​James Arthur Promo Show With BMD Raw

London creative studio Electric Light Studios has used the Blackmagic URSA Mini Pro 4.6K G2 to create Sigala and James Arthur’s - Lasting Lover music video.

In a change of tone from the original song and video, Electric Light Studios altered the ambience with a shoot at the Rivoli Ballroom in London featuring James Arthur on vocals and guitar, Sigala on piano and complimented by a string orchestra.

Video Director, Andy Morgan, says: "For this acoustic version of ‘Lasting Lover’ I wanted to contrast the high energy, neon exteriors from the main promo with an open, warm, interior setting. The focus here was on musicianship, songwriting, and performance; showcasing talent without filters.”

“For this shoot, we opted to use the URSA Mini Pro G2 as it comfortably suits our needs for a beautifully cinematic image. The camera operated on a Moviola dolly as I wanted constant movement, but in a more restricted and consistent way than could be achieved with a gimbal.”

“We acquired with Blackmagic RAW at 3:1 in constant bitrate. I love the codec as it gives me a lot of options in the grade at a very reasonable data rate, even at the lower end of the compression ratios. We used this same set up on the previous acoustic session I directed for Sigala as well (We Got Love). There we shot with bolder highlights in natural light, here we had to be more concerned for our shadows, however in either case, the camera held up well.”

Once the shoot was complete, the team took the project into grade and discovered inconsistencies throughout due to the range on the anamorphic lenses. Still, they expect these variables when using vintage lenses.

You might also like...

Designing IP Broadcast Systems - The Book

Designing IP Broadcast Systems is another massive body of research driven work - with over 27,000 words in 18 articles, in a free 84 page eBook. It provides extensive insight into the technology and engineering methodology required to create practical IP based broadcast…

Demands On Production With HDR & WCG

The adoption of HDR requires adjustments in workflow that place different requirements on both people and technology, especially when multiple formats are required simultaneously.

NDI For Broadcast: Part 3 – Bridging The Gap

This third and for now, final part of our mini-series exploring NDI and its place in broadcast infrastructure moves on to a trio of tools released with NDI 5.0 which are all aimed at facilitating remote and collaborative workflows; NDI Audio,…

Designing An LED Wall Display For Virtual Production - Part 2

We conclude our discussion of how the LED wall is far more than just a backdrop for the actors on a virtual production stage - it must be calibrated to work in harmony with camera, tracking and lighting systems in…

Microphones: Part 2 - Design Principles

Successful microphones have been built working on a number of different principles. Those ideas will be looked at here.