Blackmagic Design technologies used to create over 40 projects in the Sundance 2022 lineup

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FREMONT, Calif.—Blackmagic Design has announced that more than 40 projects from the 2022 Sundance Film Festival lineup have been created using its digital cameras, editing, grading, visual effects (VFX) and post-production software. DaVinci Resolve Studio audio production.

Projects included the immersive documentary ’32 Sounds’, which used a Blackmagic URSA Mini Pro 4.6K digital camera for some shots and was color graded with DaVinci Resolve Studio; “892”, which captured security camera footage with a Blackmagic Pocket Cinema Camera 6K digital camera and used DaVinci Resolve Studio for color grading and on-set work; and “The Exiles,” partially shot with an URSA Mini Pro 4.6K and color graded with DaVinci Resolve Studio.

The virtual reality (VR) project “Diagnosia” relied on DaVinci Resolve Studio for editing, and many films at the festival also used the software for post-production, including “Call Jane”, “Emily the Criminal “, “Master”, “Resurrection”, “Sharp Stick” and “When you are done saving the world”.

“I am thrilled with the excellent results from DaVinci Resolve Studio,” said “Brainwashed: Sex-Camera-Power” director Nina Menkes. “Our film was extremely complex, containing over 175 film clips with different formats, resolutions and a variety of other technical issues we were facing. DaVinci Resolve Studio technology, combined with the genius of our colorist Mike Sowa, helped us gave a stunning result.

Some of the Sundance projects that used Blackmagic Design cameras and gear during production included:

  • “32 Sounds” additional cinematographer Shane Thomas McMillan used the URSA Mini Pro 4.6K for some shots;
  • “892” DP Doug Emmett used a Pocket Cinema Camera 6K for security camera footage, while DIT Michael Borenstein used DaVinci Resolve Studio to classify dailies;
  • “Emily the Criminal” cinematographer Jeff Bierman used DaVinci Resolve Studio on set to grade some shots;
  • “The Exiles” director Ben Klein used an URSA Mini Pro 4.6K for some shots;
  • Andrew Wheeler, DP “God’s Country,” used DaVinci Resolve Studio and a DaVinci Resolve Mini Panel to grade some on-set footage;
  • DP “Stranger Than Rotterdam” Ben Klein used a Pocket Cinema Camera 6K; and
  • “TikTok, Boom.” DP Steve Acevedo used URSA Mini Pro 4.6K G2 and URSA Mini Pro 4.6K cameras.
  • According to “TikTok, boom”. documentary DP Steve Acevedo, “In addition to the many interviews, we also shot a lot of truth with a minimal crew, so we needed a versatile camera for our fast pace. The URSA Mini Pro was perfect, as it instantly switches from hand stick mode, delivers an amazing image and is so easy to use.

Some of the Sundance projects that used Blackmagic Design gear for visual effects and editing:

  • “892” editor Chris Witt used an UltraStudio 3G monitor as part of the editing workflow;
  • “Diagnosia” lead artists Mengtai Zhang and Lemon Guo used DaVinci Resolve Studio to edit the stock footage used in the project, as well as edit the teaser trailer and teaser video, and a capture and Intensity Pro 4K playback for screen recording;
  • ‘Jihad Rehab’ editor-in-chief Evan Vetter used a Blackmagic Web Presenter streaming solution to work remotely with the director during the editorial;
  • “A Love Song” colorist Ernie Schaeffer of Splendor Omnia used DaVinci Resolve Studio’s Fusion page for the VFX cleanup;
  • “Neptune Frost” associate editor Skylar Zhang used DaVinci Resolve to create dailies as part of the editing pipeline;
  • Wild Union Post’s “Resurrection” visual effects supervisor Alex Noble used DaVinci Resolve Studio in his visual effects pipeline; and
  • “Something In The Dirt” directors Aaron Moorhead and Justin Benson and editor Michael Felker used DeckLink 8K Pro capture cards.

