Joseph Kahn’s new film “Ick” has been completed using a full Blackmagic Design workflow. The production utilized both the URSA Mini Pro 12K OLPF and Pocket Cinema Camera 6K cameras for shooting, alongside DaVinci Resolve Studio, Blackmagic Cloud, and Blackmagic Cloud Store Mini 8TB network storage solutions for post-production.
Kahn's Vision Brought to Life
“Ick” is a mix of over-the-top horror, comedy, alien invasion, and satire. Kahn, known for his amazing visuals and high-paced action, has directed films including some of the most iconic music videos of the past decade. The film premieres at the 2024 Toronto International Film Festival and stars Brandon Routh and Mena Suvari.
Production Workflow
The film was shot in Houston, TX by cinematographer David Weldon. Post-production duties were shared between editor Chancler Haynes, assistant editors Edward Schroer and Sam Cook, who worked from various locations in Los Angeles. Color correction was handled by Walter Volpatto of Picture Shop.
Collaboration and Technology
The project required seamless collaboration between production and post-production teams. Blackmagic Cloud and Cloud Pod network storage solutions facilitated remote work, enabling Kahn to stay involved in the editing process directly from Houston while Haynes worked from Los Angeles.
“It was a bit like shooting a music video in terms of a fast-paced set,” Weldon explained. “Joseph had a specific vision for every part of the film, and we used Blackmagic cameras to find creative shots and place them in tight spaces.”
Editorial Efficiency
This was Haynes’ first time editing an entire feature film using DaVinci Resolve Studio. He noted that working with Kahn and the Blackmagic Cloud tools made it easier to achieve Kahn’s vision.
“Joseph is a filmmaker that is very far thinking,” Haynes said. “Being able to collaborate with him using Resolve and Blackmagic Cloud was a huge creative help.”
VFX Integration
Kahn used DaVinci Resolve Studio’s Fusion page and its AI features to mock up VFX scenes, sharing them with the editing team via Blackmagic Cloud. This process helped manage more than 1,000 VFX shots in the film.
Camera Flexibility
The URSA Mini Pro 12K OLPF and Pocket Cinema Camera 6K were chosen for their versatility and affordability. Weldon highlighted the cameras’ ability to meet 4K streaming guidelines and blend seamlessly with other equipment on set.
“The URSA Mini Pro 12K gave me the ability to do so much,” Weldon said. “It allowed us to shoot in anamorphic for the entire film, providing flexibility for punch-ins and adjustments in VFX.”