{"id":7539,"date":"2018-01-12T12:29:36","date_gmt":"2018-01-12T20:29:36","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=7539"},"modified":"2021-05-30T19:47:59","modified_gmt":"2021-05-31T02:47:59","slug":"next-level-filmmaking","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/next-level-filmmaking\/","title":{"rendered":"NEXT-Level Filmmaking"},"content":{"rendered":"

Buckle up for the biggest, baddest, bravest Sundance yet, as ICG filmmakers (who account\u00a0for more than half of all\u00a0the shorts\/features in the fest this year) dump a blizzard of daring and innovation on Park City.\u00a0By\u00a0David Geffner.\u00a0All photos courtesy of The Sundance Institute <\/em><\/strong>unless otherwise noted.\u00a0<\/em><\/strong><\/p>\n

Sundance 2018 holds the promise of being the most diverse and engaging year ever for Local 600 members in the 25-plus-year history of this acclaimed indie film festival. It\u2019s not just the sheer numbers of entries Guild camera teams have screening in Park City \u2013 a record 70-plus narratives, documentaries, and shorts \u2013 but the breathtaking emotional range the various projects map out. From the gritty urban Oakland streets, expertly depicted in the Robby Baumgartner-shot Blindspotting<\/em> (U.S. Dramatic Competition), to what Guild DP Nanu Segal describes as the \u201cbeguiling, eccentric and beautiful\u201d location of Eureka, CA, for the wild and genre-bending An Evening with Beverly Luff Linn<\/em> (NEXT), this year\u2019s festival offers up something to entertain and challenge virtually every filmgoer\u2019s aesthetic.<\/p>\n

There\u2019s also a fearless level of technical innovation on display: consider a movie like A Boy. A Girl. A Dream: Love on Election Night<\/em> (also in the NEXT section), shot by Steve Holleran, who says he ventured \u201cfarther off the cinematography map\u201d than at any point in his career to portray a story about a life-changing political moment in history that brings together two complete strangers. The two leads improvised the entire film as Holleran and his Guild team navigated seven live locations, including L.A.\u2019s busy Sunset Boulevard, a packed club, a house party, a diner, and two taxis \u2013 for a single, continuous movie, all shot at night!<\/p>\n

This year also highlights the return of one of Sundance\u2019s native daughters \u2013 Emmy-winning director and Local 600 cinematographer Reed Morano, ASC. Morano-shot features have premiered nearly every year in Park City for the better part of a decade, including multiple entries the same year. But 2018’s\u00a0I Think We\u2019re Alone Now<\/em> (U.S. Dramatic Competition) marks the first Sundance narrative feature Morano shot and directed, and she hardly made it easy on herself. The two-character drama (starring Peter Dinklage and Elle Fanning) is set after the apocalypse, where the electricity is out and all of the lighting must come from existing practical sources like car headlights and battery-operated flashlights. Of course, you\u00a0know it\u2019s a banner year at Sundance when a female documentary cinematographer has no fewer than three entries premiering. Guild member Shana Hagan comes into town with a trio of highly anticipated nonfiction works, all directed by award-winning Sundance filmmakers \u2013\u00a0Inventing Tomorrow <\/em>(U.S. Documentary Competition), Generation Wealth, <\/em>and Won\u2019t You Be My Neighbor?<\/em> (both in Documentary Premieres) \u2013 that reflect not only the dynamic thematic range on display at Sundance 2018, but the long-hoped-for diversity behind the lens that has swept through the larger independent film community.<\/p>\n

(Note: this list was compiled with information supplied by Local 600 members prior to the start of the festival. We are not responsible for omission of films and crewmember names not provided to www.icgmagazine.com by posting date of this article.)<\/p>\n

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U.S. Dramatic Competition<\/u><\/strong><\/p>\n

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Photo by Wilson Webb<\/figcaption><\/figure>\n

American Animals <\/em><\/strong>\u2013 <\/em>Writer\/Director Bart Layton brings to Sundance this unbelievable but mostly true story about four young men who mistake their lives for a movie and attempt one of the most audacious art heists in U.S. history. The Local 600 camera team included A-camera operator Nicole Lobell, A-camera 1st AC Matthew Mebane, A-camera 2nd AC Monica Barrios-Smith, Digital Utility Sam Kim, DIT Jason Johnson, B-camera operator\/Steadicam John Lehman, B-camera 1st AC Christian Shonts, B-camera 2nd AC J.G. Gribble and Still Photographer Wilson Webb.<\/p>\n

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\"25296209278_fddf398a07_h\"<\/u>Blaze <\/em><\/strong>\u2013 Ethan Hawke co-wrote and directed this reimagining of the life and times of Blaze Foley, the unsung songwriting legend of the Texas Outlaw music movement, who \u201cgave up paradise for the sake of a song.\u201d Canadian DP Steve Cosens, CSC, joined Local 600 members Trevor Tufano (1st<\/sup> AC) and Matt Guidry (2nd<\/sup> AC).<\/p>\n

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DP Robby Baumgartner turned to experienced Local 600 colleagues like Steve Cueva, Sam Lino and Patrick McArdle for this demanding shoot on the streets of Oakland, CA.<\/figcaption><\/figure>\n

Blindspotting<\/em><\/strong> \u00ad\u2013 This urban drama about two buddies \u00ad\u2013\u00a0one black and one white \u2013 living on, dealing on and rapping about the streets of Oakland, CA, was rushed into production early around lead actor Daveed Diggs\u2019 schedule. Guild DP Robby Baumgartner, who had 15 days to prep and 22 days to shoot the 110-page script, turned to experienced Local 600 colleagues like 1st AC Steve Cueva and 2nd AC\u00a0Sam Lino, who also helped to wrangle a star-studded B-camera team. \u201cHow we got the very seasoned 1st AC Patrick McArdle to join us on this Tier 0 film, I still do not know,\u201d Baumgartner reflects. \u201cPatrick is a filmmaker\u2019s dream! We also had [A-camera operator] Reid Murphy onboard with his dialed-in M\u014dvi Pro rig.\u201d Baumgartner says the film\u2019s budget was originally based on a single camera package, but he quickly realized his team would never make their days without a fast, simple way to move the camera and not lose any time rebuilding the system. \u201cI pushed hard to have two complete cameras, one that would live on the M\u014dvi full time, the other able to go Studio mode or handheld, and I credit Lori Killam at Panavision for helping make all that work,\u201d Baumgartner adds. \u201cAfter 28 years in the business, working my way up through the Electric department to gaffer and finally making the switch to DP, I couldn\u2019t be more excited about this project.\u201d\u00a0Joining McArdle on the B-camera team was 2nd<\/sup> AC Shannon Bringham and DIT Sin Cohen.<\/p>\n

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Photo by Mark Hill<\/figcaption><\/figure>\n

Burden<\/em><\/strong>\u00a0\u2013 Andrew Heckler wrote and directed and Jeremy Rouse shot this story about a KKK member who falls in love with a single mom and is forced to confront his senseless hatred. After leaving the Klan and with nowhere to turn, Burden is taken in by an African-American reverend and learns tolerance through their combined love and faith.\u00a0Garrett Hedlund and Forest Whitaker star. Guild members on the shoot included A-camera 1st<\/sup> AC Josh Gilbert, A-camera 2nd<\/sup> AC Trey Volpe, Operator\/2nd<\/sup> Unit DP Michael Merriman, B-camera 1st AC Nathan McConnell, B-camera 2nd<\/sup> AC Blair Winders, Steadicam Operator Daniel Eckler, DIT Chad Oliver, C-camera Operator Jim McKinney, C-camera 1st<\/sup> AC Donovan Henneberg-Verity, and Unit Stills Photographer Mark Hill.<\/p>\n

