Hangman’s James Tonkin captured The Yardbirds’ legacy with URSA Cine 12K LF for its dynamic range and resolution that allowed him to compose a wider frame and crop for mid-shots.
James Tonkin, Director and DP of Hangman in London, has taken up the challenge of turning the spotlight on 1960s British band, the Yardbirds. Though considered one of the most influential bands of its era, the Yardbirds had yet to be the focus of a retrospective documentary. That situation changed when Nick Samwell-Smith, son of bassist Paul Samwell-Smith, approached James with the idea.
“With the passing of former guitarist Jeff Beck in 2023, it seemed that if we didn’t push to make this film, we might miss the chance to talk with enough people from the time who were either part of the band or close to them,” James said. Therefore, the first stage was shooting new footage to capture the band’s legacy through interviews with the members and those connected to or influenced by them.
Getting Behind the Camera
With Nick’s close connection to his father and former band members, Hangman had direct access to bring the production together. Titled The Yardbirds: In Their Own Words, initial filming began in October 2023 with a trip to France to film Paul Samwell-Smith and drummer Jim McCarty, followed by an interview in early 2024 with former guitarist Jimmy Page.
James took the roles of director and colourist on the project. A promo teaser was initially filmed using high resolution cinema cameras and Leica R primes. “Although I was happy with the images, I knew I needed to optimize my production workflow for future interviews,” he said. “Once the project was fully greenlit by mid 2024, I needed to consider the best camera package for the documentary.”
James would need a camera capable of both high visual quality and an efficient production workflow. He noted, “Time on location was limited. Setting up interviews in hotels or people’s homes, lighting them, setting up sound and composing the best, most effective, cinematic interview images – all of this work had to be done quickly.”
One Camera Setup – Two Shots
For James, the Blackmagic Design URSA Cine 12K LF was the only camera he felt could cover all aspect of such a dense workflow, especially since he could record sound straight into the camera. He often filmed for two to three hours at a time for a single interview. He said, “Filming at the highest possible resolution allowed me to compose a wider frame and crop for mid-shots, in effect achieving two shots with one camera setup.
“I conducted several tests and what impressed me most was both the extended dynamic range from the URSA Cine 12K and also the incredibly sharp images from the new large format sensor. Sharpness was crucial for this project, as I knew I’d potentially be blowing up the 12K frame by 200 percent for the mid shots from the interviews.”
With a crew consisting of just James and the executive producer, efficiency was a key factor. The limited set-up time meant relying on a single camera for interviews, making every shot count. The production spanned the UK, Europe and the US, requiring careful management of travel logistics and gear.
To simplify the workflow, proxies were created on set and sent immediately to post for transcripts, editing and review. Having access to both the audio content and visuals of past interviews proved invaluable, ensuring consistency in framing and tone. A gallery of stills within DaVinci Resolve Studio further helped maintain visual cohesion throughout the project. Once principal photography began, the same lighting approach and lensing choices were carried through, reinforcing a unified look.
The Colourist’s Advantage
“As a colourist, I have an advantage in my approach to filming and lighting. I know what I can achieve with the image, what I need to protect in highlights and shadows, and how far I can push RAW images in post,” James remarked. “I framed interviews with enough space to see the locations within the frames and opted for a 2.35:1 aspect ratio. I believe this wider, cinema-style frame subtly influences how the audience perceives the images.”
The lighting approach was kept simple, favouring a single source key light to shape the subject while using practical lights or natural daylight from a window to add depth. During the grade, online and finishing stages, DaVinci Resolve Studio played a role in refining the look.
“I employed masking techniques for vignette adjustments and selective isolation, helping to subtly direct focus within the frame. The Film Look Creator plugin was what I used for to add halation, light grain and shape the overall colour look,” said James. Film Look Creator was added to DaVinci Resolve for the latest version 19. Its controls alter colour shading, vibrance, hue and the luminance of an image, so that users can apply different film looks.
Into the Archives
At this point, the production’s focus could turn to the next stage. A significant portion of the documentary was compiled from archival imagery, much of which was of too low a resolution to use without upscaling. Compared to the shoot, the work was more technical and time-consuming. “This upscaling process took several weeks, reducing noise and artefacts while adding resolution. Only once I was happy with the resolution did I begin to regrade and treat the footage,” James said.
Hangman delivered a final 90 minute feature length documentary to Sky Arts in 4K SDR. He is pleased they were able to push for a full feature duration, as he feels the band’s story could not have been easily condensed into an hour long film.
Looking back on the project, Tonkin believes the URSA Cine 12K LF was his best option. “No other camera could have allowed me to shoot in such high resolution while comfortably delivering two separate images from the same frame,” he commented.
“The ability to record uninterrupted interviews for extended periods also proved crucial. Most important, the camera produced wonderful images that transported viewers into the homes and locations of the contributors. It was the ideal choice for telling this story.” www.blackmagicdesign.com
