Sam Wickert, creative director and co-founder of SOKRISPYMEDIA, directed the film. Set in the backlot of a movie studio, an action hero gets caught up in a hilarious and thrilling chase scene. Created to promote the Samsung T7 Shield Portable solid state drive, the film combines traditional production, stunts and stunning VFX, making it one of the company’s most ambitious projects to date.
From the outset, producer Lance B. Witmer was excited to push the boundaries for SOKRISPYMEDIA.
Witmer: One of the things that makes this project different from my previous works is the setting. In addition to the crazy action we love, the story unfolds across studio backlots and multi-genre movie sets. This video contains 7 unique sets, wire stunts, car stunts, chases and brawl scenes. With the largest crew, we shot in two locations in LA over five days, but this was only a substantial part of the physical production before VFX was applied.
Three Blackmagic Design cameras were used to shoot the project, and the small size of the cameras allowed them to move quickly on a tight schedule.
Sam Wickert commented:
Mr. Wickert: This time, the shooting proceeded more quickly and efficiently than usual. I think this speaks volumes. Blackmagic cameras are easy to carry, work quickly, and don’t require a lot of support equipment. Still, you get high-quality, cinema-like images.
The partnership with Samsung also worked in production.
Wickert: We recorded directly from the Blackmagic URSA Mini Pro 12K and Blackmagic Pocket Cinema Camera 6K Pro to the Samsung T7 Shield Portable SSD. This meant that I was able to edit my Blackmagic RAW files while I was shooting on location. These drives were fast enough to record Blackmagic URSA Mini Pro 12K footage at full 12288×6480 resolution. It’s great that the read/write speed didn’t limit the resolution.
Also, with Blackmagic Cloud, the editors were able to start editing the sequence while shooting and never missed a shot.
Malinics: In addition to being able to make temporary edits, it was very important that our VFX director, Brendan Ford, was tracking the VFX shots and making sure we had the information we needed.
Ford believed that the key to the film’s success was its photographic realism.
Ford: All the effects have to fit on the footage plate. So in addition to filming, we had to scan the set, capture a lot of lighting standards, and recreate the scene digitally. It was all about using Blackmagic Cloud to track shots in an ever-changing Resolve project.
Editor Joshua Cole created rough cuts on-site using DaVinci Resolve Studio. He was working on his laptop behind the camera during the shoot. Cole copied footage directly to a Samsung T7 Shield Portable SSD, which served as shared media in DaVinci Resolve Studio for him and Wickert to review edits at the end of the day.
In post-production, the team created over 100 CG shots for the 12-minute video. The collaboration capabilities of DaVinci Resolve Studio and Blackmagic Cloud helped me stay on top of the latest edits. Many shots were composited using Fusion Studio VFX and motion graphics software and the Fusion page in DaVinci Resolve Studio.
For Wickert, the most difficult and challenging scenes were those with realistic snakes.
Wickert: CG snakes grow to 15 meters in size in airplane cabins. I spent a lot of time perfecting the shape and movement of the snake. I am very satisfied because this scene was really realistic.
For its most ambitious work to date, Maliniks appreciates the company’s use of modern tools not only to speed up the video production process, but also to maintain high quality. ing.
Maliniks: We’re constantly evolving and finding ways to improve our workflows and deliver great shots in shorter turnaround times. Learning how to adapt and produce results in the actual production environment often leads to breakthroughs and growth as filmmakers. As always, you rely on Blackmagic Design products to make this happen.