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\"24855647888_3430848e2a_k\"Eighth Grade\u00a0<\/em><\/strong>\u00ad\u2013 This first feature from comedian and YouTube sensation Bo Burnham is also the first-ever Sundance film for Oscar-winning producer Scott Rudin. Shot by Local 600 DP Andrew Wehde, it centers on thirteen-year-old Kayla (Elsie Fisher), who endures the tidal wave of contemporary suburban adolescence as she makes her way through the last week of middle school \u2013 the end of her thus far disastrous eighth grade year \u2013 before beginning high school.<\/p>\n

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\"Emmy
Emmy-winner, Reed Morano, ASC, shot and directed this very different “post-apocalypse” story, where one lucky recluse\/sole survivor finds out he’s not alone. Photo by Beka Venezia<\/figcaption><\/figure>\n

I Think We\u2019re Alone Now<\/em><\/strong>\u00a0\u2013 Emmy-winning director Reed Morano, ASC (The Handmaid\u2019s Tale<\/em>), shot and directed this story about one lucky recluse named Del (Peter Dinklage), who is content to be the sole survivor of the apocalypse, until a second survivor, Grace (Elle Fanning), arrives with the threat of companionship. Morano says she\u00a0strived to keep the audience in Del\u2019s perspective as much as possible\u200b \u201cso we never allow the audience to see anything he can\u2019t see himself. Once Grace arrives, the rhythm changes and we are (occasionally) plunged into her POV as a way to enable the audience to see Del from another perspective.\u201d Morano used film lights during the day to light the scenes but always kept the lights outside the windows.\u00a0At night she almost exclusively used the practical lights that would be usable in a world without electricity, i.e., battery-operated lanterns, lamps, headlamps and car headlights. \u201cWe only deviated from this twice,\u201d Morano recounts. \u201cIn one night scene, we supplemented with one Litepanel dimmed all the way down. In another scene, we added two Lekos to help supplement some old car headlights that weren\u2019t so bright. In most movie versions of darkness and night, you can somehow still see everything \u2013 I wanted night in this world to look like what my eye actually sees at night if there were no light pollution \u2013 so we could feel the emptiness.\u00a0At night, we often found ourselves trying to block out other lights and light pollution we couldn\u2019t control, rather than adding more light.\u201d\u00a0The all-Guild crew included B-camera operator\/Steadicam\u00a0Mike Heathcote,\u00a0SOC; A-camera 1st AC Tim Metivier; A-camera 2nd<\/sup>\u00a0AC Conny Klapper; DIT Eric Camp; B-camera 1rst\u00a0<\/sup>AC\u00a0and additional A-camera 1st<\/sup>\u00a0AC Pat Sokley; additional B-camera 1st<\/sup>\u00a0AC\u2019s Chris Moeller\u00a0and\u00a0Paul Colangelo;\u00a0additional 2nd<\/sup>\u00a0AC\u00a0Sarah May Guenther;\u00a0Loader\u00a0Carrie Wills;\u00a0additional Loaders\u00a0Dave Ross\u00a0and\u00a0Yale Gropman;\u00a0and\u00a0Still Photographer\u00a0Beka Venezia.<\/p>\n

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Photo Courtesy of Noah Greenberg<\/figcaption><\/figure>\n

Lizzie<\/em><\/strong> \u2013 Noah Greenberg shot this psychological thriller based on the infamous 1892 axe murder of the Borden family in Fall River, Massachusetts. The film focuses on the period leading up to the murders and their immediate aftermath, revealing many layers of the strange, fragile woman who stood accused of the brutal crime, and her intimate bond with the family\u2019s young Irish housemaid.\u00a0Greenberg says the Borden house had an \u201cuncommon floor plan with many interconnected rooms that afforded us the opportunity to design long dolly moves and slow, creeping zooms that reinforce the claustrophobic, menacing tone underlying the film.\u201d Greenberg used ALEXA SXT with a mix of Cooke Speed Panchros, Cooke S4i\u2019s, and Fuji Alura Zooms. \u201cWe lit with practical sources (including double-wick candles and oil lamps) as well as a mix of LED, HMI and tungsten,\u201d he notes. The Guild camera team was made up of Camera Operator Chris Johnson; additional Camera Operator Josh Morton, SOC; 1st AC Richard J. Lacy; 2nd AC Kane Pearson; Media Manager Matt Dixon; and Stills Photographer Eliza Morse.<\/p>\n

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\"26893843339_805f269203_k\"Monster <\/em><\/strong>\u2013 Guild DP David Devlin shot this drama about a teenager who stands trial for acting as a lookout during the lethal armed robbery of a Brooklyn bodega. Before his arrest, Steve Harmon (Kelvin Harrison, Jr.) was an honors student and aspiring filmmaker, taking street-level snapshots and on-the-fly footage of neighborhood life. Now, he\u2019s another young black criminal, assumed guilty and labeled a monster. But Steve and his lawyer declare his innocence and attempt to defy the odds in a bid to win his freedom. The film was adapted from the award-winning young adult novel by Walter Dean Myers\u00a0and helmed by longtime music video\/commercial director Anthony Mandler, in his feature debut. The strong ensemble cast includes Jeffrey Wright, Jennifer Hudson, and Tim Blake Nelson.<\/p>\n

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Monsters and Men <\/em><\/strong>\u2013 Patrick Scola lensed this feature, set in Brooklyn\u2019s Bedford-Stuyvesant neighborhood, about a Hispanic man, Manny Ortega, who uses his phone to film a white police officer gunning down a neighborhood street hustler. His actions soon pose a dilemma: release the video and bring unwanted exposure to his family, or keep the video private and be complicit in the injustice? Writer\/director Reinaldo Marcus Green, whose short film Stop<\/em> played at the 2015 Sundance Film Festival, tells his story through three men living in the neighborhood \u2013\u00a0a young father striving to support his new family, an African-American cop dealing with the fallout of his colleague\u2019s mistake, and a star high school athlete who becomes politicized by the incident. Each is impacted by the moral choice presented \u2013 action or indifference. Scola says that although the shooting itself was a major catalyst in the film, the story is not about the actual shooting.\u00a0\u201cIf the shooting is the rock in the pond, the movie is really about the ripples,\u201d he describes, \u201cwith each ripple slightly further away from the center.\u201d Scola wanted to use the idea of proximity to the event to define the language of the camera. \u201cThe closer to the shooting the character is, the wider the lenses and the closer the camera \u2013 the world is a bit more raw, rough and tumble. As the film moves forward, the lensing changes subtly, getting slightly longer, and shots more composed.\u00a0As the ripples get further away, they become calmer and ultimately disappear.\u201d Scola shot with the ALEXA MINI and stripped the camera down to about 11 pounds with the lens and accessories to gain an \u201cunencumbered\u201d feeling. \u201cBecause we were doing a lot of handheld work, I didn\u2019t want the film to have too much of a \u2018documentary feel,\u2019\u201d he adds. \u201cThough naturalism was a key focus, we still wanted a level of heightened reality. Rather than go with detuned or uncoated vintage lenses, we went with Master Primes. I liked the idea of pairing a \u2018rough\u2019 style of lighting and camera work with the cleanliness of that set.\u201d Guild members on the project included Camera Operator Nick Timmons and 2nd AC Zachary Grace.<\/p>\n

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Director Christina Choe on location in upstate New York. Courtesy of \u00a0Zoe White<\/figcaption><\/figure>\n

