The era of the Deepfake, exposed with Blackmagic Design

Digital cinematographic chambers of Blackmagic Ursa Cine 12K LF and Cinema Camera 6K were the protagonists of the filming of ‘Tsukurereta Shinjitsu Deep Fake No Jidai’ (‘The Truth manufactured: The era of“ Deepfake ”’), an episode of the NHK Special Documentary Series of Japanese Public Radio.

NHK Special It is the most acclaimed documentary series of the NHK, and it is distinguished both for its rigorous research and by the great quality of its production. Tsukurareta Shinjitsu DEEP FAKE no Jidai It is a unique mixture between documentary and fiction that explores real -life matters related to images deepfake generated by artificial intelligence.

The director of photography Hiroaki Nishimura recorded the dramatic parts of the format using the models URSA Cine 12K LF and Cinema Camera 6K. The first camera, the main project, was deployed with fixed focal distance objectives Sigma. Although most scenes were captured in resolution 4K, some were filmed in 12K: "For example, in a scene in which the characters walk under a bridge, as I did not have a telephoto, I rolled in 12K resolution and then made an approach during postproduction. That type of flexibility is one of the best performance in the camera." Nishimura accompanied the team with the viewfinder Ursa who evf.

The story also required that some of the scenes include recorded material with a telfle. To do this, the production team used the application of Blackmagic Camera: "There are some scenes that were recorded with an iPhone; in one of them, the protagonist's daughter records her family, so we made the young actress film those shots herself. This added realism and, being part of the generation of the digital natives, she did a great job."

The ethalonage process was led by Ryota Kobayashi (Omnibus Japan), who decided to bet on software DaVinci Resolve Studio and a unit DaVinci Resolve Advanced Panel. Although the story is fictitious, the ethalonator wanted to maintain a “certain level of realism"That it will help to reflect how artificial intelligence is progressively integrated into society's daily life:“ As Nishimura is inclined to a slightly more clear visual style, I concentrated on creating strong shadow nuances, while maintaining pure and noise colors. Although the issue of the program is artificial intelligence, we did not want the appearance to be too digital, so I added aesthetic adjustments so that it also saw it as a film. We exclusively use Blackmagic cameras for this project, so the chromatic space was consistent and easier to control. ”

"It was the first time that recorded material with the Ursa who 12k, and from the test shots I could notice that the result was well above the one you get with other cameras. Even when examining the images is isolating each of the RGB channels, the color did not have no noise or inequality that could be appreciated. From my point of view as colorful, with the Ursa Cine you obtain beautiful images with exceptional sharpness and quality, ”concludes Kobayashi.