Resolve Mini Panel, DeckLink 4K Extreme 12G capture and playback card, DeckLink Mini Recorders and Mini SDI to Audio Converters .
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