Some of the Sundance projects that used DaVinci Resolve and DaVinci Resolve Studio for color grading:

  • “2nd Chance” was noted by Jane Tolmachyov of Goldcrest;
  • “32 Sounds” was noted by Natacha Ikoli of Nice Dissolve, with DI supervisor Pierce Varous also using DaVinci Resolve Mini Panel, DaVinci Resolve Micro Panel, DaVinci Resolve Speed ​​Editor, Smart Videohub 20×20 router, UltraStudio 4K, DeckLink SDI 4K and Mini Converter SDI to HDMI 6G throughout the post-production pipeline;
  • “892” was noted by Natasha Leonnet of Company 3;
  • “After Yang” was noted by Joe Gawler of HARBOUR;
  • “blood” was noted by HARBOR’s Roman Hankewycz;
  • “Brainwashed: Sex-Camera-Power” was noted by Mike Sowa of FotoKem;
  • “Bring on the Dancing Horses” was scored by Bruce Bolden of Sugar Studios LA with a DaVinci Resolve Advanced Panel;
  • “Call Jane” was noted by Nat Jencks of PostWorks New York;
  • “The Cathedral” was noted by Steve Beganyi of Goldcrest;
  • “Cha Real Smooth” was noted by Nat Jencks of PostWorks New York;
  • “Champ” was noted by Luke Cahill of Lightwave Post;
  • “Chiqui” was noted by Robert Wagnerman of Haym Pictures;
  • “DOWNFALL: The Case Against Boeing” was noted by Luke Cahill of Different By Design;
  • “Emily the Criminal” was noted by Walter Volpatto of Company 3;
  • “Every Day in Kaimukī” was scored by Abraham Williams with a DaVinci Resolve Mini Panel;
  • “The Exiles” was noted by Irving Harvey’s Samuel Gursky;
  • “Framing Agnes” was noted by Arlene Moelker of Picture Shop Toronto;
  • “Girl Picture” was scored, edited online, and completed by Grade One’s Petri Falkenberg;
  • “Honk for Jesus, Save Your Soul” was noted by Billy Gabor of Company 3;
  • “A House Made of Splinters” was scored, online edited, and finished by Anders Vadgaard Christensen of Kong Gulerod Film ApS;
  • “I Didn’t See You There” was noted by Natacha Ikoli of Nice Dissolve, with DI supervisor Pierce Varous also using DaVinci Resolve Mini Panel, DaVinci Resolve Micro Panel, DaVinci Resolve Speed ​​Editor, Smart Videohub 20×20, UltraStudio 4K , DeckLink SDI 4K and Mini Converter SDI to HDMI 6G throughout the post-production pipeline;
  • “The Janes” was noted by Ken Sirulnick of Goldcrest;
  • “Jihad Rehab” was noted by Luke Cahill of Different By Design;
  • “Leonor Will Never Die” was noted by Timmy Torres;
  • “Living” was noted by Joseph Bicknell of Company 3;
  • “A Love Song” was noted by Ernie Schaeffer of Splendor Omnia;
  • “Master” was noted by Sam Daley of Light Iron;
  • “Mija” was noted by Kath Raisch of Company 3;
  • “My Old School” was scored by Jon Bruce, and edited and completed online by Lewis Carmichael, both of Blazing Griffin Post Production;
  • “My Trip to Spain” was noted by Ryan McNeal of RKM Studios;
  • “Resurrection” was noted by Nat Jencks of PostWorks New York;
  • “Sharp Stick” was noted by Nat Jencks of PostWorks New York;
  • “Sirens” was noted by Maria Carretero of Nice Shoes;
  • “Something In The Dirt” was noted by Aaron Moorhead;
  • “Stranger Than Rotterdam” was noted by Irving Harvey’s Samuel Gursky;
  • “The Territory” was noted by Seth Ricart of RCO;
  • “TikTok, Boom.” was color graded by Zachary Ludescher with a DaVinci Resolve Mini Panel, using a DeckLink Mini Monitor 4K for 4K monitoring;
  • “Watcher” was noted by Stephen Nakamura of Company 3;
  • “When You’re Done Saving the World” was noted by HARBOUR’s Joe Gawler; and
  • “You Won’t Be Alone” was noted by Kojo’s Marty Pepper.


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