Nancy<\/em><\/strong> \u2013 Guild cinematographer Zoe White shot this story about the titular character, a 35-year-old temp living with her mom and cat in a modest home in a modest town. Nancy is also an aspiring writer whose submissions are consistently rejected by the likes of The\u00a0Atlantic<\/em>\u00a0and the\u00a0Paris Review<\/em>. To make up for her failures, Nancy spins elaborate lies under pseudonyms on the Internet. When she encounters a couple whose 5-year-old daughter went missing 30 years ago, fact and fiction begin to blur in Nancy\u2019s mind, and she becomes increasingly convinced these strangers are her real parents. Written and directed by award-winning short filmmaker Christina Choe, making her feature debut, Nancy <\/em>was shot in January 2017 throughout the snowy backdrops of upstate New York. \u201cWe had a minimal crew,\u201d White recalls. \u201cAnd [Choe] and the producers were committed to ensuring our crew was made up of as many women and people of color as we could assemble.\u201d Local 600 members joining White included 1st AC Rachel Batashvili and Steadicam Operator Devon Catucci.<\/p>\n

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Sorry To Bother You<\/em><\/strong> \u2013 Indie cinematographer Doug Emmett returns to Sundance with this story that is set in an alternate present-day version of Oakland, where black telemarketer Cassius Green discovers a magical key to professional success, which propels him into a macabre universe. The Local 600 crew was made up of Emmett, 1st AC Buddy Allen Thomas, 2nd AC Emily Hock and Loader Bryan Perido.<\/p>\n

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The Kindergarten Teacher <\/em><\/strong>\u2013 Pepe Avila del Pino (ICG September 2017, The Deuce<\/em>) shot this sophomore effort from writer\/director Sara Colangelo that\u2019s based on an acclaimed Israeli film. Forty-year-old kindergarten teacher Lisa Spinelli (Maggie Gyllenhaal) is married to a kind but oblivious husband, and living with kids that mostly ignore her. The one source of joy for the Staten Island resident is an evening poetry class across the bay in Lower Manhattan. When Lisa discovers a five-year-old boy in her class, who may be the poet she can only dream of being, fascination turns to obsession. In a harrowing climax, Lisa risks her career, her family, and her freedom to nurture his genius and possibly tap into her own.<\/p>\n

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Guild DP Ashley Connor wanted a naturalistic look to highlight the complicated nature of teen friendships in a film set in the 1990’s.<\/figcaption><\/figure>\n

The Miseducation of Cameron Post<\/em><\/strong> \u2013 Cameron Post (Chlo\u00eb Grace Moretz) looks the part of a perfect high school girl. But after she\u2019s caught with another girl in the backseat of a car on prom night, she\u2019s shipped off to a conversion therapy center that treats teens \u201cstruggling with same-sex attraction.\u201d At the facility, Cameron is subjected to dubious \u201cde-gaying\u201d methods and earnest Christian rock songs \u2013 but the unusual setting also provides her with an unlikely community of fellow outcasts.\u00a0Guild DP Ashley Connor says that because the film is set in the 1990s, \u201cwe wanted a naturalistic look\u00a0to highlight the complicated nature of friendships at that age. It’s a lot about intimacy, so I would shoot quite close to the actors’ faces to really feel their movement.\u201d Connor says that during production, cast and crew lived together at an old German style resort in the Catskills. \u201c[Director] Desiree [Akhavan] and I talked a lot about the work of Catherine Breillat and C\u00e9line Sciamma and the ways of approaching female sexuality at that age. All the angst and awkwardness of growing up, we wanted the film to really capture that feeling.\u201d First AC\u2019s Kali Riley and Will Castellucci, 2nd AC Kimberlee Venable, and DIT Sandy Soohoo supported Connor.<\/p>\n

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Photo by Kyle Kaplan<\/figcaption><\/figure>\n

The Tale <\/em><\/strong> \u2013 Ivan Strasburg shot this story about\u00a0a globetrotting journalist and professor (Laura Dern) who lives a comfortable life with her boyfriend in New York City. Jennifer’s world, however, is rocked when her mother finds a story she wrote at age 13 depicting a \u201cspecial\u201d relationship with two adult coaches. Reading the yellowed pages of \u201cThe Tale,\u201d she discovers the coded details, composed 40 years earlier, are quite unlike her recollection. Deeply shaken yet determined to square her version of events with the truth, Jennifer sets out to find her two coaches. Returning to the Carolina horse farm where so much transpired, her seventh-grade self reawakens, and the loving stories she believed for decades begin to unravel.<\/p>\n

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Tyrel <\/em><\/strong>\u2013 Alexis Zab\u00e9 (ICG January 2018, The Florida Project<\/em>)\u00a0shot this new feature from writer\/director Sebasti\u00e1n Silva, who has had five films previously screen at Sundance; Tyrel <\/em>is his first in the U.S. Dramatic Competition. Employing the director\u2019s signature handheld camera, Zab\u00e9 probes subtext and body language of the film\u2019s characters, who meet up in the Catskills for a weekend birthday party. But as soon as \u201cTyler\u201d arrives, it becomes clear he\u2019s the only black guy (misnamed \u201cTyrel\u201d by all the white partygoers) and there\u2019s going to be a lot of heavy drinking. Although Tyler is welcomed, he can\u2019t help but feel uneasy in \u201cWhitesville.\u201d The combination of all the testosterone and alcohol starts to get out of hand, and Tyler\u2019s precarious situation starts to feel like a nightmare.<\/p>\n

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Wildlife<\/em><\/strong> \u2013 Diego Garcia shot and Paul Dano co-wrote and directed this drama set in Montana, in 1960, about a family in crisis. Based on the novel by Richard Ford, the film stars Carey Mulligan, Ed Oxenbould, Bill Camp, and Jake Gyllenhaal. The 1st<\/sup> Unit Guild camera team members in Montana\/Oklahoma included 1st AC Sara Ingram, 2nd AC Jeffrey Marks, B-camera Operator Adrian Durazo, DIT Leonard A. Mazzone and B-camera 1st AC Stacy Mize. The 2nd<\/sup> Unit in Montana was comprised of DP Adrian Durazo, 1st AC Adam Robert Dorris and 2nd AC Isaac Guy.<\/p>\n

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U.S. Documentary Competition<\/u><\/strong><\/p>\n

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Inventing Tomorrow <\/em><\/strong>\u2013 Guild members Shana Hagan and Allison Kelly were co-DP\u2019s on the Mexico unit (with Hagan shooting additional cinematography for the L.A. unit) of this feature documentary about six students preparing for the world\u2019s largest high school science competition, the Intel International Science and Engineering Fair\u00a0(ISEF), where the future world-changers meet\u00a0thousands of their peers from all over the world. A sense of global community forms,\u00a0focused on making troubled environmental hot spots \u2013 Indonesia, India, Mexico, Hawaii, among others \u2013 better places. Director Laura goes beyond the \u201cnerdy whiz kid\u201d stereotype for this portrait of engaged and inspired (and inspiring)\u00a0youth. (Martina Radwan was the primary cinematographer on the film.)<\/p>\n

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Minding the Gap<\/em><\/strong> \u2013 Local 600 member Bing Liu shot and directed this \u201clabor of love\u201d about young men who bond together to escape volatile families in their Rust Belt hometown. As they face adult responsibilities, unexpected revelations threaten their decade-long friendship. \u201cThe project took five years to complete,\u201d Liu shares, \u201cand includes footage I shot that dates back almost a decade and a half. It\u2019s a complex and empathetic coming-of-age story set in the post-industrial town I grew up in, Rockford, Illinois.\u201d<\/p>\n

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World Cinema Dramatic Competition<\/u><\/strong><\/p>\n

