Deep inside the set of "Bedlam" with a Blackmagic Design URSA Cine 17K 65

par Blackmagic Design Caméra et Postproduction - 1er juin 2026 - Modifié le 1er/06 Contre-Champ AFC n°379

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James Butler, who directed the feature film’s photography, opted for an URSA Cine 17K 65 camera for principal photography, paired with Hawk65 anamorphic lenses, with the story exploring how the production combined a wide-format image pipeline with Blackmagic Cloud and DaVinci Resolve to streamline rushes and editing.

Bedlam is set in London around 1750 and follows boxer Jack Slack as he tries to free his sister from the asylum that gives the film its title. His world is defined by firelight, smoke, and confined spaces—elements that put the cinematography to the test. Director Jon Shaikh wanted the dramatic moments to carry the narrative as much as the fight scenes. To achieve this, the visual approach had to combine coherence and detail.

While cinematographer James Butler had worked on historical films before, he had never gone back as far as the 18th century. He liked the idea of shooting on 65mm film, believing that this format would provide the presence and texture required by the story.

Having long been interested in medium format photography, he couldn’t resist the allure of large-format cinematography. However, 65mm cameras are very expensive, especially for independent films with tight budgets. Finding an affordable camera was going to be a major challenge.

With the Bedlam project in mind, Butler wondered if the URSA Cine 17K 65 could be the camera that met his needs. “I’ve always loved medium format and the way it renders faces and depth,” he says. “It seemed like a good option for this story.”