Blackmagic Design Used on More Than 60 2023 Sundance Film Festival Projects Brie Clayton January 26, 2023
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Blackmagic Design today announced that more than 60 projects at the 2023 Sundance Film Festival used its digital films cameras, DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio post production software and Blackmagic Cloud as part of their workflows.
Using Blackmagic Cloud has made major improvements in how I have been able to work during these pandemic days where many long time collaborators have relocated, said Colorist Natacha Ikoli of Nice Dissolve. For complex conform with multiple archives and sources, it meant being able to start color a little earlier than we normally would because conform could take place while look set sessions were happening. Blackmagic Cloud also gave me the flexibility to work from Nice Dissolve's studio, from my home studio in Brooklyn and in France seamlessly, never worrying about the latest versions of the project.
Earth Mama
Some of the Sundance projects that used Blackmagic Design cameras include:
A Common Sequence Co directors Mary Helena Clark and Mike Gibisser used Blackmagic URSA Mini Pro 4.6K and Blackmagic Pocket Cinema Camera 6K Pro digital film cameras;
Fantastic Machine Directors Axel Danielson and Maximilien Van Aertryck used Pocket Cinema Camera 6K Pro;
Going to Mars: The Nikki Giovanni Project DP Derek Wiesehahn used Pocket Cinema Camera 4K and URSA Mini Pro 4.6K;
Going Varsity in Mariachi Sound Recordist Charlie Vela used Pocket Cinema Camera 4K for select sequences;
Infinity Pool DP Karim Hussain used Pocket Cinema Camera 6K for insert and 2nd unit shots;
Nam June Paik: Moon Is the Oldest TV DP Nelson Walker used Pocket Cinema Camera 6K for select interviews;
Rye Lane DP Olan Collardy used Pocket Cinema Camera 4K for select scenes; and
Sometimes I Think About Dying DP Dustin Lane used Pocket Cinema Camera 6K for B unit photography.
DaVinci Resolve Studio continues to support numerous facets of the production and post pipelines, and as Post Producer JP Castel noted, it was used by multiple departments on My Animal.
In addition to grading, editorial used DaVinci Resolve Studio to edit the entire movie, with multiple editors working in various cities and trading DRTs between them seamlessly. We then discovered multi user edit sessions in Blackmagic Cloud, which was a total game changer, and we couldn't have finished the movie without it, he said. We also used Fairlight after picture lock to separate and deliver audio stems via buses and export AFFs to the various audio departments. Fusion was also used extensively for small effects in the film, mostly masking various shots together.
All Dirt Roads Taste of Salt
Some of the Sundance projects that used DaVinci Resolve and DaVinci Resolve Studio for production and post production include:
The Accidental Getaway Driver graded by Houmam Abdallah of AFATECS;
Against the Tide graded by Nicolas Perret at Gump Studios and onlined by Cl ment Allemand of Lemon Studio;
Aliens Abducted My Parents and Now I Feel Kinda Left Out graded by Drew Tekulve of Paradox Post, with VFX artist Connor Bennett of Kaleidoscope Pictures also using DaVinci Resolve Studio for color keying;
All Dirt Roads Taste of Salt graded by Alex Bickel of Color Collective;
Bad Press graded by Dan Edwards of Changing Frames;
Blueback graded by Olivier Fontenay;
Cat Person graded by Alex Berman of Goldcrest Post, New York;
A Common Sequence graded by Co directors Mary Helena Clark and Mike Gibisser;
Divinity graded by Sofie Borup of Company 3, with Editor Steve Forner of Bonch Post and Editor Kevin Greutert also using DaVinci Resolve Studio for transcoding and VFX pulls;
Drift graded by Christophe Bousquet;
Earth Mama graded by Sam Daley of Light Iron;
Eileen graded by Nat Jencks of PostWorks New York;
The Eternal Memory graded by Pamela Valenzuela of Filmo Estudios with Teranex 2D Processor standards converter used for up conversions and transcoding;
Fairyland graded by Sam Daley of Light Iron;
The Family Circus graded by Mike Howell of Color Collective;
Fancy Dance graded by Rapha lle Dufosset at Confluential Films;
Fremont graded by Mikey Rossiter of Rare Medium, with DP Laura Valladao also using DaVinci Resolve on set to make in camera shooting LUTs;
Girl graded by Simone Grattarola of Time Based Arts;
Going to Mars: The Nikki Giovanni Project graded by Paul Byrne at Confluential Films;
Going Varsity in Mariachi graded by Samuel Gursky and Jeffrey Chance of Irving Harvey;
I Have No Tears, and I Must Cry graded by J. Cody Baker of Company 3;
Infinity Pool graded by Jim Fleming with DaVinci Resolve Advanced Panel;
Invisible Beauty graded by Natacha Ikoli of Nice Dissolve with DaVinci Resolve Mini Panel and DaVinci Resolve Micro Panel, as well as DaVinci Resolve for iPad for mobile quality control, DaVinci Resolve Speed Editor keyboard, Blackmagic Web Presenter 4K streaming solution and Blackmagic Cloud;
It's Only Life After All graded by Luke Cahill of Different by Design;
Jamojaya graded by Tom Poole of Company 3, with Taylor Mahony of Tunnel Post also using DaVinci Resolve Studio to grade dailies;
Joonam graded by Natacha Ikoli of Nice Dissolve with DaVinci Resolve Mini Panel and DaVinci Resolve Micro Panel, as well as DaVinci Resolve for iPad for mobile quality control, DaVinci Resolve Speed Editor, Blackmagic Web Presenter 4K and Blackmagic Cloud;
Judy Blume Forever Lead Assistant Editor Elizabeth Le used DaVinci Resolve Studio for transcoding;
Kim's Video graded by Eric Masunaga of Modulus Studios;
King Coal graded by Luke Cahill of Different by Design;
L'Immensit graded by Andrea Baracca of Flat Parioli;
La Pecera Editor Clara Mart
