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Blackmagic Design congratulates the many films, episodic series and projects at the 2018 Sundance Film Festival that were shot and completed using Blackmagic Design products. More than 55 of the films, series and projects selected for Sundance used its digital film cameras, professional editing, grading and audio post production software DaVinci Resolve Studio, Video Assist recorder and monitor, and more.
A Scene from Claras Ghost
This years line-up includes Yardie, shot by DP John Conroy with a Blackmagic URSA Mini Pro; We the Animals, shot by DP Zak Mulligan with a Blackmagic Micro Cinema Camera; and highly anticipated films such as Come Sunday, Juliet, Naked, I Think We're Alone Now, Lizzie, A Kid Like Jake, and many more that were graded and edited with DaVinci Resolve Studio.
Some of the Sundance Projects that Used Blackmagic Design Cameras and Gear:
306 Hollywood Composer Troy Herion used Blackmagic MultiDock to run orchestral virtual instruments off SSDs when writing the film's score;
BLAZE Editor Jason Gourson used an UltraStudio Mini Monitor, while DIT Scott McLeslie of Village Studios used a Smart Videohub, Micro Converters, an UltraStudio, and DaVinci Resolve for dailies;
Hal DP Adam Michael Becker used DaVinci Resolve for color grading and transcoding, and had camera operators use a Pocket Cinema Camera for select shots with a Battery Converter HDMI to SDI to facilitate on-set monitoring with the SmartView Duo and SmartScope Duo;
Half the Picture camera operators used a Video Assist;
I'm Poppy DIT Gianennio Salucci used DeckLink 4K Extreme, SmartScope Duo and DaVinci Resolve Studio;
Paint DP Sam Chase used a Pocket Cinema Camera for select scenes and pickup shots;
Search DP Juan Sebastian Baron used UltraStudio Mini Monitors and UltraStudio Mini Recorders as part of a rig used to film FaceTime sequences, while Script Supervisor Shawn Tira used an UltraStudio SDI to capture screenshots to help match framelines and ensure continuity between scenes;
We the Animals DP Zak Mulligan used a Micro Cinema Camera as a crash and insert camera;
Wildlife DIT Leonard A. Mazzone used Smart Videohub 12x12 and UltraStudio 4K; and
Yardie DP John Conroy used an URSA Mini Pro.
Some of the Sundance Projects that Used DaVinci Resolve and DaVinci Resolve Studio for Post Production:
306 Hollywood was graded by Sean R. Smith of LivelyGroup;
Akicita: The Battle of Standing Rock was graded by Luke Cahill of Different By Design;
American Animals was graded by Rob Pizzey of Goldcrest Post;
Anote's Ark was graded and online edited by Francis Hanneman of Studio Hanneman;
Beirut was graded by Sam Daley at Technicolor PostWorks;
Believer was graded by Frederik Bokkenheuser of Runway Post;
Bisbee '17 was graded by Jason Crump of Metropolis Post;
BLAZE was graded by Bill Ferweda of Deluxe Toronto;
Blindspotting was conformed by Tarek Karkoutly, and editorial also used an UltraStudio Mini Monitor;
Clara's Ghost was graded by Kyle Krupinski using a DaVinci Resolve Mii Panel and DeckLink HD Extreme 3D, while Editor Patrick Lawrence used DaVinci Resolve as part of his proxy workflow, and an UltraStudio Mini Monitor was used along with DaVinci Resolve for dailies;
Come Sunday was graded by Joe Gawler of Harbor Picture Company;
Dead Pigs was graded by Andrew Francis of Sixteen19;
Hal was graded by Luke Cahill of Different By Design;
Hale County This Morning, This Evening was graded by Dave Francis of Technicolor PostWorks;
Half the Picture was graded by Luke Cahill of Different by Design;
Hearts Beat Loud was graded by Mike Howell of Color Collective;
I Think We're Alone Now was graded by Tom Poole of Company 3;
I'm Poppy was graded by Brian Legoo and Jerimiah Morey;
Inventing Tomorrow was graded by Luke Cahill of Different by Design;
Jane Fonda in Five Acts was graded by Ken Sirulnick of Glue Editing & Design;
Juliet, Naked was graded by Nat Jencks of Goldcrest Post;
A Kid Like Jake was graded by Nat Jencks of Goldcrest Post;
Kusama - Infinity was graded by Brian Hutchings of Different By Design;
The Last Race was graded by John Dowdell of Goldcrest Post;
Leave No Trace was graded by Tim Stipan of Company 3;
Lizzie was graded by Jason Crump of Metropolis Post;
Madeline's Madeline was graded by Nat Jencks of Goldcrest Post;
Men Don't Whisper was graded by Kyle Krupinski, while Editor Patrick Lawrence used DaVinci Resolve as part of his proxy workflow;
Minding the Gap was graded by Tyler Roth of Company 3;
The Miseducation of Cameron Post was graded by Nat Jencks of Goldcrest Post;
Monster was graded by Tom Poole of Company 3;
The Mortified Guide was graded by Matthew Schwab of Roving Pictures Company;
NANCY was graded by Nat Jencks of Goldcrest Post;
Narcissister Organ Player was graded by Samuel Gursky of Irving Harvey;
Never Goin' Back was graded by Neil Anderson of Lucky Post, who also used an UltraStudio 4K;
Night Comes On was edited by Taylor Levy using DaVinci Resolve for dailies and VFX pulls;
On Her Shoulders was graded by Luke Cahill of Different By Design;
Our New President was graded by Joe Bender of Third Party Films;
Paint was graded by Tim Massick of Company 3;
Pass Over was graded by Joe Gawler of Harbor Picture Company;
Piercing was graded by Sam Daley at Technicolor PostWorks;
PLUR was graded by Samuel Gursky of Irving Harvey;
Private Life was graded by Alex Bickel of Color Collective;
Puzzle was graded by Joe Gawler of Harbor Picture Company;
The Queen of Fear (La Reina del Miedo) was graded by Dami n Benetucci of Cinecolor and Andrea Bendrich of Rei Cine;
RBG was graded by Ken Sirulnick of Glue Editing & Design;
The Rider was graded by Alex Bickel of Color Colle
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