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Dead Pigs <\/em><\/strong>\u2013 <\/strong>Federico Cesca shot this feature debut from writer\/director Cathy Yan, which observes modern China through a humanist lens. The film revels in watching its characters discover their place within the fissures that arise when a status-obsessed society is forced to reckon with the meaning of success. Yan connects China\u2019s social strata through intergenerational narratives, exploring how to find fulfillment when the distance between grandparents, parents and children grows greater every day. Cesca used an ALEXA MINI with Master Anamorphic Primes.<\/p>\n

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World Documentary Competition<\/u><\/strong><\/p>\n

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This Is Home: A Refugee Story<\/em><\/strong> \u2013 Local 600 DP Laela Kilbourn (ICG December 2017 Generation Next<\/em>) shot this intimate portrait of four Syrian families\u00a0arriving in Baltimore, Maryland and struggling to\u00a0find their footing. With eight months to become\u00a0self-sufficient, they must forge ahead to rebuild\u00a0their lives.\u00a0When the travel ban adds further\u00a0complications, their strength and resilience are put\u00a0to the test. Kilbourn shot with a Canon C300 and a combination of Canon EF zooms and the Canon 17-120-mm Cine-Servo Zoom. \u201cThe majority of the film\u2019s subjects are Arabic speakers [who speak] little English,\u201d she shares, \u201cso covering them v\u00e9rit\u00e9 style was a challenge for myself; the director, Alexandra Shiva; and the sound mixer, Josh Isaac; as much of the time we didn\u2019t know immediately what was being said and had to use context and body language to follow the conversation.\u201d<\/p>\n

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Premieres<\/u><\/strong><\/p>\n

\"Guild
Guild DP Kevin Atkinson’s color palate revolved around cyans\/blues\/greens for Doug Kenney\u2019s early career in New York and yellows, oranges, reds later on Los Angeles. Photo by John Fleenor<\/figcaption><\/figure>\n

A Futile and Stupid Gesture <\/em><\/strong>\u2013 For this story about Doug Kenney, co-creator of the National Lampoon<\/em>, Caddyshack<\/em>, and Animal House<\/em> and one of the main drivers of the 1970\u2019s comedy counter-culture, Guild DP Kevin Atkinson says he anticipated the script\u2019s many scenes would make for a very \u2018cutty\u2019 movie, so he wanted to play things out in longer takes, sometimes even \u201coners.\u201d Atkinson says his approach with director David Wain was to \u201ctransport the audience from scene to scene with unique transitions,\u201d while being careful not to step on the story.\u00a0\u201cOur A-camera\/Steadicam operator, Brian Hart, has the knack for pulling off extremely technical and orchestrated moves with a nuance that doesn\u2019t make you aware of the camera,\u201d Atkinson adds. \u201cHis was a perfect skill-set for this project.\u201d<\/p>\n

The DP\u2019s color palate revolved around cyans\/blues\/greens for Kenney\u2019s early career in New York and yellows, oranges, reds for his later career in Los Angeles. \u201cJonah Markowitz, our production designer, was instrumental in helping to maintain the period feel \u2013\u00a0from the late 1960\u2019s through the late 70\u2019s,\u201d he continues. \u201cOur approach included zooms, which I just love, as I\u2019m a sucker for films made in the 1970\u2019s.\u201d Atkinson says the movie is structurally unique. There\u2019s an on-screen narrator scripted as \u201cModern Doug\u201d who comments on, critiques, and explains his younger self to the audience. \u201cHe kind of lives within the fourth wall, and so my pitch from the get-go was why not embrace it and reveal him in very deliberate (and sometimes elaborate) camera moves?\u201d The Guild camera team included Hart, A-camera 1st<\/sup>\u00a0AC Gabriel Diniz, A-camera 2nd<\/sup>\u00a0AC Ryan Grzelak, B-camera operator David Richert, B-camera 1st<\/sup>\u00a0AC Ryan Hogue, B-camera 2nd<\/sup>\u00a0AC Lani Wasserman, DIT Raul Riveros, Loader Yusef Edmonds, Utility Camera Alex Gadberry and Still Photographer John Fleenor.<\/p>\n

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Photo by Jon Pack<\/figcaption><\/figure>\n

A Kid Like Jake <\/em><\/strong>\u2013 Steven Calitri shot and Sundance alumnus Silas Howard wrote and directed this story about two loving parents, Alex (Claire Danes) and Greg (Jim Parsons), visiting various New York City kindergartens for their 4-year-old, Jake. The competitive and cutthroat environment places the focus on what is most unique about Jake \u2013 his love of dresses, fairy tales, and princesses. Those qualities never seemed unusual before, but when Jake begins to act out in preschool, Alex and Greg \u2013 suddenly at odds \u2013\u00a0must find a way to support Jake\u2019s identity without losing each other in the process.<\/p>\n

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Beirut <\/em><\/strong>\u2013 A U.S. diplomat flees Lebanon in 1972 after a tragic incident at his home. Ten years later, he is called back to war-torn Beirut by CIA operatives to negotiate for the life of a friend he left behind. Jon Hamm and Rosamund Pike star in this indie drama directed by Brad Anderson. Local 600 members on the project included 1st<\/sup> AC Nolan Ball, 2nd AC Julia Liu, and DIT Steve Sherrick.<\/p>\n

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\"Photo
Photo by Tina Rowden<\/figcaption><\/figure>\n

Come Sunday<\/em><\/strong> \u2013 Peter Flinckenberg shot this most recent feature of writer\/director Joshua Marston, whose past two indie efforts \u2013 Complete Unknown<\/em> and Maria Full of Grace<\/em> \u2013 also debuted at Sundance. Flinckenberg says it was his first Atlanta-based production, and he couldn\u2019t have been happier with the local crew, \u201cwhich helped us tremendously in telling this amazing true story!\u201d he notes. \u201cOur challenge was to make a cinematic and emotional film with limited resources (and extras) in visually boring locations, like a megachurch, offices, rehearsal rooms and living spaces.\u201d The large Guild camera team included A-camera operator Ian Forsyth, SOC; A-camera 1st AC Nan Segler; A-camera 2nd<\/sup> AC Courtney Dewes; B-camera 1st<\/sup> AC Josh Gilbert; B-camera 2nd<\/sup> AC Oren Malik; C-camera operator Ross Sebek; C-camera 1st<\/sup> AC Fred Thomas; C-camera 2nd<\/sup> AC Rodrigue Gomes; DIT Michael Kim; Utilities Chelsea Craig and Chase Shultz; and Still Photographer Tina Rowden.<\/p>\n

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\"Courtesy
Courtesy of Adam Stone<\/figcaption><\/figure>\n

Damsel <\/em><\/strong>\u2013 Guild shooter Adam Stone lensed this enthusiastic comedy from brothers David and Nathan Zellner, whose previous Sundance features include Goliath<\/em>\u00a0(2008),\u00a0Kid-Thing<\/em>\u00a0(2012), and\u00a0Kumiko, the Treasure Hunter<\/em>\u00a0(2014). The Zellners not only write\/direct and produce, they also co-star (with Robert Pattinson, Mia Wasikowska, and Robert Forster) in this \u201cclassic tale of the Old West.\u201d Samuel Alabaster is a man searching for his true love. Parson Henry is another, much drunker man, searching for a new start. Penelope is a woman who has found her own path. And Rufus Cornell is just a mean bastard with a taste for buckskin.<\/p>\n

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\"Courtesy
Cinematographer Christopher Blauvelt says director Gus Van Sant affords his team “total freedom to explore” regarding equipment, aesthetic and execution. Photo courtesy of Jake Magee<\/figcaption><\/figure>\n

