Flying Lap Media shoots automotive content with Blackmagic

Director of photography Chris Ortenburger, owner of the production company Flying Lap Media, opts for solutions of Blackmagic such as the Pocket Cinema Camera 6K Pro for shooting all types of automotive content, especially racing competitions.

Ortenburger, from your company Flying Lap Media, works with clients like GT World Challenge America, Fanatec, BMW North America, CrowdStrike Racing and the International Motor Sports Association (International Motor Sports Association) (IMSA), entre otros.

User of Blackmagic Design since its inception and defender of the format Blackmagic RAW, has recently started working with the modelo Pocket Cinema Camera 6K Pro Because of the size and flexibility it offers: My most recent battle weapon is the Pocket 6K Pro camera. Thanks to the larger and rotating screen, coupled with the small size, it is a versatile unit for recording content in various ways in a single shot. Whether you love or hate the vertical video format, it looks like it's here to stay, and it's easy to be shooting horizontally and immediately rotate the camera to get vertical shots as well. By using the native Blackmagic RAW format and integrated neutral density filters, you get an ideal work tool for any fast-paced videographer creating diverse content.” With this camera, Flying Lap Media has recorded the Rolex 24 at Daytona for posterity and will imminently work on the IndyCar season opener in St. Petersburg, Florida.

Ortenburger is always looking for new options and recently tested a digital film camera Blackmagic URSA Mini Pro 12K and he was fascinated by her. In this regard, he states: "It is an exceptional camera and underrated for that price range. Of course, just for fun, I did a test recording material in 12K resolution (12,288 x 6,480), and how amazed. You can barely understand how you can access an image of such a size at a price comparable to the lower resolution cameras on that market. The URSA Mini Pro 12K model is also one of the few that offers a frame rate of 240 frames per second. Slowing down cars traveling over 180 mph is a great storytelling tool.”

Regarding post-production, Ortenburger opts for DaVinci Resolve Studio, the editing, color grading, visual effects and audio post-production program, both when working on chromatic correction and rest of the aspects of post-production: I always knew about the existence of Resolve, but I avoided learning how to use it. Finally, the program I was using started constantly having problems at the worst time, so I decided to take the leap and learn how to use it. I always assumed it was just a grading tool that also included editing tools in the background. However, he found Resolve to be an amazing non-linear editing system, and the sound and graphical animation features are of the same ilk. Since then, I have never stopped using it and use it daily to complete my projects from start to finish.”