Filmmakers rely on Blackmagic Design for Sundance 2026 lineup, using its digital film cameras, DaVinci Resolve Studio editing, color grading, visual effects (VFX) and audio post production software, and more. 

According to Blackmagic Design, more than 45 projects from the 2026 Sundance Film Festival were created with Blackmagic Design products. This includes notable projects such as “FreeLance,” and “Jaripeo” that were shot with Blackmagic Design cameras, and highly anticipated films such as “Carousel,” “I Want Your Sex,” “undertone,” and “Union County” that used DaVinci Resolve Studio throughout post production.

According to “Jaripeo” DP Josué Eber Morales, “For ‘Jaripeo,’ I knew I needed a compact, lightweight, and easy to use camera, as we would be working in crowded environments and needed to move quickly. In addition, it was essential for the camera to have an excellent dynamic range, since we would be dealing with extremely challenging lighting conditions, both during the day and at night. For these reasons, I decided to use the Blackmagic Pocket Cinema Camera 6K.”

Here is the complete list of projects, as shared by Blackmagic Design:

Sundance 2026 Projects that Used Blackmagic Design Cameras and Gear During Production:

• “Buddy” DP Zach Kuperstein used DaVinci Resolve Studio to create different looks for the various worlds in the film by developing an accurate emulation of ‘90s analog TV cameras and a three strip Technicolor look; and relied on Micro Converters to display this emulation accurately on set, using custom scaling and matting;
• “FreeLance” DP Tyler Clark used Blackmagic Pocket Cinema Camera 6K Pro digital film camera for select shots;
• “Ghost in the Machine” DP Valerie Veatch used DaVinci Resolve for final output and color conform;
• “Ha-chan, Shake Your Booty!” DP Daniel Satinoff used DaVinci Resolve for LUT creation and dailies and Blackmagic Video Assist 7” 3G monitor/recorder for playback;
• “The Huntress (La Cazadora)” DIT Erick Magaña used a HyperDeck broadcast deck, DaVinci Resolve Studio and DaVinci Resolve Micro Panel;
• “I Want Your Sex” DP Tucker Korte used DaVinci Resolve for on set color management;
• “Jaripeo” DP Josué Eber Morales used Pocket Cinema Camera 6K;
• “The Musical” DP Tu Do used DaVinci Resolve for LUT creation and Assistant Editor Nicole Acevedo used DaVinci Resolve to clone media, sync dailies, log metadata, and transcode proxy media for the offline edit;
• “Nuisance Bear” Cinematographer Ian Kerr, CSC used DaVinci Resolve Studio on location to view dailies, check stabilization effectiveness and perform noise reduction tests;
• “Seized” DIT/Colorist Cory Cullen used Video Assist 7” 12G HDR and Mini Converter SDI Distribution to record court feeds from the news teams, as well as an ATEM Mini Pro ISO live production switcher for isolated recordings provide to local news stations;
• “Soft Boil” DP Robin Webster used DaVinci Resolve Studio for dailies;
• “Take Me Home” DP Farhad Ahmed Dehlvi used Video Assist 7” 3G for on set monitoring, and DaVinci Resolve Studio for look development in preproduction and to build an on set monitoring and dailies LUT; and
• “When A Witness Recants” DP Bryan Gentry used DaVinci Resolve Studio for look development and UltraStudio Monitor 3G and UltraStudio Recorder 3G capture and playback devices for live grading.

“FreeLance” DP Tyler Clark noted, “When we realized during pre production that we would need to execute high quality car rigs on a budget, the Pocket Cinema Camera 6K Pro was my immediate go to and the perfect choice for getting the job done. We captured high resolution, high quality plates with minimal rigging involved, which played incredibly well on the LED wall used for our car interior work.”

Sundance 2026 Projects that Used Blackmagic Design Gear for Editing and VFX:

• “Carousel” Editor Ryan Kendrick used DaVinci Resolve Studio for VFX turnover and clip management;
• “Ha-chan, Shake Your Booty!” VFX Supervisor Alex Noble of Wild Union Post used DaVinci Resolve Studio within the VFX pipeline;
• “I Want Your Sex” Editor Gregg Araki and coeditor Victor De La Parra used DaVinci Resolve Studio and Blackmagic Cloud for the film’s full edit;
• “If I Go Will They Miss Me” Editors Daysha Broadway and Walter Thompson used DaVinci Resolve Studio for the film’s full edit;
• “Kikuyu Land” Editor Andrew H. Brown used DaVinci Resolve Studio for offline editing, conform and mastering;
• “Levitating (Para Perasuk)” Editor Ahmad Yuniardi used DaVinci Resolve Studio for proxy file creation along with UltraStudio Monitor 3G;
• “The Musical” Editor Chris Chandler used an UltraStudio 4K Mini to drive a dedicated client monitor;
• “Nuisance Bear” Editor Andres Landau along with his assistant editor used DaVinci Resolve Studio on location to create dailies, add LUTs, sync cameras and more, with Landau also using it during the editing process for online editing, credits, VFX and outputs; while the UltraStudio Monitor 3G powered the studio monitoring system for playback needs, feeding monitors during the offline editing of the film;
• “Saccharine” Editor Sean Lahiff used UltraStudio 4K Mini for capture and playback;
• “TheyDream” Director of 3D Animation Brad Jones used DaVinci Resolve Studio as part of the VFX workflow, including Fusion VFX and motion graphics software for compositing;
• “Tuner” Rocket Science VFX used DaVinci Resolve Studio for VFX I/O; and
• “undertone” VFX Artist Brian Hamilton of Jupiter Spin used Fusion Studio for VFX.

