Shot in Blackmagic RAW on URSA Mini Pro 12K, with crews and editors dispersed, it was Cloud Store, Cloud sync and DaVinci Resolve project sharing that kept this project moving.
Haunted is a new docuseries produced for ARTE, developed as a new look at ARTE’s established Discoveries series. The programme shifts from a traditional nature documentary format to explore how folklore shapes the present day.
“Discussions began in 2022, and what ultimately secured the green light was the series’ unusual concept, breathing new life into Discoveries’ conventional format,” said series’ director and DP Frank Mirbach, who worked with production company Mineworks Film
Principal photography ran from autumn 2023 to summer 2024, with post production proceeding in parallel for delivery in late 2024. “Some shoots, especially in Louisiana and Romania, were postponed due to weather and permit delays. Despite this, post on the first two episodes stayed on track and both are ready for broadcast,” Frank said.
Compact Remote Production
Using the URSA Mini Pro 12K digital film camera and recording in Blackmagic RAW allowed Mineworks Film to keep the crew small without compromising image quality. “The compact camera setup and straightforward controls reduced setup and lighting time considerably,” he said. “Shooting in 8K Blackmagic RAW struck a balance between flexibility in post – such as reframing and stabilisation – and manageable data size, which was especially important for documentary production that relied on a workflow handled largely on set.”
Production averaged between one and two hours of footage a day, often in remote places. At wrap, the on-set DIT cloned media in DaVinci Resolve Studio to two destinations – a SanDisk ProBlade system and a Blackmagic Cloud Store Mini 8TB network storage device. “This workflow ensured both redundancy and immediate availability for the post team,” said Frank.
“Our camera originals lived on the Cloud Store Mini, with proxies generated automatically using the Blackmagic Proxy Generator App, and then synced via Blackmagic Cloud to the editors back in Germany. Rough cuts were then assembled in DaVinci Resolve Studio using those proxies and we relinked to the full-resolution 8K Blackmagic RAW for grading, finishing and delivery once the cut was locked.
“Day to day, Blackmagic Cloud Store, Blackmagic Cloud sync and DaVinci Resolve project sharing were what kept this project moving. With crews and editors in different places, that combination helped to close the distance. We could pass scenes back and forth, share project files live and keep feedback loops short while we were still on location.”
An Abundance of Stories
The primary challenge for the series was the abundance of compelling locations, protagonists and stories. “So much material, but limited broadcast time,” Frank commented. “We refined the story during editing for better pacing and narrative tension, aiming for a more engaging experience. Editing continued largely in parallel with production, using Blackmagic Cloud. As the footage was uploaded and synced daily, the post team could begin assembling scenes even as the crew worked on location.”
This parallel workflow significantly reduced turnaround times and made ongoing creative feedback possible during the shoot. During editorial, the main challenges lay in managing multi location media and coordinating feedback across different time zones, both of which were greatly simplified by Blackmagic Cloud collaboration tools.
One sequence at Slains Castle in Scotland shows the techniques Mineworks Film used to build mood. “We opened on wide frames of the ruins swallowed by fog, and held them longer than comfort allowed,” said Frank. “We deliberately withheld dialogue and let the wind and surf carry the scene. Waiting to reveal people or clear narrative cues built an uneasy ambience without a single visual effect.”
Unexpected Loss
Each episode was initially handled by a single editor, Frank Glencairn, who managed the full assembly, syncing, metadata and sound prep. “Tragically, Frank passed away unexpectedly in the middle of post production. Replacing him was extremely difficult. Not only was he an exceptional editor, but also a close friend,” Frank Mirbach reflected.
From the middle of the Louisiana episode onward, Jonathan Fuß took over and proved to be an outstanding and worthy successor, allowing Mineworks Film to complete the series while honouring Frank’s work and vision. “We continued to exchange our project files and media through Blackmagic Cloud sync, maintaining continuity and smooth collaboration despite the unexpected transition,” he said.
The Blackmagic Proxy Generator App, DaVinci Resolve Studio’s ability to detect scene cuts, and the collaboration features in Blackmagic Cloud saved substantial time. “The automatic proxy workflow kept the offline process fast and stable, while the ability to work natively with Blackmagic RAW files without transcoding and sharing project files via the Cloud streamlined collaboration and significantly simplified finishing,” he said, explaining the advantages.
DaVinci Resolve Studio’s colour tags and markers became very useful to version and label each episode’s timeline. “Rather than relying heavily on traditional VFX, we could use AI assisted sequences for certain effects and enhancements,” he said. “Resolve’s built-in commenting tools meant notes and instructions could be shared directly, avoiding the need for external spreadsheets or manual tracking.”
Delivery
The commissioning editors at ARTE and at the broadcasters Saarländischer Rundfunk and Hessischer Rundfunk reviewed rough cuts through Resolve, leaving timecoded notes for Mineworks Film. The editors then addressed this feedback in Resolve and worked those requests into the sequences efficiently, without waiting for long email threads.
Each episode is delivered in 4K UHD (3840x2160) in both graded and textless versions, along with broadcast stereo audio stems. Because all colour grading and mastering were also completed in DaVinci Resolve Studio, an entirely Blackmagic native pipeline was maintained from shoot to delivery.
The 43 minute versions of the first two episodes, Dracula’s Transylvanian and Die Bestie von Gévaudan, will be available in the ARTE Mediathek from 31 October 2025. A broadcast/streaming date for the 52 minute versions has not been set yet, but will follow soon. www.blackmagicdesign.com
