Blackmagic At Sundance Film Festival by Brian Hallett

Four films shot with Blackmagic Cameras and countless others using DaVinci Resolve

February 11, 2015

Everyone loves a camera that makes a show at the Sundance Film Festival, and Blackmagic embraces that rebellious, independent spirit that makes their cameras and software a perfect match for passionate Indie Film-makers world-wide.

When I studied Cinematography one of the first things to be taught was: it’s not about the camera. That’s all well and good, but doesn’t it always seem like those who say that already own expensive camera systems? My professor was partly right. Yes, the skill behind the camera mattered more than the camera itself. Then there are cameras capable enough to make an impact at one of the biggest film festivals. In step Blackmagic and their cameras.

A big part of Blackmagic’s core, it seems, is to start a digital revolution. One where they break down the walls of expensive equipment and gear. One where they give away once expensive software for free and make inexpensive cameras that include big budget features like 4K, Global Shutter, 13 stops dynamic range, and raw recording. To me. that revolutionist spirit fits right in with independent film-makers.

The Sundance films that used Blackmagic Cameras:

Being Evel, Director and DP Daniel Junge: Blackmagic Cinema Cameras as well as Blackmagic Design’s Teranex 2D Processor and DaVinci Resolve;
Bob and the Trees, co DPs Chris Teague and Danny Vecchione: Pocket Cinema Cameras and DaVinci Resolve, Colorist Nat Jencks of Outlier Post;
The Strongest Man, DP Tom Garner: Production Camera 4K and DaVinci Resolve, Colorist TJ Nelson;
Things of the Aimless Wanderer, DP Kivu Ruhorahoza: Blackmagic Cinema Camera and DaVinci Resolve; Colorist Joseph Bicknell

Things of the Aimless Wanderer [TRAILER] from Moon Road Films on Vimeo.

Sundance films graded using DaVinci Resolve:

3 1Ž2 Minutes, Colorist Greg Fisher of Company 3;
Best of Enemies, Colorist Andrew Balis at Different by Design, with Blackmagic Design’s Teranex 2D Processor also used on the film;
Call Me Lucky and The Overnight, Colorist Aaron Peak of Tool + Dye;
City of Gold, Finders Keepers and The Hunting Ground, Colorist Brian Hutchings at Different by Design;
Chorus, Colorist François Delisle of FILMS 53/12;
Christmas, Again, Colorist Jason Crump of Metropolis Post;
Don Verdeen and Z for Zachariah, Colorist Alex Bickel of Color Collective;
End of the Tour, Colorist Bryan McMahan of Modern VideoFilm;
Entertainment, Freelance Colorist Joe Malina, Colorist Lynette Duensing of CINELICIOUS;
Every Day and People, Places, Things, Colorist Nat Jencks of Outlier Post;
Glasslands, Colorist Eugene McCarthy of EMC Post;
Homesick, Colorist Dylan Hopkin;
I Am Michael, Colorist Tyler Fagerstrom of CINELICIOUS;
I Smile Back, Colorist Roman Hankewycz of Harbor Picture Company;
Kurt Cobain: Montage of Heck, Colorist Shane Harris of Company 3;
Nasty Baby, Colorist Jeff Altman of Color Collective;
Paris is Burning, Colorist Gregg Garvin of Modern VideoFilm;
Slow West, Colorist Rob Pizzey of Goldcrest Post;
Strangerland, Freelance Colorist Deidre McClelland at Soundfirm;
Tangerine, Colorist Luke Cahill at Different By Design;
The Nightmare, Colorist Andrew Balis of Tool + Dye;
The Diary of a Teenage Girl and True Story, Colorist Tom Poole of Company 3;
Umrika, Colorist Stefan King;
Welcome to Leith, Colorist Ken Sirulnick of Glue Editing & Design NYC