Blackmagic Design Cameras and Gear Used on 2022 Oscar® Nominated Films

21 March, 2022


Blackmagic Design congratulates the production and post professionals whose creativity helped bring the 2022 Oscar® nominated films to audiences around the globe. Blackmagic Design’s Pocket Cinema Camera line of digital film cameras, DaVinci Resolve Studio editing, color grading, visual effects (VFX) and audio post production software, and more were used on a variety of the films nominated for the 94th Academy Awards, such as “The Power of the Dog,” “Belfast” and “Spider-Man™: No Way Home.”

VFX Supervisor Kelly Port used numerous Pocket Cinema Camera 4Ks during VFX shooting on “Spider-Man™: No Way Home" noting that, “The Pocket Cinema Camera 4Ks were valuable in helping us with our VFX workflow. Their high resolution was critical in gathering key information for our post work.”

Some of the Oscar nominated films that used Blackmagic Design gear during production include:
  • “Attica” DP Kevin J. Burroughs used ATEM Mini live production switcher to show camera angles during remote interviews for the documentary;
  • “CODA” DIT Leonard A. Mazzone used Smart Videohub 16x16 router and UltraStudio 4K capture and playback device for on set work;
  • “Free Guy” DIT Daniel A. Hernandez used DaVinci Resolve Studio and UltraStudios for on set work; and
  • “Spider-Man™: No Way Home” VFX Supervisor Kelly Port used five Pocket Cinema Camera 4Ks as witness cameras during VFX shooting.


DaVinci Resolve Studio continues to support post professionals across disciplines. “We would not have been able to work this fast and in such a high quality if it hadn't been for DaVinci Resolve. It is truly a state of the art storytelling tool, which we used to edit, color correct and composite our VFX,” explained film editor Thomas Engell of Sound of Sunrise. “Employing a 4K real time editing workflow, I worked without proxies while also delivering preliminary Foley, sound FX and audio editing using Fairlight.”

Some of the Oscar nominated films that used DaVinci Resolve Studio and accompanying gear during post production include:
  • “Ascension” was graded by Cédric von Niederhäusern using DaVinci Resolve Micro Panel;
  • “Belfast” was graded by Rob Pizzey and online edited and finished by Russell White, both of Goldcrest Post;
  • “Don’t Look Up” was graded by Matt Wallach of Company 3;
  • “Drive My Car” was graded by Yumeto Kitayama of Imagica Entertainment Media Services, Inc.;
  • “Free Guy” was graded by Skip Kimball of Company 3;
  • “The Hand of God” was graded, conformed and finished by Grande Mela Digital Film Srl, which also provided dailies color services;
  • “Lead Me Home” was graded by Leo Hallal and online edited and finished by Ashley Pagán of ZAP Zoetrope Aubry Productions;
  • “The Mitchells vs. the Machines” was graded by Natasha Leonnet of Company 3;
  • “Nightmare Alley” was graded by Stefan Sonnenfeld of Company 3, with DaVinci Resolve Studio also being used in the VFX pipeline by the team at MR. X (which has since merged with the MPC brand);
  • “No Time to Die” was graded 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, composited, graded and finished by Thomas Engell of Sound Sunrise;
  • “The Power of the Dog” was graded by Trish Cahill at Soundfirm;
  • “Shang-Chi and the Legend of the Ten Rings” was graded by Jill Bogdanowicz and additional colorists Jared Pecht and Charles Bunnag, all of Company 3;
  • “Spider-Man™: No Way Home” was graded by Jill Bogdanowicz of Company 3, with DaVinci Resolve Studio also being used in the VFX pipeline by the team at MR. X (which has since merged with 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 graded by Yohance Brown;
  • “Three Songs for Benazir” was graded by Brian Hutchings, with IMF delivery completed by Joe Bogdanovic at Different By Design;
  • “tick, tick…BOOM!” was graded by Stephen Nakamura of Company 3;
  • “West Side Story” VFX Supervisor Aaron Weintraub of MR. X (which has since merged with the MPC brand) used DaVinci Resolve Studio in the VFX pipeline; and
  • “When We Were Bullies” was graded by Robert Arnold of Lateral Films using DaVinci Resolve Mini Panel, DeckLink 4K Extreme 12G capture and playback card, DeckLink Mini Recorders and Mini Converters SDI to Audio.


“I used DaVinci Resolve Studio to grade ‘Drive My Car,’” said Colorist Yumeto Kitayama of Imagica Entertainment Media Services, Inc. “The important thing for better grading is communicating with my client as much as possible. It is essential to understand what they aim for and why. DaVinci Resolve allowed me to grade without any stress and focus on the creative work to get the best quality possible.”

MARVEL and all related character names: © and 2022 MARVEL

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