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HomeCraftsCameraBlackmagic Design Powers More than 35 Sundance Projects

Blackmagic Design Powers More than 35 Sundance Projects

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Speaking of the Sundance Film Festival, Blackmagic Design announced that more than 35 projects at the festival were created using Blackmagic Design products.

Ruth Negga, Tessa Thompson in Passing (Photo: Sundance)
Ruth Negga, Tessa Thompson in Passing (Photo: Sundance)

The company drew attention to Rebecca Hall‘s Passing, for which DP Eduard Grau, ASC and DIT Zack Sainz used a range of Blackmagic Design gear on set during production, and VFX Supervisor Alex Noble of Wild Union Post and Roman Hankewycz of HARBOR used DaVinci Resolve Studio for post.

For the doc Playing With Sharks, DP Judd Overton used Pocket Cinema Camera 4K and Producer Bettina Dalton, along with The Footage Company, used Cintel Scanner to digitize archival footage.

For Mayday, VFX Producer & Artist Shaina Holmes of Flying Turtle Post used Fusion Studio for compositing and Marcy Robinson of Goldcrest Post used DaVinci Resolve Studio for grading.

Seeds of Deceit DP Sjors Mosman used URSA Mini Pro G2 and two Pocket Cinema Camera 4Ks

Users DP Bennett Cerf used Pocket Cinema Camera 6K and Natalia Mercado of Cinema Maquina used DaVinci Resolve Studio for grading.

Other projects that used Blackmagic Design cameras and design in production included:

  • Censor Head of Scanning and Senior Colorist Paul Dean of Cinelab London used DaVinci Resolve to grade dailies
  • First Date Director and DP Manuel Crosby used URSA Mini 4.6K and Pocket Cinema Camera digital film cameras
  • A Glitch in the Matrix”Cinematographer George Feucht used DaVinci Resolve as part of his workflow in shooting practical elements of the film
  • R#J DP Diego Madrigal used two Pocket Cinema Camera 6Ks for principal photography

First Date‘s Crosby said, “Shooting on the URSA Mini 4.6K allowed us a great deal of dynamic range and color flexibility where needed. The simple, user friendly camera interface worked quite well with our production. DaVinci Resolve Studio aided us in reviewing dailies and creating proxy files while on location, in addition to grading the finished film.”

Some of the Sundance Projects that used Fusion Studio and DaVinci Resolve Studio for VFX include:

  • 4 Feet High and 4 Feet High VR Animator Martín López Funes of Malditomaus and his team used Fusion Studio and DaVinci Resolve Studio for the projects’ VFX and VR
  • The Blazing World Compositor Joshua Puente used Fusion Studio, DaVinci Resolve Studio and DeckLink 4K capture and playback card for the film’s VFX
  • Land Compositing Supervisor Jeremey Nelson of Moving Target used Fusion Studio for the film’s VFX
  • On the Count of Three, Passing, Wiggle Room and The World to Come VFX Supervisor Alex Noble of Wild Union Post used DaVinci Resolve within his VFX pipeline for the films.

Puente said in a statement, “The speed and versatility of DaVinci Resolve Studio and Fusion Studio made completing 70 VFX shots in a six week time frame feasible. All shots were previewed on a 4K 32” monitor and output at 4K with the DeckLink 4K card for preview. Having the ability to see the comps at this resolution and having real time playback made compositing so much faster.”

Other Sundance Projects that used  DaVinci Resolve and DaVinci Resolve Studio for post, include:

  • All Light, Everywhere was graded by María Carretero of Nice Shoes
  • Bruiser was graded by Seth Ricart of RCO
  • Cusp was graded by Andrew Francis, using DaVinci Resolve Mini Panel, UltraStudio 4K and Teranex Mini SDI to DisplayPort 8K HDR converter
  • First Date was graded by Ryan J. Orozco of Cheeky Monkey Post
  • A Glitch in the Matrix was graded by Joel Ides of Anarchy Post
  • Homeroom was graded by Kent Pritchett of Color A Go-Go, while Online Editor Alex Exline used DaVinci Resolve Studio for online editing and finishing
  • Human Factors was graded by Anders Christensen
  • I Was a Simple Man was graded by Nat Jencks of Goldcrest Post;
  • Jockey was graded by Sérgio Pasqualino Jr. of Bleach Color Grading, while On Set Editor Courtney Ware used DaVinci Resolve Studio for dailies
  • Land was graded by Joe Gawler of HARBOR
  • Ma Belle, My Beauty was graded by Bradley Greer of Kyotocolor, with Cinematographer Lauren Guiteras also using DaVinci Resolve Studio to set looks during preproduction
  • Mayday was graded by Marcy Robinson of Goldcrest Post
  • My Name is Pauli Murray was graded by Ken Sirulnick at Goldcrest Post
  • Passing was graded by Roman Hankewycz of HARBOR
  • Philly D.A. was graded by Natacha Ikoli of Nice Dissolve, with DI Supervisor Pierce Varous also using DaVinci Resolve Studio, DaVinci Resolve Mini Panel, UltraStudio 4K, Mini Converters SDI to HDMI, DeckLinks and DeckLink Mini Monitors for remote editing
  • The Pink Cloud was graded by Daniel Dode of Post Frontier – Brazil
  • R#J was graded by Robert Crosby of Neptune Post
  • Sabaya was graded by Andreas Söderberg
  • Searchers was graded by Daniel Claridge
  • Strawberry Mansion was graded by Matt Riggieri of Digital Cave
  • Superior was graded by Roman Hankewycz of HARBOR
  • Taming the Garden was graded by Rodney Musso of Color Grade Geneva with additional grading from Niko Tarielashvili of Tbilisi
  • Together Together was graded by Nicholas Hasson of Light Iron, a Panavision Company
  • Try Harder! was graded by Kent Pritchett of Color A Go-Go
  • Users was graded online by Natalia Mercado of Cinema Maquina
  • White Wedding was graded by Marcy Robinson of Goldcrest Post and
  • You Wouldn’t Understand was graded by Chris DiBerardino of Technicolor PostWorks

Nice Shoes’ EP Dailies and Digital Intermediate Katie Hinsen also gave the testimonial, “All Light, Everywhere was incredibly complex, with over 100 different frame rates and unusual acquisition formats. Additionally, due to the sensitive nature of the content, we had a very limited time frame to work within. Conforming and grading at the same time was essential. DaVinci Resolve Studio’s color management and collaborative toolsets were key to getting a flawless film to screen under these circumstances, without any long hours or added pressure on the team.”

Melissa M. Offutt, owner/founder of Cheeky Monkey Post, LLC, added, “Color grading by Cheeky Monkey Post utilized real time DNG and EXR workflows in its DaVinci Resolve Studio DI suite.”

 

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