35 Sundance Festival productions produced with Blackmagic

Among other productions, we find films such as 'Passing' (which used DaVinci Resolve Studio), 'Land' (with Fusion Studio and DaVinci Resolve Studio) and 'Playing With Sharks', (Pocket Cinema Camera 4K and Cintel).

More than 35 films and television series of the Sundance Dinner Festival have been produced with solutions from Blackmagic Design like their digital cinema cameras and the program DaVinci Resolve Studio.

Among other productions, we find films like Passing, in which DaVinci Resolve Studio and various products from the company were used, both during filming and for visual effects and final grading; Land, which used Fusion Studio and DaVinci Resolve Studio for compositing and color grading; and Playing With Sharks, in which additional shots were filmed with a Pocket Cinema Camera 4K model and footage was digitized with a Cintel scanner.

Projects carried out with Blackmagic Design cameras and equipment:

Censor: Copy grading was carried out using DaVinci Resolve by digitalisation director and lead colourist Paul Dean (Cinelab London).
First Date: Director and cinematographer Manuel Crosby used the URSA Mini 4.6K and Pocket Cinema Camera digital cinema models.
A Glitch in the Matrix: Cinematographer George Feucht used DaVinci Resolve as part of his workflow to shoot practical elements of the film.
Passing: Cinematographer Eduard Grau (ASC) and digital imaging technician Zack Sainz used DaVinci Resolve Studio and UltraStudio Mini Monitor and UltraStudio Mini Recorder equipment to process stills and view footage during on-set copy creation. In addition, they used Mini Converter SDI Distribution 4K, Smart Videohub 20×20 and Videohub Smart Control as devices.
Playing With Sharks: Director of photography Judd Overton filmed supporting shots with the Pocket Cinema Camera 4K, while producer Bettina Dalton and The Footage Company digitized footage with a Cintel scanner.
R#J: Director of photography Diego Madrigal used two Pocket Cinema Camera 6K units to shoot the film.
Seeds of Deceit: Director of photography Sjors Mosman used the URSA Mini Pro G2 model and two Pocket Cinema Camera 4K units.
Users: Director of photography Bennett Cerf used the Pocket Cinema Camera 6K model to shoot special coverage.

Manuel Crosby, director and head of photography at First Date, notes that "the URSA Mini 4.6K model gave us great dynamic range and color flexibility when needed," says Manuel Crosby, director and head of photography for "First Date." "Its simple, easy-to-use interface worked wonders for our production. In addition, DaVinci Resolve Studio simplified reviewing copy and creating proxy files on location, as well as final grading of the film."

“Cheeky Monkey Post used DNG and EXR workflows in its digital intermission room, equipped with DaVinci Resolve Studio,” he adds. Melissa M. Offutt, owner and founder of the company.

Projects in which they were used Fusion Studio y DaVinci Resolve for visual effects:

4 Feet High / 4 Feet High VR: Animator Martín López Funes (Malditomaus) and his team used Fusion Studio and DaVinci Resolve Studio for the visual effects and virtual reality elements of the project.
The Blazing World: Composer Joshua Puente used Fusion Studio, DaVinci Resolve Studio, and a DeckLink 4K capture and playback card for the film's visual effects.
Land: Composition supervisor Jeremey Nelson (Moving Target) used Fusion Studio for the film's visual effects.
Mayday: VFX artist and producer Shaina Holmes (Flying Turtle Post) collaborated with VFX supervisor Andrew Lim (Entoptic) and used Fusion Studio to do some of the compositing.
On the Count of Three, Passing, Wiggle Room y The World to Come: Visual effects supervisor Alex Noble (Wild Union Post) used DaVinci Resolve in his workflow for these films.

"The speed and versatility of DaVinci Resolve Studio and Fusion Studio allowed us to complete 70 VFX shots within 6 weeks. All images were output to a 32" 4K monitor with the DeckLink 4K card. The possibility of seeing the compositions in that resolution and playing them in real time greatly simplified the work,” he comments. Joshua Puente, composer in The Blazing World.

Projects in which they were used DaVinci Resolve y DaVinci Resolve Studio during post-production:

All Light, Everywhere: María Carretero (Nice Shoes) graded the film.
Bruiser: Seth Ricart (RCO) graded the film.
Cusp: Andrew Francis graded the film using DaVinci Resolve Mini Panel and UltraStudio 4K devices, and a Teranex Mini SDI to DisplayPort 8K HDR converter.
First Date: Ryan J. Orozco (Cheeky Monkey Post) graded the film.
A Glitch in the Matrix: Joel Ides (Anarchy Post) graded the film.
Homeroom: Kent Pritchett (Color A Go-Go) graded the film, while Alex Exline used DaVinci Resolve Studio to edit in high resolution and finalize the project.
Human Factors: Anders Christensen graded the film.
I Was a Simple Man: Nat Jencks (Goldcrest Post) graded the film.
Jockey: Sérgio Pasqualino Jr. (Bleach Color Grading) graded the film, while editor Courtney Ware used DaVinci Resolve Studio for copying.
Land: Joe Gawler (HARBOR) graded the film.
Ma Belle, My Beauty: Bradley Greer (Kyotocolor) graded the film, while cinematographer Lauren Guiteras also used
DaVinci Resolve Studio to determine aesthetics during the pre-production stage.
Mayday: Marcy Robinson (Goldcrest Post) graded the film.
My Name is Pauli Murray: Ken Sirulnick (Goldcrest Post) graded the film.
Passing: Roman Hankewycz (HARBOR) graded the film.
Philly D.A: Natacha Ikoli (Nice Dissolve) graded the film, while digital intermediate supervisor Pierce Varous also used DaVinci Resolve Studio software, DaVinci Resolve Mini Panel and UltraStudio 4K devices, Mini Converters SDI to HDMI converters, and DeckLink and DeckLink Mini Monitor cards for remote editing.
The Pink Cloud: Daniel Dode (Post Frontier) graded the film.
R#J: Robert Crosby (Neptune Post) graded the film.
Sabaya: Andreas Söderberg graded the film.
Searchers: Daniel Claridge graded the film.
Strawberry Mansion: Matt Riggieri (Digital Cave) graded the film.
Superior: Roman Hankewycz (HARBOR) graded the film.
Taming the Garden: Rodney Musso (Color Grade Geneva) graded the film in collaboration with Niko Tarielashvili (Tbisili).
Together Together: Nicholas Hasson (Light Iron, a Panavision Company) graded the film.
Try Harder!: Kent Pritchett (Color A Go-Go) graded the film.
Users: Natalia Mercado (Cinema Maquina) graded the film.
White Wedding: Marcy Robinson (Goldcrest Post) graded the film.
You Wouldn’t Understand: Chris DiBerardino (Technicolor PostWorks) graded the film.

Katie Hinsen, in charge of copies and digital intermediates at Nice Shoes, highlights that “the film All Light, Everywhere It was extremely complex, with more than 100 different frame rates and unusual acquisition formats. Additionally, given the sensitive nature of the content, we had a very limited deadline," he explained. "It was essential to be able to conform and grade at the same time. In this sense, the collaborative and color management tools of DaVinci Resolve Studio were essential to bring the film to the big screen without long work days or pressure on the team.”