Don\u2019t Worry, He Won\u2019t Get Far on Foot <\/em><\/strong> \u2013 Gus Van Sant wrote and directed this story about John Callahan, who has both a talent for off-color jokes and a drinking problem. When a bender ends in a car accident, Callahan (Joaquin Phoenix) wakes up permanently confined to a wheelchair. In his journey back from rock bottom, Callahan finds beauty and comedy in the absurdity of human experience. Cinematographer Christopher Blauvelt has been to Sundance before (Certain Women, Meek\u2019s Cutoff) <\/em>but never having shot a Gus Van Sant movie. Blauvelt says he grew up working for Van Sant DP\u2019s Harris Savides, ASC, and Christopher Doyle, \u201cso it was a dream for me to act as cinematographer on this project. I\u2019ve learned so much from these guys over the years,\u201d he shares. \u201cMostly how never to be constrained by any formula or approach that came before. You have total freedom to explore everything and anything the world has to offer with regard to equipment, aesthetic and execution to make every film unique to its own.\u201d Blauvelt describes the process on set as \u201cvery collaborative\u201d and a true artistic family. \u201cI am very lucky to do what I do and so grateful for the amazing talent that is there to work through anything we might dream up,\u201d he adds. The Local 600 team on the movie was made up of Blauvelt, A-camera 1st<\/sup>\u00a0AC Jesse Cain, A-camera 2nd<\/sup>\u00a0AC John Parson, B-camera operator Dave Anglin, B-camera 1st<\/sup>\u00a0AC David Parson, DIT Sean Goller, Loader Jake Magee and Still Photographer Scott Green.<\/p>\n

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\"For
For this story about nostalgia, DP Eric Lin wanted to portray \u201cthe tactile feel of vinyl \u2013 shooting on vintage lenses with our Alexa package was an obvious choice.\u201d Photo by Jon Pack<\/figcaption><\/figure>\n

Hearts Beat Loud<\/em><\/strong> \u2013 (Closing Night Film) Eric Lin shot this story about the owner of a failing record store in Red Hook, Brooklyn (Nick Offerman) and his daughter (Kiersey Clemons), who form an unlikely songwriting duo during the last summer before she leaves for college.\u00a0With music being central to a story about nostalgia, Lin says he wanted the look to have \u201cthe tactile feel of vinyl, so shooting on vintage lenses with our Alexa package was an obvious choice.\u201d The DP tested TCS\u2019s stockpile of vintage lenses, opting for newly rehoused Kowa Cine Prominar Spherical lenses, Japanese lenses from the 1960\u2019s, which, he notes, \u201cfelt very different than other vintage lenses from that era. The distinct orange, circular flares immediately stood out from the usual blue\/magenta flares we were seeing, and we exploited the look of those flares for the music performance scenes. The softness and falloff at the edges felt right for the analogue images we wanted for the film,\u201d Lin adds. A deep warmth in the lighting was created by mixing color temperatures to provide a \u201crich palette that we modulated to evoke the character\u2019s emotional worlds,\u201d Lin concludes.\u00a0The all-Guild camera team included 1st<\/sup> AC Marcos Hererra, 2nd<\/sup> AC Will Powell, Steadicam Operator Michael Hauer, and Still Photographer Jon Pack. Lin used a 2nd<\/sup>-unit camera crew to help cover music performances, which included B-camera 1st<\/sup> AC Stacy Mize and B-camera 2nd<\/sup> AC\u2019s Isaac Banks and Jonathan Henry, along with camera operators David Vlastis and Leland Krane.<\/p>\n

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\"24852942598_3892eaca54_k\"<\/p>\n

Juliet, Naked<\/em><\/strong> \u2013 Guild member Remi Adefarasin shot this story (based on the Nick Hornby novel) about Annie, the long-suffering girlfriend of Duncan, who is an obsessive fan of obscure rocker Tucker Crowe. When the acoustic demo of Tucker\u2019s celebrated record from 25 years ago surfaces, its release leads to an encounter with the elusive rocker. Adefarasin used ALEXA cameras with anamorphic lenses framing for 2.39. \u201cAn honest style was required with a little magic at times to let the story breathe,\u201d he describes. The film was directed by Sundance alumnus Jesse Peretz with a screenplay by Tamara Jenkins, Jim Taylor, Phil Alden Robinson, and Evgenia Peretz,\u00a0and Judd Apatow producing.<\/p>\n

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\"DP
Michael McDonough says the local knowledge of the Portland-based Guild crew was a huge asset in shooting his third feature with writer\/director Debra Granik. Photo by Scott Green<\/figcaption><\/figure>\n

Leave No Trace <\/em><\/strong>\u2013\u00a0From Debra Granik, the writer\/director of the four-time Oscar nominee Winter\u2019s Bone<\/em> (which premiered at the 2010 Sundance Film Festival), comes this drama about a father, Will (Ben Foster), and his teenage daughter, Tom (Thomasin Harcourt McKenzie), who have lived off the grid in a vast nature reserve near Portland, Oregon. When a chance encounter blows their cover, they\u2019re removed from their camp and put into the charge of social services. Struggling to adapt to their new surroundings, father and daughter set off on a perilous journey back to the wilderness, where they are finally forced to confront conflicting desires \u2013 a longing for community versus a fierce need to live apart. This was Guild DP Michael McDonough\u2019s third feature with Granik (after Down To The Bone<\/em> and Winter\u2019s Bone<\/em>) and he says the local knowledge of his Portland-based Guild crew (1st<\/sup> AC Jerry Turner, 2nd<\/sup> AC Patrick LaValley, DIT Sean Rawls, and Still Photographer Scott Green, all having just come off the network hit Grimm<\/em>) made a huge difference. \u201cThey really knew how to work in the ever-changing and challenging conditions of the Oregon woods,\u201d McDonough recounts. \u201cThe show had a high proportion of hand-held work and the terrain was challenging. The crew made life easy and enjoyable, no matter what ‘big nature’ threw at us. There was also a lot of love and mellow tempers on display \u2013\u00a0but that\u2019s Portland living I guess!\u201d<\/p>\n

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\"DP
DP Denson Baker with director Claire McCarthy in the Czech Republic. Courtesy of Dusan Martincek<\/figcaption><\/figure>\n

Ophelia <\/em><\/strong>\u2013 Cinematographer Denson Baker shot this mythic spin on Hamlet, <\/em>telling the classic story through a lens of female empowerment. Shot entirely in the Czech Republic with a local camera crew from Prague, the film portrays Ophelia as a lady-in-waiting for Queen Gertrude, and her singular spirit captures Hamlet\u2019s affections. As lust and betrayal threaten the kingdom, Ophelia is trapped between true love and controlling her own destiny. The British cast included Daisy Ridley, Naomi Watts, George MacKay, and Clive Owen, all led by director Claire McCarthy. Baker, who operated B-camera for the bulk of the project, used ARRI ALEXA XT Plus and ALEXA MINI with Hawk V-lite and V-Plus anamorphic lenses, and Ang\u00e9nieux Optimo anamorphic zoom lenses.<\/p>\n

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\"Photo
Photo by JoJo Whilden<\/figcaption><\/figure>\n

Private Life <\/em><\/strong>\u2013 From the writer\/director of The Savages <\/em>and Slums of Beverly Hills, <\/em>Tamara Jenkins, comes this unique and \u201cfertile\u201d story about Rachel (Kathryn Hahn) and Richard (Paul Giamatti), who are trying mightily to have children through various means. As they hit obstacles and face up to the reality of their chances, their marriage feels the strain. An unexpected last hope arrives in the form of their step-niece Sadie (Kayli Carter), a recent college dropout who comes to crash on their couch. Shot by Sundance veteran Christos Voudouris with a Guild crew that included A-camera\/Steadicam operator Michael Hauer, A-camera 1st AC Andrew Brinkman, A-camera 2nd AC Alec Nickel, DIT Symonowicz, Loader Josh Bote and Still Photographer JoJo Whilden.<\/p>\n

