International. The second season of CBS's popular legal affairs drama "All Rise" was filmed using multiple Blackmagic Design Pocket Cinema Camera 6K units for the purpose of maintaining safety protocols during the pandemic.
Filmmakers David Harp and Amanda Treyz faced a unique situation, as preparation for the second season began in August 2020. At the time, the pandemic was on the rise and the idea of filming a series on set with actors and a crew spending long hours together just wasn't an option.
That's when executive producer Michael Robin suggested Harp use multiple Blackmagic Pocket Cinema Camera units. The filmmaker had limited experience in such cameras, but he was always surprised by the quality of the images they offer, so he knew it was time to adopt something new. "We had to create a system that would allow us to divide both the production team and the performers into separate booths to limit personal exposure," Harp said. "In order to achieve this, we went from a series of 3 or 4 cameras to a total of 27, all Pocket 6K."
From a set in Los Angeles that represents a courthouse, "All Rise" follows the chaotic, hopeful, and sometimes absurd lives of judges, prosecutors and court-appointed attorneys as they work alongside sheriffs, clerks and police officers to do justice for people in an imperfect legal process. Although the first season was shot in a traditional way, the second would be produced in a very different way, but it was essential that the aesthetics of the series maintained the quality, despite the turbulent times. In order to continue, it was important to find a secure system, and both the production team and the performers quickly adapted to the new paradigm. "It was surreal to go to work when most people weren't even leaving their homes," Treyz said.
The solution was to place Pocket Cinema Camera 6K units on a variety of remotely controlled PTZ heads, Ronin 2 systems, remote sliders, or Steadicam stabilizers. The rest of the cameras, up to 13, were in fixed positions. "The Pocket 6K model is so affordably priced that we were able to acquire multiple units," Treyz said. "In addition, we could shoot general shots and close-ups simultaneously."
The set was filled with platform cameras, all without operators. "Basically, every angle we thought was necessary was photographed, generally with two configurations," Harp added.
The additional features of shooting at a high resolution were invaluable and offered filmmakers flexibility in post-production. "Shooting in 6K gave us a lot of options," Treyz said. "We could shoot a medium close-up, and if the director wanted one more closely, the editor could achieve the desired framing." For Harp, the quality of the images was equally rewarding. "A pleasant surprise was the images that the 6K cameras provided us. When looking at a small camera, one assumes that it will not bring the overall quality of a traditional cinematic unit. But it didn't. The material provided by the Pocket 6K model is fantastic, with exceptional color and great intensity. I really enjoyed the images we've delivered this season."
With the unique setup, only the cameramen who operated the travelin and Steadicam stabilizer were physically required on set, in addition to the performers. The director, filmmaker and camera assistants could enter the stage if necessary, thus reducing the risk of bringing professionals together in one place, despite rigorous testing for the virus. Almost all of the lighting work was done with high platforms that provided 360-degree angles without the equipment being seen on screen. Although the atmosphere was very different from the usual, the professionals adapted quickly. "Everyone's reaction was one of acceptance," Harp said. "The presence of the coronavirus meant that we had to redesign traditional methods, so we are all part of the restructuring process. I'm very proud of the team as they jumped headfirst into using the new system and made it work."
Regarding the cast, Harp believes that, although it was strange at first, he ended up appreciating the hidden values of the new style. "First, the performers felt a little confused due to the lack of staff and the wall of cameras, but as time went on, they fell in love with the method," Harp added. "Also, with fewer settings, they didn't have to repeat each scene so many times, something they appreciated."
Neither Harp nor Treyz are new users of Blackmagic Design's cameras, but the recent season of "All Rise" brought with it a new idea of what was possible. "I choose the camera depending on the style I want to achieve and what I need for the shoot," Treyz said. "Previously, I had used Blackmagic cameras to get complementary angles or specialized shots. I've noticed that the Images in Blackmagic RAW match perfectly with those of other models, and since the company's cameras provide a robust material, they are versatile enough to fit into a wide variety of aesthetics."
In the end, Robin was pleased with the decision to use the cameras. "The new production system kept both the cast and crew safe, while giving us a show with a fantastic aesthetic."
For Harp, after some time, the new system quickly became the norm, and the images offered by the cameras did not disappoint. "Overall, I am very impressed with this model. Honestly, when I was first proposed this concept, I was skeptical. I was worried about whether we missed the cameras we had used for the previous season and had been very comfortable with. However, the quality of the Pocket 6K model is excellent, and I'm proud of every episode we've created with it."