“Here at Moonshine Post, DaVinci Resolve was foundational to the creative finish of ‘The Shitheads.’ The entire color grade and delivery were completed in Resolve, where we relied on both its advanced color and texture tools to craft a cohesive film emulation. We heavily utilized grain, halation, and fine image shaping to build depth and character. Resolve’s collaboration mode enabled the entire Moonshine team to interface with the project in real time, including our Color Assist Will Gehring, Online Artist Neil Mikels, and VFX Artist Ben Hendrickson. These powerful tools within Resolve expanded our creative capacity while maintaining precision and consistency across the grade,” added Moonshine Post Colorist John Petersen.

Sundance 2026 Projects that Used DaVinci Resolve and DaVinci Resolve Studio for Grading:

• “The AI Doc: Or How I Became an Apocaloptimist” graded by Luke Cahill of Different By Design;
• “American Pachuco: The Legend of Luis Valdez” graded by Robert Arnold of RDAcolor;
• “Bedford Park” graded by Anthony Raffaele of Goldcrest New York;
• “Buddy” graded by Sam Daley of Picture Shop;
• “BURN” graded by Hisashi Nemoto of KASSEN;
• “Carousel” graded by Mike Howell of Color Collective;
• “Chasing Summer” graded by Nat Jencks of PostWorks New York;
• “Closure” graded by Ania Sójka at Black Photon, with DI produced by Kamil Rutkowski;
• “Cookie Queens” graded by Marcy Robinson of Nice Shoes;
• “FreeLance” graded by Abe Wynen of REDLAB with a DaVinci Resolve Advanced Panel;
• “The Friend’s House is Here” graded by Farhad Ghodsi;
• “Gail Daughtry and the Celebrity Sex Pass” graded by Charlie Tucker of Point 360;
• “Ha-chan, Shake Your Booty!” graded by Nat Jencks of PostWorks New York;
• “Half Nelson” 4K remaster completed by Jack Lewars of PostWorks New York;
• “The History of Concrete” graded by Samuel Gursky of Bradford Operations;
• “The Huntress (La Cazadora)” graded by David Sánchez Alvarado of Chemistry with a DaVinci Resolve Advanced Panel and UltraStudio 4K Extreme 3 for monitoring;
• “I Want Your Sex” graded by Shaley Brooks of Iris Digital Post;
• “Jane Elliott Against the World” graded by Will Cox of Skyline Finishing;
• “Jaripeo” graded by Karla Martinez and Øyvind Stiauren of Terminal;
• “Joybubbles” graded by Samuel Gursky of Bradford Operations;
• “Kikuyu Land” graded by Tess Stuart;
• “Knife: The Attempted Murder of Salman Rushdie” graded by Jack Lewars of PostWorks New York;
• “The Lake” graded by Marcy Robinson of Nice Shoes;
• “Levitating (Para Perasuk)” graded by Chaitawat Thrisansri of White Light Post;
• “Murder 101” graded by Kaitlyn Battiselli of Ethos Studio;
• “Nuisance Bear” graded by Joseph Bicknell of Company 3;
• “The Oldest Person in the World” graded by Natacha Ikoli of Nice Dissolve with a DaVinci Resolve Mini Panel, Blackmagic Cloud and DaVinci Remote Monitor app;
• “The Oligarch and the Art Dealer” relied on DaVinci Resolve across the post production pipeline, including dailies, online, grading and mastering, with grading at De Lodge Amsterdam and remaining post handled by Elk Film;
• “The Oracle” graded by Ayumi Ashley of Rare Medium;
• “Paralyzed by Hope: The Maria Bamford Story” graded by Shane Harris of Company 3;
• “Saccharine” graded by CJ Dobson of Moodlab at The Post Lounge;
• “The Screener” graded by Bossi Baker;
• “See You When I See You” graded by Anthony Raffaele of Goldcrest New York;
• “Seized” graded by Cory Cullen with a DaVinci Resolve Micro Color Panel;
• “Sentient” graded by Spectrum Post out of Sydney;
• “The Shitheads” graded by John Petersen of Moonshine Post;
• “Soul Patrol” graded by Ayumi Ashley of Rare Medium;
• “Take Me Home” graded by Belal Hibiri of Lucid Post;
• “TheyDream” graded by Brad Jones of Journeymen Studio;
• “Time and Water” graded by Eggert Baldvinsson, CSI, of Trickshot, who also used DaVinci Resolve Studio for the online, conform, restoration, subtitle refinement and finishing;
• “Troublemaker: The Story Behind the Mandela Tapes” graded by Stefan Sonnenfeld of Company 3;
• “Tuner” graded by Brett Trider of Picture Shop;
• “undertone” graded by AJ McLauchlin of REDLAB; and
• “Union County” graded by Sam Daley of Picture Shop.

“Gail Daughtry and the Celebrity Sex Pass” Colorist Charlie Tucker concluded, “Once more Resolve’s ever expanding quiver of creative tools made grading the feature a bloody lovely experience. Magic Mask 2, Film Look Creator and Chroma Warp are game changers in look development and driving the storytelling.”