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\"Courtesy
Courtesy of Christopher Norr<\/figcaption><\/figure>\n

Puzzle <\/em><\/strong>\u2013 Christopher Norr lensed this story about a suburban mom who discovers a passion for solving jigsaw puzzles and is drawn into an unexpected world that changes her life in ways she could never imagine. Norr says he wanted to contrast the cinematography between the main character\u2019s two primary environments \u2013 her everyday suburban life and the jigsaw-puzzle solving that brings her to New York City. \u201cAgnes\u2019 home life is established as warm, soft and dark,\u201d Norr shares. \u201cThe darkness is used to make her blend into her background and mirror her feeling of being lost and insignificant.\u00a0The light that does penetrate into her dark world is there to enlighten and inspire her.\u00a0We used atmosphere to soften the image along with Leica Summicron lenses, which have a soft falloff.\u201d Once she begins spending time in the city, Norr used a bright and crisp look to emphasize to her inner strength. \u201cNo atmosphere was used, and the camera was always on the dolly, never handheld,\u201d he adds. \u201cInteriors had larger windows that allowed more natural light and connected to the exterior.\u201d Joining Norr were Local 600 members Eddie Belaval (A-camera operator), James Schlittenhart (A-camera 1st<\/sup> AC), Ben Noftzger and Brendan Russell (A-camera 2nd<\/sup> AC\u2019s), George Tur (B-camera operator), Michael Grantland (B-camera 1st<\/sup> AC), and Dan Brosnan (DIT).<\/p>\n

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\"38632390206_474d7beda5_k\"<\/p>\n

The Catcher Was A Spy<\/em><\/strong> \u2013 Sundance veteran Andrij Parekh (Mississippi Grind, Blue Valentine<\/em>) returns with this true-life narrative about Moe Berg \u2013 professional baseball player, Ivy League graduate, an attorney who spoke nine languages, and a top-secret spy for the OSS who helped the U.S. win the race against Germany to build the atomic bomb.<\/p>\n

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The Long Dumb Road <\/em><\/strong>\u2013 Local 600 DP Andrew Droz Palermo shot this unlikely buddy comedy (for co-writer\/director Hannah Fidell) about Nathan (Tony Revolori), who, while driving to L.A. for his freshman year of art school, breaks down near his childhood home in Texas. Local mechanic Richard (Jason Mantzoukas) agrees to fix the car as long as Nathan helps him escape his job. On the way out of town, Richard sparks a joint and begins to question why young Nathan is lacking a clear philosophy about the rest of his life. As they venture on, these two strangers battle through bar fights, heartache, and unfortunate detours before reaching their next destinations in life. The large Guild crew joining Droz Palmero included A-camera 1st<\/sup> AC Auston Call, Steadicam Operator Beau Chaput, B-camera operator Corey Weintraub, B-camera 1st<\/sup> AC Allen Hrynick, Additional B-camera 1st ACs Daniel Maestas and Grant MacAllister, Additional DIT Carlos Garcia, and Camera Utility Oscar Montez.<\/p>\n

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\"What<\/p>\n

What They Had<\/em><\/strong> \u2013 Elizabeth Chomko wrote and directed this \u201csmall, contained family drama\u201d that Roberto Schaefer, ASC, AIC, says was \u201cshot on a shoestring budget in Chicago.\u201d Bridget returns home at her brother\u2019s urging to deal with her mother\u2019s Alzheimer\u2019s and her father\u2019s reluctance to let go of their life together. The stellar cast includes Hilary Swank, Michael Shannon, Blythe Danner, and Robert Forster.\u00a0The dedicated Guild crew supporting Schaefer (who operated A-camera) included A-camera 1st<\/sup> AC Betsy Peoples, B-camera operator\/Steadicam Erdem Ertal, and Anastas Michos doing additional cinematography.<\/p>\n

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Documentary Premieres<\/u><\/strong><\/p>\n

\"Generation<\/u><\/p>\n

Generation Wealth <\/em><\/strong>\u2013 Award-winning photographer\/filmmaker Lauren Greenfield, whose 2012 feature documentary, The Queen of Versailles<\/em>, won the Directing Award at Sundance, returns with a film that is part film essay, part career retrospective. Greenfield explores youth culture, gender, body image, and affluence, all structured through the lens of materialism and its increasing sway on culture and society around the world. Underscoring the ever-increasing gap between the haves and the have-nots, her portraits reveal a focus on cultivating image over substance, where subjects unable to attain actual wealth instead settle for its trappings, no matter their ability to pay for it. The cinematographers, including Guild Members Shana Hagan, Bob Chappell and David Morrison, shot sequences that included a debutante ball in Moscow, etiquette classes in Beijing and interviews in the U.S., Iceland, Germany, China, and Russia.<\/p>\n

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\"HTP_BTS_by_AshlyCovington_Director_AmyAdrion
Director Amy Adrion (L) and Co-DP Yamit Shimonovitz (R) shooting this nonfiction feature about women directors in Hollywood. Photo courtesy of Ashly Covington<\/figcaption><\/figure>\n

Half the Picture <\/em><\/strong>\u00ad\u00ad\u2013 Yamit Shimonovitz shot this feature documentary about women directors in Hollywood, directed by Amy Adrion. Gender-parity experts and academics discuss Hollywood\u2019s discriminatory employment practices, interwoven with conversations about breaking into a male-dominated business with Ava DuVernay, Jill Soloway, Catherine Hardwicke, Penelope\u00a0Spheeris, Lena Dunham and other prominent female directors. The women confirm the\u00a0double standards that still exist while eloquently outlining their career paths, their struggles, and their hopes for the future.\u00a0Adrion addresses the inherent sexism in the industry and considers many of the stereotypes\u00a0and biases that have prevented women from rising through the ranks.\u00a0Shimonovitz says one challenge on the shoot was coming into locations for the first time and setting up interviews within an hour. \u201cWe had to keep consistent lighting sometimes during sunsets while still having a small footprint,\u201d she recounts. \u201cWe had an all-female camera crew, which created an intimate set.\u201d Co-cinematographer was Soraya S\u00e9l\u00e8ne, with Guild member Eve Cohen doing additional cinematography.<\/p>\n

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\"DP
DP Clair Popkin shot key Civil Rights era location B-roll for this documentary about MLK’s final years. Courtesy of Clair Popkin<\/figcaption><\/figure>\n

King in The Wilderness<\/em><\/strong> \u2013 This year marks the 50th anniversary of the assassination of Martin Luther King, Jr. and, through personal stories from the people who were around him,\u00a0the film follows MLK during the last years of his life, from the passage of the Voting Rights Act in 1965 to his assassination in 1968. The period provides a clear window into King as a man with an unshakeable commitment to nonviolence in the face of an increasingly unstable country. Guild DP Clair Popkin returns to Sundance (after his searing 2015 HBO documentary, Jim<\/em>) working with director Peter Kunhardt to interview those who knew MLK intimately. \u201cWe decided to use an Eye direct so the interview\u00a0eyelines would be direct to camera, and to frame tighter\u00a0than a classic talking-head interview to really focus in on the emotion and hopefully increase the impact,\u201d Popkin recalls. \u201cInspired by still portraits, I keyed with an HMI through a still photo beauty dish\u00a0mounted above and\u00a0in front of the subjects;\u00a0this made for a specific and gear-intensive setup, and we were thrilled with the results. We also chose to frame a bit wider for the interview subjects who were in MLK\u2019s circle of confidantes, while colleagues and friends were framed in a tighter, more intimate shot. We\u00a0shot lots of B-roll of places and locations that were important in the civil-rights struggle.\u201d<\/p>\n

