Been creating still images for the ad world for some time now.
Could be very cool for nitch projects that don't involve much movement. That rolling shutter jello effect is just too severe for anything remotely "normal". But the look is truly beautiful.
It's interesting and ironic how Blackmagic is promoting how the URSA Mini Pro was used as the A camera on this production and yet it was modified with the Rawlite OLPF which unless I'm mistaken voids the warranty.
"We promise to never go full frame"... except of course with our medium format GFX 50S which blows right past "full frame"! So no, nothing larger than M4/3 unless it's massively larger.
Good interview and insights into their process, but nothing is mentioned on how to actually get your film in front of the Vimeo staff so they can either pass or fail it for a staff pick. With likely thousands of uploads daily on Vimeo, I seriously doubt that the Vimeo staff views all uploads. So how do they pick what gets watched?
Cameras that can shoot cleanly at ultra high ISOs is the key factor in using small lights where big lights were once needed. Big lights will always be needed, but as ISO numbers increase, smaller ones will be able to replace bigger ones in certain circumstances.