Tristan Boxford has a great job. He is founder and CEO of the Waterman League, a worldwide organization that represents all kinds of Ocean sports. Tristan was a professional World Champion windsurfer in the 1990s and early 2000s. His latest endeavor is the Association of Paddlesurf Professionals (APP) World Tour and Stand Up Paddling (SUP).
It just so happens that APP uses Blackmagic Design products on all their productions. Distributed in more than 100 countries, they are covering the 2018 championships in London, New York, San Francisco, Paris and the Canary Islands.
The production crew shoots with an inventory of Blackmagic Micro Studio Camera 4K and URSA Mini 4K cameras. Tristan commented, “We stumbled across Blackmagic as we were developing our production office in Hawaii. It is the center of our media operations. The Blackmagic cameras are really interesting and versatile products. We started to use them and when we saw the quality, it was really amazing.
“We saw the benefits of having the same kind of uniform images by staying with all Blackmagic cameras.
“From a Producer’s standpoint, it makes logistics much easier. From the camera crew and post production point of view, having the same look and feel across all the cameras is great. So, that’s how it evolved.
“At SUP (Stand Up Paddling) events, typically we have a 16 person crew in all. Certainly 4K is a good match. We capture 4K images all over the globe, going to extremely beautiful places. We want to make sure we have iconic images that are stored in 4K so that we have a full body of work that can be used for years to come.
“Post-production is a big part of our story. We don’t just want to be an event company that puts out the news of who crossed the finish line first and then the story is over. We definitely are looking at it more from a documentary point of view, telling compelling human interest stories. We’re looking to build storylines permanently as we go across the globe shooting these events. The sport has a lot of interesting personalities. And the locations are these beautiful, iconic places. So we really try to capitalize on that and tell some meaningful stories that can translate well to television.”
printed from Film and Digital Times September 2018 Edition #89-90