While we are in the full swing of the Sundance Film Festival take a minute to check out all of the films using Blackmagic gear to elevate the stories. Notable is the film “Carpinteros (Woodpeckers)” premiering in the World Cinema Dramatic Competition of the festival. Shot on the Blackmagic URSA Mini 4.6K the story follows a young man who finds love in a Dominican Republic Prison. Check out the trailer below.

https://youtu.be/GkjGiyGuBow

It is pretty amazing to see the proof of Blackmagic’s growth within the film industry. What started as a mini-converter company has blossomed into a company able to fill the needs in just about every corner in the film and television world. Soon, I think the Blackmagic URSA Mini 4.6K will the type of camera you will see again and again being used on Indie films and television. Hell, I would not be surprised to see the camera used on anything at this moment. Check out the other films playing at the Sundance Film Festival which used Blackmagic Cameras, gear, and software.

Some of the Sundance Films That Used Blackmagic Design Cameras and Gear:

• “Beatriz at Dinner” shot by DP Wyatt Garfield with a workflow supported by an UltraStudio for playback, HDLinks for monitoring, and a Smart VideoHub for routing, and with selective use of DaVinci Resolve Studio by VFX Supervisor George Loucas of BakedFX;
• “Brigsby Bear” shot by DP Christian Sprenger using a Video Assist and Mini Converters Analog to SDI;
• “Carpinteros (Woodpeckers)” shot by DP Hernán Herrera with an URSA Mini 4.6K digital film camera;
• “Casting JonBenet” shot by DP Michael Latham with a Blackmagic Production Camera 4K, using an UltraStudio Mini Monitor for display output;
• “Colossal” VFX done with Fusion Studio by Compositing Supervisor Eric Doiron of Intelligent Creatures;
• “A Ghost Story” post team used a Pocket Cinema Camera for several VFX shots;
• “The Little Hours” Editor Ryan Brown used an UltraStudio Mini Monitor for Thunderbolt-based playback; and
• “Oklahoma City” Director Barak Goodman and team used a post production workflow supported by UltraStudio 4K, UltraStudio Mini Monitor, Teranex 2D Processor and Blackmagic UltraScope PCIe card.

Some of the Sundance Films and Series That Used DaVinci Resolve and DaVinci Resolve Studio:

• “500 Years” by Colorist Ken Sirulnick of Glue Editing & Design;
• “Beach Rats” by Colorist Nat Jencks;
• “Before I Fall” by Colorist Alex Bickel of Color Collective at Technicolor PostWorks;
• “The Big Sick” by Colorist Alex Bickel of Color Collective at Technicolor PostWorks;
• “Carpinteros (Woodpeckers)” by Colorist Hernán Herrera;
• “Dayveon” by Colorist Mike Howell of Color Collective;
• “The Discovery” by Colorist Alex Bickel of Color Collective at Technicolor PostWorks;
• “Family Life” by Colorist Daniel Dávila of Kine Imágenes;
• “Free and Easy” by Colorist Wentao Li of Homeboy Digital Film Laboratory;
• “Gente-fied” by Colorist Gonzalo Digenio;
• “A Ghost Story” by Colorist Joe Malina;
• “Golden Exits” by Colorist Jason Crump of Metropolis Post;
• “The Hero” by Colorist Mike Howell of Color Collective;
• “I Don’t Feel At Home In This World Anymore” by Colorist Andrew Francis of Sixteen19;
• “ICARUS” by Colorist Luke Cahill of Different by Design;
• “The Incredible Jessica James” by Colorist Mike Howell of Color Collective;
• “Joshua: Teenager vs. Superpower” by Colorist Luke Cahill of Different by Design;
• “Killing Ground” by Colorist Billy Wychgel;
• “L.A. Times” by Colorist Aaron Peak of Wildfire Finishing, with online editing in DaVinci Resolve Studio done by Wildfire Finishing and by Editor John-Michael Powell, who also used an Intensity Extreme used for offline playback;
• “Landline” by Colorist Joe Gawler of Harbor Picture Company;
• “Legion of Brothers” by Colorist Brian Hutchings of Different by Design;
• “Look and See: A Portrait of Wendall Barry” by Colorist Daniel Stuyck;
• “Manifesto” by Colorist and Post Production Supervisor Jan Schöningh;
• “The Mars Generation,” by Colorist Robert Crosby at Neptune Post, and Director Michael Barnett also used DaVinci Resolve Studio and numerous Teranex processors to transcode and convert more than 600 archival clips from more than 70 archival sources from around the globe;
• “Motherland” by Colorist Daniel Stuyck;
• “Mudbound” by Colorist Joe Gawler of Harbor Picture Company;
• “My Happy Family” by Colorist Philip Whitfield of WeFadeToGrey;
• “The New Radical” by Colorist Nat Jencks;
• “NOBODY SPEAK: Hulk Hogan, Gawker and the Trials of a Free Press” by Luke Cahill of Different by Design;
• “Novitiate” by Colorist Andrew Francis of Sixteen19;
• “Oklahoma City” by Colorist Chris Connolly;
• “Pineapple” by Colorist Robert Louis Garza;
• “Rebel in the Rye” by Colorist Steven Bodner of Light Iron;
• “RED DOG: True Blue” by Colorist Dee McClelland at Soundfirm;
• “Rise” by Colorist Ryan Ruskay of VICE Canada;
• “RUMBLE: The Indians Who Rocked the World” by Colorist Francis Hanneman of Studio Hanneman, and Colorist Tony Manolikakis of Rev13 Films;
• “Shit Kids” by Colorist Brennan Barsell of Cinelicious, and Editor Salvador Pérez García for online editing;
• “Sueño en otro idioma (I Dream in Another Language)” by Colorist Phaedra Robledo of Cinema Maquina;
• “TAKE EVERY WAVE: The Life of Laird Hamilton” by Colorist Kevin Cannon of Different by Design;
• “Tokyo Idols” by Colorist Francis Hanneman of Studio Hanneman;
• “Unrest” by Colorist Andrew Balis of Different by Design;
• “Where is Kyra?” by Colorist Joe Gawler of Harbor Picture Company;
• “Whose Streets?” by Colorists Adam Inglis and Tif Luckenbill of Post Factory; and
• “World Without End (No Reported Incidents)” by Colorist Jason Crump of Metropolis Post.