If anyone ever doubted that Blackmagic Design was a force toi be reckoned with in the major film making industry, wonder no more!
Blackmagic today announced that more than 35 films, episodic series and projects at the 2019 Sundance Film Festival were shot and completed using Blackmagic Design products.
Blackmagic Design congratulates the many projects selected for Sundance that were created with its digital film cameras, Fusion Studio visual effects (VFX) and motion graphics software, DaVinci Resolve professional editing, color grading, VFX and audio post production software, and more. This includes “4 Feet: Blind Date” composited with Fusion by Martin Lopez Funes of Malditomaus and his team, and films such as “Native Son,” “The Infiltrators,” “Them That Follow,” “Big Time Adolescence,” and many more that were graded and edited with DaVinci Resolve Studio.
Lucien Harriot, president of New York based Mechanism Digital, used Fusion Studio for his VFX work on “Luce.” According to Harriot, “Some of the shots in ‘Luce’ were quite challenging. For example, one particularly long shot orbited several times around an actor standing in a high school lobby, and we had to remove the camera crew’s reflections from all of the windows and trophy cases. Fusion Studio’s tracking tools came in very handy on those tasks.”
Some of the Sundance Projects that Used Blackmagic Design Cameras and Gear:
> “4 Feet: Blind Date” media production company Detona Cultura and Realidad 360° Argentina used a Micro Converter SDI to HDMI, a Micro Converter HDMI to SDI and an Intensity Extreme for real time camera monitoring;
> “Clemency” DIT Peter Brunet and DP Eric Branco used a Smart Videohub 12×12 for routing, SmartView Duo for monitoring, and DaVinci Resolve and an UltraStudio Express for grading on set;
> “The Dispossessed” Director Musa Syeed used a Pocket Cinema Camera;
> “The Ghost Behind” Director Caroline Rumley used a Pocket Cinema Camera;
> “Honey Boy” DIT Ernesto Joven used DaVinci Resolve, Smart Videohub 20×20, SmartScope 4K and UltraStudio Express;
> “It’s Not About Jimmy Keene” Director Caleb Jaffe used a Pocket Cinema Camera for pickup shots;
> “Playhouse” DP Sophie Feuer used an URSA Mini Pro; and
> “Them That Follow” DIT Nick Giomuso used Davinci Resolve Studio, DeckLink Mini Monitor, Smart Videohub 20×20 and SmartScope 4K.
Some of the Sundance Projects that Used Fusion and DaVinci Resolve for VFX:
> “4 Feet: Blind Date” Animator Martin Lopez Funes of Malditomaus and his team used Fusion for the film’s VFX;
> “Luce” VFX Supervisor Lucien Harriot of Mechanism Digital used Fusion Studio for the film’s VFX; and
> “The Mountain” VFX Supervisor Alex Noble of Wild Union Post used DaVinci Resolve within his VFX pipeline.
Some of the Sundance Projects that Used DaVinci Resolve and DaVinci Resolve Studio for Post Production:
> “American Factory” was graded by Ken Sirulnick and Steve Pequignot of Glue Editing & Design;
> “Anthropocene: The Human Epoch” was conformed by Carlie Macfie, with Technicolor’s Mark Kueper completing the grade for the 3D 360 degree VR portion;
> “As Told to G/D Thyself” was graded by Joe Gawler of Harbor Picture Company;
> “Bedlam” was graded by Adrian Seery of Harbor Picture Company;
> “Before You Know It” was graded by Ben Perez at Gigantic Studios;
> “Big Time Adolescence” was graded by DP Andrew Huebscher at Local Hero;
> “Birds of Passage” was graded by Sandra Klass;
> “The Death of Dick Long” was graded by Nat Jencks of Goldcrest Post;
> “The Dispossessed” was graded by Nat Jencks of Goldcrest Post;
> “Divine Love” was graded and finished by Daniel Dávila of Kiné Imagénes, who also used a DeckLink 4K Extreme 12G and a DeckLink SDI 4K for capture and playback, and a Mini Converter SDI to HDMI and a HDLink for converting;
> “Edgecombe” was graded by Pete Quandt;
> “The Farewell” was graded by Alex Bickel of Color Collective;
> “Honey Boy” was graded by Alex Bickel of Color Collective;
> “Imaginary Order” was graded by Thomas Galyon, who also used a DaVinci Resolve Advanced Panel for grading and a DeckLink 4K Extreme 12G for playback;
> “The Infiltrators” was graded by Mark Todd Osborne of MTO Color at Buffalo 8 Post Production;
> “Judy & Punch” was graded by Olivier Fontenay at Soundfirm Sydney;
> “Lavender” was graded by Brandon Roots;
> “Light From Light” was graded by Neil Anderson of Lucky Post;
> “Love, Antosha” was graded, conformed and delivered by Aaron Peak of Neon Diesel Finishing;
> “Luce” was graded by Alex Bickel of Color Collective;
> “Maggie” was graded by Nat Jencks of Goldcrest Post;
> “MEMORY – The Origins of Alien” was graded by Dave Krahling of Milkhaus, while Editor Chad Herschberger used an UltraStudio 4K in his editing bay;
> “Midnight Family” was graded by Phaedra Robledo of Cinema Maquina, who also used an UltraStudio 4K Extreme for capture and playback;
> “Mope” was graded by Alastor Arnold of FotoKem;
> “Native Son” was online edited and finished by Samuel Gursky of Irving Harvey, and graded by Tim Stipan of Company 3;
> “Premature” was graded by Kath Raisch of Company 3;
> “The Rat” was graded by Andrew Francis at Sixteen19;
> “The Sound of Silence” was graded by Roman Hankewycz of Harbor Picture Company, while Editor Matthew C. Hart used DaVinci Resolve and an Intensity Shuttle for Thunderbolt within his editing workflow;
> “Them That Follow” was graded by Nat Jencks of Goldcrest Post;
> “This Is Not Berlin” was graded by Lisa Tillinger; and
> “The Wolf Hour” was graded by Andrew Francis at Sixteen19.