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\"37757149055_92ca0215d3_k\"<\/p>\n

Robin Williams: Come Inside My Mind <\/em><\/strong>\u2013 Sundance veteran Wolfgang Held returns with this documentary from Marina Zenovich (ICG April 2017, This Land Is Our Land<\/em>) about the world\u2019s most energetic actor\/comedian and the performers who knew him best. Held notes that filming the intensely personal testimonies of colleagues and friends of Willams, \u201cwho shared their insights into his journey, were inspiring and very moving. The crew was very small as I did my own lighting,\u201d he adds. \u201cI used a single camera and employed a natural light\/Vermeer interview lighting style, which Marina favors. We shot with a Canon C300 Mk2 with Canon Cine Primes.\u201d\u00a0Other DP\u2019s on the project included Held\u2019s friend and co-founder of the New York-based KameraKollektiv, Thorsten Thielow, and LA-based Nick Higgins.<\/p>\n

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\"Won't<\/p>\n

Won\u2019t You Be My Neighbor? <\/em><\/strong> \u2013 Academy Award\u2013winning, Grammy-winning, and Emmy-winning filmmaker Morgan Neville returns to Sundance with this portrait of the famous children\u2019s TV host, Fred Rogers, who was also an ordained minister. Animated sequences are interspersed with archival footage of\u00a0Mister Rogers\u2019 Neighborhood<\/em>\u00a0and interviews with Fred Rogers\u2019 family, friends, and colleagues.\u00a0Using simple hand puppets and gentle encouragement to convey his message that every child should be liked \u201cjust the way you are,\u201d Rogers became the initiator of a movement devoted to meeting the specific needs of children. Guild member Graham Willoughby was the cinematographer, with additional cinematography provided by Nicola Marsh, Joe Victorine, Ben Kolak, Shana Hagan and Scott Ippolito. AC\u2019s included Amanda Rotzler, Russell Bell, Tyler Haft, Alex Cason, Jessica Keller, Julia Liu, Dan Cooper, Donny Thomas, Phil Henry and Cameron Dingwall.<\/p>\n

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Spotlight<\/u><\/strong><\/p>\n

\"24837107558_93cfa5e410_k_Still
Photo by Kerry Brown<\/figcaption><\/figure>\n

Beast <\/em><\/strong>\u2013 Guild still photographer Kerry Brown worked partial days on this dark drama from the U.K., written and directed by Michael Pearce, about a troubled young woman living in a small island community who is empowered by a mysterious outsider to escape from her oppressive family. When that outsider comes under suspicion for a series of brutal murders, she learns what she\u2019s capable of as she defends him at all costs.<\/p>\n

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\"Photo
Photo by Alison Cohen Rosa<\/figcaption><\/figure>\n

You Were Never Really Here <\/em><\/strong>\u2013 Written and directed by Lynne Ramsay, from the novel by Jonathan Ames, this story concerns a missing teenage girl and a brutal and tormented enforcer on a rescue mission. Guild members on this shoot included A-camera\/Steadicam operator Michael Fuchs, 1st<\/sup> AC Alex Worster, 2nd<\/sup> AC Dan Sheats, Loader Holly McCarthy and Unit Stills Photographer Alison Cohen Rosa.<\/p>\n

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NEXT<\/u><\/strong><\/p>\n

\"Guild
Guild DP Steven Holleran used a prototype stabilization rig by Antigravity Cam and a Sony a7sII mirrorless camera for this super-challenging continuous take feature. Photo courtesy of Steven Holleran<\/figcaption><\/figure>\n

A Boy. A Girl. A Dream: Love on Election Night<\/em><\/strong> \u2013 Steve Holleran shot this challenging film about how a life-changing political moment in history could bring two complete strangers together. The cinematic process was staged completely around the two actors as they improvised their way through an infamous night from last year in one continuous take. Holleran says it was \u201calmost like shooting\u201d a performance piece.\u00a0\u201cIn essence, we\u2019re visualizing on camera how people can be bonded by fire, whether literally or through something like cataclysmic political change,\u201d he describes.\u00a0That meant seamlessly navigating seven live locations including Sunset Boulevard, a packed club, a house party, a diner, and two taxis, while rolling in one single night of shooting.<\/p>\n

\u201cThe need to keep the image stabilized, mobile, and adaptive in dark, constantly changing environments pushed me toward looking outside the box for solutions,\u201d Holleran adds.\u00a0\u201cI turned toward the prototype stabilization rig by Antigravity Cam, the Sony a7SII mirrorless camera, and one Panavision C-Series anamorphic lens.\u00a0Operating the Antigravity rig loaded with fifty pounds for ninety minutes straight was a test of both physical stamina and the capacity to plan ahead. It was an unsettling feeling to know that there was not going to be a moment to reframe. Navigating staircases, curbs, groups of extras, and doorframes became a dance. The last hour before our first take was like preparing for a sporting event. Stretch, hydrate, and meditate, because once we started rolling there was no turning back.\u00a0It was the farthest off the cinematography map my team and I have ever ventured!\u201d<\/p>\n

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An Evening with Beverly Luff Linn <\/em><\/strong>\u2013 Guild shooter Nanu Segal lensed this wild romantic comedy from UK director Jim Hosking, whose debut feature, The Greasy Strangler,<\/em> premiered at the 2016 Sundance Film Festival. The story centers on Lulu Danger (Sundance perennial Aubrey Plaza), who, after getting fired by her scheming husband, Shane (Emile Hirsch), from his cappuccino shop, sees a TV commercial with a mysterious man from her past (Craig Robinson). Segal shot with ARRI ALEXA XT and Panavision super speeds in 3.2K ProRes, with RAW capture reserved for limited night scenes. Guy McVicker at Panavision Hollywood took Segal through the various testing of lenses for the project. \u201cWe shot in wonderful, beautiful, beguiling and eccentric Eureka, California,\u201d Segal recalls. We were based around the central location of the Eureka Inn, which was scouted early on by our production designer, Jason Kisvarday.\u201d Segal\u2019s camera team included 1st AC Ryan Patrick O\u2019Hara, 2nd AC Stephen Ling and DIT Sierra Haworth.<\/p>\n

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\"Guild
Guild DP\/A-camera operator Markus Mentzer says he learned from Barry Ackroyd, BSC, how to “cross-cover scenes with long lenses using multiple setups to find the key moments.”<\/figcaption><\/figure>\n

Clara\u2019s Ghost<\/em><\/strong> \u2013 Set over the course of a single evening in suburban Connecticut, the film tells the story of Clara Reynolds (writer\/director Bridey Elliot), who, fed up with ribbing from her self-absorbed showbiz family, finds solace from the supernatural force she believes is haunting her.\u00a0Guild DP\/A-camera operator Markus Mentzer,\u00a0working with Local 600 B-camera operators Katherine Castro and Francis Capone, had just 15 days to shoot the 105-page script, the majority of it day for night. \u201cWe wanted to give the actors the freedom to do anything they wanted,\u201d Mentzer recounts. \u201cAnd Bridey was very specific in how she wanted her scenes to look and how she wanted them staged.\u201d<\/p>\n

