Blackmagic, technological engine of 35 films screened at Sundance

More than 35 projects participating in the prestigious Sundance Cine Festival 2024 (January 18-28) have been created using production solutions and post-production tools from Blackmagic Design.

cinema cameras digital, DaVinci Resolve Studio (the editing, grading, VFX and audio post-production program) and the platform Blackmagic Cloud have been an axis in the production of a significant number of films projected in Sundance, among which films such as Good One, Stress Position, Union, Love Me, A Real Pain, Suncoast, Winner o Frida.

Arlene Mueller, director of photography Stress Position, has revealed that they resorted to the model URSA Mini Pro 4.6K G2 as an additional camera and for the second unit, allowing director Theda Hammel “the ability to film additional movements, both on and off set.” On the other hand David Tomiak, colorist Love Me, highlights how DaVinci was a powerful tool in their post-production process: “From the use of masks and alpha channels to the transformation of the color space and the workflow in ACES, the program facilitated the creation of a solid process by allowing collaboration with different visual effects specialists.”

Blackmagic has shared the Complete listings by product categories, in which you can see the role that their solutions have had in each Sundance production, which will progressively reach the rooms and platforms around the world.

Projects made with Blackmagic Design cameras and equipment

• Better Angels: The Gospel According to Tammy Faye – Cinematographer Justin Kane used DaVinci Resolve Studio to process the prints.
• Daughters – Director of photography Michael “Cambio” Fernández used the Blackmagic Pocket Cinema Camera 4K model to record various scenes.
• Didi – Digital imaging technician Jordan Livingston used DaVinci Resolve Studio to process the prints.
• Exhibiting Forgiveness – Cinematographer Lachlan Milne used DaVinci Resolve Studio to create conversion tables (LUTs).
• Good One – Director of photography Wilson Cameron used the Pocket Cinema Camera 4K model to record various scenes, as well as the DaVinci Resolve program to grade the prints.
• I Saw the TV Glow – Cinematographer Eric Yue used the Blackmagic Pocket Cinema Camera 6K Pro digital cinema model as a reference camera.
• It’s What’s Inside – Digital imaging technician Sean Rawls used a DeckLink Studio 4K capture and playback card, a Blackmagic Video Assist 7” 3G monitor and recorder, UltraStudio HD Mini and UltraStudio Recorder 3G devices, and DaVinci Resolve Studio software during production.
• Luther: Never Too Much – Cinematographer Bryan Gentry used DaVinci Resolve to create conversion tables, Micro Converter SDI to HDMI 3G units for on-set monitors, and UltraStudio Recorder devices to view images remotely.
• Out of My Mind – Cinematographer Noah Greenberg used DaVinci Resolve during camera testing, while digital imaging technician Yanick Champagne used a Blackmagic Videohub 20x20 12G array, a SmartView 4K monitor, an UltraStudio 4K unit, an UltraStudio Mini Monitor device, and DaVinci Resolve software.
• Stress Positions – Cinematographer Arlene Muller used the Blackmagic URSA Mini Pro 4.6K G2 digital cinema model as an additional camera.
• Union – Director of photography Martin DiCicco used the Blackmagic Pocket Cinema Camera 6K digital cinema model to shoot various scenes.

Projects that used Blackmagic Design products for editing and visual effects

• A Different Man – Editor Taylor Levy used an UltraStudio 4K device during editing.
• It’s What’s Inside – Editor Paul Cole used DaVinci Resolve Studio when editing high-resolution files and shaping the material.
• Kidnapping Inc. – Editor Arthur Tarnowski (ACE, CCE) used an UltraStudio Recorder 3G device during editing.
• Little Death – Visual effects specialist Preston Mohr used DaVinci Resolve Studio during the creation of the effects.
• Love Machina – Associate Editor Ben Mercer used DaVinci Resolve Studio to conform the material and generate lower resolution files.
• Sue Bird: In the Clutch – Associate Editor Ben Mercer used DaVinci Resolve Studio to conform the material and generate lower resolution files.
• Tendaberry – Post-producer Sam Gursky (Irving Harvey) used DaVinci Resolve Studio to edit high-resolution files.
• War Game – Editor Jeff Gilbert and Associate Editor George C. Hall used DaVinci Resolve Studio to transcode the footage and edit high-resolution files.
• Winner – VFX specialist Artist Chris Rogoski (Urban Prairie Post Production) used Fusion Studio to create composites.

Projects graded with DaVinci Resolve and DaVinci Resolve Studio

• Agent of Happiness – Its benchmark is cargo de Máté Ternyik.
• Gloria time – Kévin Stragliati (Polyson Post Production) carried out the grading of this film by Marie Amachoukeli.
• As We Speak – Ayumi Ashley (Rare Medium) performed grading, while the project was carried out at PostWorks New York, where shaping was also completed.
• Better Angels: The Gospel According to Tammy Faye – Grading by Alastor Arnold (Keep Me Posted).
• Between the Temples – Grading by Jason Crump (Metropolis Post).
• Brief History of a Family– Etalonaje a cargo de Edoardo Rebecchi (CSI), of the producer BEO Film Post Production in Copenhagen.
• Conbody VS Everybody – Grading by Allie Ames (PostWorks New York).
• Didi – Etalonaje a cargo de Kaitlyn Battistelli (Ethos Studio).
• Eileen: Grading by Nat Jencks (PostWorks New York).
• Every Little Thing – Grading by Annica Mott (WildBear Entertainment).
• Exhibiting Forgiveness – Grading by Alex Bickel (Color Collective).
• Frida – Grading by Ernie Schaeffer with Blackmagic Cloud and the DaVinci Remote Monitor application.
• Gaucho Gaucho – Grading by Marcy Robinson (Nice Shoes).
• Good One – Etalonaje a cargo de Cédric von Niederhäuser with a device DaVinci Resolve Micro Panel.
• I Saw the TV Glow – Grading by Mikey Rossiter (PostWorks New York).
• It’s What’s Inside – Grading by Ryan McNeal (RKM Studios).
• Kidnapping Inc. – Grading by Hiếu Phùng (Bonjour Saigon) with an Intensity Pro 4K capture and playback device.
• Little Death – Cargo stallion by Mikey Rossiter (Rare Medium).
• Lolla: The Story of Lollapalooza – Etalonaje a cargo de Chad Mumford (Banana Post).
• Love Lies Bleeding – Grading by Vanessa Taylor (Goldcrest Post) with Colin Foulkes as editor.
• Love Machina – Grading by Jason Crump (Metropolis Post).
• Love Me – Grading by David Tomiak (Elemental Post) with DaVinci Resolve Mini Panel and UltraStudio 4K devices.
• The Moogai – Grading by Ferg Rotherham.
• Out of My Mind – Grading by Mike Howell (Color Collective).
• The Rainbow Bridge – Grading by Sam Gursky (Irving Harvey).
• A Real Pain – Grading by Marcy Robinson (Nice Shoes).
• Stress Positions – Grading by Marcy Robinson (Nice Shoes).
• Sue Bird: In the Clutch – Grading by Allie Ames (PostWorks New York).
• Sugarcane – Grading by Marcy Robinson (Nice Shoes).
• Suncoast – Grading by Alex Bickel (Color Collective).
• Union – Grading by Natacha Ikoli (Nice Dissolve) with DaVinci Resolve Mini Panel and DaVinci Resolve Micro Panel, DaVinci Resolve for iPad, DaVinci Remote Monitor and Blackmagic Cloud devices.