FREMONT, CA — More than 50 projects at the 2020 Sundance Film Festival used Blackmagic Design (www.blackmagicdesign.com) gear, including the company’s digital film cameras and DaVinci Resolve Studio editing, grading, VFX and audio post production software.
The Killing of Two Lovers was edited and graded in DaVinci Resolve Studio, and as director Robert Machoian notes, “It was my first time editing in DaVinci Resolve Studio, so I took a chance, but I wanted to test the workflow and see if this could be a future workflow for me. I have to say, I’m so thankful I took the risk! Editing was smooth and organized, and when it came time to turn the project over to my colorist, it was so simple. For me, DaVinci Resolve Studio is my post production software from now on.”
The following is a list of Sundance Projects that Used DaVinci Resolve and DaVinci Resolve Studio:
“The 40-Year-Old Version” was graded by Nat Jencks of Goldcrest Post;
“Amulet” was graded by Max Horton using facilities at Film Shed;
“And Then We Danced” was graded by Alexandra Pocquet;
“The Assistant” was graded by Sofie Friis Borup of Company 3;
“Beast Beast” was graded by Sean Wells of Roast n' Post;
“Black Bear” was graded by Kath Raisch of Company 3;
“Charm City Kings” was graded by Sam Daley of Deluxe;
“Charter” was graded by Dylan R. Hopkin of Nordisk Film ShortCut Oslo using a DaVinci Resolve Advanced Panel;
“The Cost of Silence” was graded by Brian Hutchings at Different by Design;
“Cuties” was graded by Charles Freville;
“Disclosure: Trans Lives on Screen” was graded by Luke Cahill at The Garrison;
“The Dissident” was graded by Luke Cahill at Different by Design;
“Dream Horse” was graded by Rob Pizzey of Goldcrest Post using a DaVinci Resolve Advanced Panel;
“Ema” was graded by Luis Quevedo at Atomica in Chile;
“Epicentro” was graded by Jimmi Kurt Hennrich of 1z1screenworks;
“The Evening Hour” was graded by Joe Gawler of HARBOR, and VFX artist Alex Noble of Wild Union Post also used DaVinci Resolve Studio for stabilization and VFX prep work;
“Exil” was graded by Colorist Nazzareno Neri and DP Matteo Cocco using a DaVinci Resolve Mini Panel;
“Feels Good Man” was graded by Brian Hutchings at Different by Design;
“Giving Voice” was graded by Luke Cahill at Pilgrim Media Group;
“The Go-Go's” was graded by Joanne Rourke of Deluxe Toronto;
“Hey Lady!” was graded by Ryan Ruskay using a DaVinci Resolve Mini Panel;
“Jumbo” was graded by Lionel Kopp;
“The Killing of Two Lovers” was edited by Robert Machoian and was graded by Drew Tekulve;
“La Leyenda Negra” was graded by Marco Amaral of The Yellow Color;
“LANCE” was graded by Luke Cahill at Different by Design;
“Leap of Faith: William Friedkin on the Exorcist” was graded by Dave Krahling of Milkhaus, LLC;
“Love Fraud” VFX artist Alex Noble of Wild Union Post used DaVinci Resolve Studio for stabilization and VFX prep work;
“Minari” was graded by Dave Cole of FotoKem;
“Never Rarely Sometimes Always” was graded by Jason Crump of Metropolis Post;
“Nine Days” was graded by Nat Jencks of Goldcrest Post;
“The Nowhere Inn” was graded by Frederik Bokkenheuser;
“The Perfect Candidate” was graded by Fabiana Cardalda using a DaVinci Resolve Advanced Panel;
“Possessor” was graded by Jim Fleming;
“Rebuilding Paradise” was graded by Joe Gawler of HARBOR;
“Relic” was graded by CJ Dobson, CSI;
“Save Yourselves!” was graded by Nat Jencks of Goldcrest Post;
“Scare Me” was graded by Jaime O'Bradovich of Company 3, and Editor Patrick Lawrence also used DaVinci Resolve Studio for dailies, transcoding and online editing;
“Shirley” was graded by Nat Jencks of Goldcrest Post;
“Softie” was graded by Hamed Aleali and Samantha Neboschizkij of EyeSteelFilm;
“Spaceship Earth” was graded by Brian Boyd;
“The Starr Sisters” Editor Patrick Lawrence used DaVinci Resolve Studio for dailies, transcoding and online editing;
“Surge” was graded by Simone Grattarola of Time Based Arts using a DaVinci Resolve Advanced Panel;
“Sylvie’s Love” was graded by Roman Hankewycz and Supervising Colorist Joe Gawler of HARBOR;
“Tesla” was graded by Svetoslav Mateev of Nu Boyana Film Studios using a DaVinci Resolve Advanced Panel;
“This Is Not a Burial, It’s a Resurrection” was edited by Lemohang Jeremiah Mosese and was graded by Nic Apostoli of Comfort and Fame Studios;
“The Trade” was graded by Seth Ricart of RCO;
“The Truffle Hunters” was graded by Marcy Robinson of Goldcrest Post;
“Us Kids” was graded by Seth Ricart of RCO;
“Vivos” was graded by Dirk Meier;
“Whirlybird” was graded by Luke Cahill at Different by Design;
“Worth” was graded by Sam Daley of Deluxe;
“Yalda, a Night for Forgiveness” by Massoud Bakhshi with DP Julian Atanassov, graded by Moritz Peters at Basis Berlin Postproduktion; and
Zeina Durra’s “Luxor” was graded by Elie Akoka of United Post Production.
The following Sundance Projects used Blackmagic Design cameras and gear:
“The Earth Is Blue as an Orange” DP Viacheslav Tsvietkov used a Blackmagic Production Camera 4K;
“La Llorona” used DaVinci Resolve Studio for the creation of dailies and LUTs on set, as well as a Video Assist 4K for monitoring and reference playback;
“Nine Days” DP Wyatt Garfield used a Blackmagic Pocket Cinema Camera for select shots and an UltraStudio Express capture and playback device;
“The Painter and the Thief” Director Benjamin Ree used a Pocket Cinema Camera;
“Possessor” DP Karim Hussain used a Pocket Cinema Camera for some live playback on set; and
“Save Yourselves!” Editor Sofi Marshall used a Blackmagic Web Presenter to live stream edit sessions between coasts, as well as an UltraStudio Mini Monitor.