Extensive prep time allowed Mentzer and his director to create a detailed shot list that helped them pre-rig and leapfrog from day-lit interiors to night-lit interiors and back. \u201cI also realized early on that we would need two cameras for at least half of our days to cover our scenes quickly, as well as to shoot B-roll,\u201d Mentzer adds. \u201cI had done several movies with Barry Ackroyd, BSC, and learned how to cross-cover scenes with long lenses using multiple setups to find the key moments. Bridey loved that idea, as it allowed us to play up the different family dynamics in the movie.\u201d Mentzer says Elliott was inspired by 1970\u2019s indie movies like Let\u2019s Scare Jessica to Death<\/em>, Images<\/em>, and Interiors<\/em>. \u201cWe wanted a 4:3 frame combined with a grainy film look that imitated the lenses and film stocks of that time,\u201d Mentzer notes. \u201cWe found that by\u00a0combining specially coated Cooke zooms and Zeiss primes with the Red Dragon at high ISO\u2019s, images became naturally desaturated and less contrasty. Dan Donovan and Guy McVicker at Panavision were able to accommodate our budget and still provide us with the gear we needed.\u201d<\/p>\n

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\"DP
DP Ashley Connor says director Josephine Decker’s film about a teenager struggling with mental illness is very subjective, “so we wanted the camerawork to put you in her mind set.”<\/figcaption><\/figure>\n

Madeline\u2019s Madeline<\/em><\/strong> \u2013 The second of two features at Sundance this year for Guild DP Ashley Connor centers on a high schooler totally dedicated to her theater workshop. Much to the concern of her protective mother (Miranda July), she becomes an integral part of a prestigious, progressive, and experimental theater troupe in the city, one that emphasizes an intense focus on authenticity. When the workshop\u2019s ambitious theater director (Molly Parker) pushes teenage Madeline to weave her troubled history and rich interior world into their collective art, the lines between performance and reality blur in potentially destructive ways. Connor says the project was developed over two years of intense rehearsal, which she lovingly describes as \u201cclown camp.\u201d<\/p>\n

\u201c[Director] Josephine [Decker] insisted I participate with the actors,\u201d Connor recalls. \u201cWe behaved like animals and rolled around on floors and did exercises similar to what you see in the film. For me, it was a lot about connecting my body to the camera and creating ways of becoming part of the movement. The film is very subjective in its depiction of a girl struggling with mental illness, so we wanted the camerawork to put you in her mind set.\u201d Connor notes that with the help of AC\u2019s Will Castellucci and Sandy Soohoo, she was able to create a rig for the camera that let her play with filtration to create an unstable focal plane. \u201cWe shot on the K35s to reduce the focal plane even further,\u201d she adds. \u201cIt made pulling focus a nightmare because most scenes were heavily improvised, but ultimately I think the images create an almost dream-like state.\u201d<\/p>\n

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\"DP
DP Zak Mulligan says the camera in this coming of age story “never predicted where someone will be, it was always catching up.\u201d<\/figcaption><\/figure>\n

We the Animals<\/em><\/strong> \u2013 Cinematographer Zak Mulligan (working with A-camera operator Quenell Jones and 1st<\/sup> AC Adam Gonzalez) shot this film (based on Justin Torres\u2019 celebrated novel) about three brothers \u2013 Manny, Joel and Jonah \u2013 who tear their way through childhood and push against the volatile love of their parents. Mulligan, who shot on Kodak Super 16 mm (with a few sequences shot on RED and matched back to the Super 16 mm) and Cooke S4 lenses, says film\u2019s unique color, grain and highlight rendition echoed the visual language of the time period. \u201cWe wanted the emotional immediacy that close-up handheld photography provides, but it\u2019s interesting how the shooting format can also provide a timeless feeling, like a memory,\u201d Mulligan explains. Specific blocking wasn\u2019t always possible with such a young cast, so the DP lit 360 degrees, with Jones providing \u201ca looseness\u201d to the camera work. \u201cThe camera work has a v\u00e9rit\u00e9 feeling, like we\u2019re witnessing life as it unfolds; it never predicted where someone will be, it was always catching up,\u201d Mulligan adds.\u00a0Jones says his main challenge, using various handheld and other configurations, \u201cwas to shoot at or below the eye level of the young boys who were the main characters.\u201d<\/p>\n

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Midnight<\/u><\/strong><\/p>\n

\"Photo
Photo by Cathy Kanavy<\/figcaption><\/figure>\n

Arizona <\/em><\/strong>\u2013 Guild DP Drew Daniels lensed this first feature from director Jonathan Watson, set during the 2009 housing crisis. The dark comedy centers on Cassie Fowler (Rosemarie DeWitt), a single mom and struggling realtor whose life goes off the rails when she witnesses a murder.\u00a0Daniels notes that, \u201cfrom the get-go, [Watson] knew he wanted to shoot in the Southwest, in anamorphic and with vintage lenses. So, I chose Cooke Xtal Express lenses with a pair of Arri Minis as our main tools. We shot with as little light as possible, pushing the Alexa to 1600 and lighting some scenes with flashlights and even a single lighter as the only source! We tried to embrace the dark<\/em> in \u2018dark comedy\u2019 as much as possible. The result is a Coen-esque blend of violence and laughter.\u201d Local 600 camera team members supporting Daniels included A-camera\/Steadicam operator Ben Verhulst, SOC; A-camera 1st ACs Kingslea Bueltel and Grant MacAllister; A-camera 2nd AC Erick Castillo; B-camera operator Jay Keitel; B-camera 1st AC Steve Banister; B-camera 2nd AC Dan Baas and Loader Jannis Schelenz.<\/p>\n

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Assassination Nation <\/em><\/strong>\u2013 Marcell R\u00e9v lensed this story for writer\/director Sam Levinson, about high-school senior Lily and her crew of friends, who live in a haze of texts, posts, selfies, and chats. When a provocateur starts posting details from the private digital lives of everyone in their small town, all hell breaks loose, and Lily finds herself in the middle of the digital (and real-world) conflict. Levinson notes that the film was shot in NOLA on the ALEXA MINI. \u201cWe used this set of anamorphic lenses, called the Xtal Express, from Panavision New Orleans,\u201d he adds. \u201cThe set was manufactured by Cooke a few decades ago and it was just the right thing to take us into the world of our hero teenage girls. We wanted to deliver bold visual aesthetics with references mainly of Generation Z. So we used lots of colored lights shifting from one tone to the other, both interior and exteriors. The local NOLA crew included A-camera 1st AC Norris Fox, A-camera 2nd AC Rome Juliane, B-camera 1st AC Penelope Helmer, B-camera 2nd AC Nancy Piraquive, Camera Utility Eric Van Der Vynckt, DIT Marc Clancy, Still Photographer Monica Lek and A-camera operator\/2nd<\/sup> Unit DP Johan Heurlin Aidt, who came in from NYC.<\/p>\n

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Lords of Chaos <\/em><\/strong>\u2013 <\/strong>This dark drama is about a precocious teenager named Euronymous, who wants to spread evil, chaos, and true Norwegian black metal. When he invites a mysterious loner, Varg, to join his \u201cBlack Circle,\u201d a rivalry sparks, leading to unexpected consequences. Shot by Guild DP P\u00e4r M. Ekberg on Norwegian and UK locations.<\/p>\n

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Piercing<\/em><\/strong> \u2013 Zachary Galler shot this strange love story, based on Ryu Murakami\u2019s novel,\u00a0about a man (Christopher Abbott) who seeks out an unsuspecting stranger (Mia Wasikowska) to help him purge the dark torments of his past. His plan goes awry when he encounters a woman with plans of her own. Galler, who shot on ALEXA XT and Panavision Primo 70 series lenses, says, \u201cWe were trying to build a sense of a nameless city in an ambiguous future, so we shot only two actual exteriors in the whole movie, and used LED pixel walls playing slightly altered photographs and videos outside windows of interior locations, and used them for driving shots as well. By using these pixel walls, we were able to treat practical locations a little more like a soundstage \u2013 we even rigged one of these walls on a 14th<\/sup>-story balcony in New York City.\u201d Galler says the visual goal of the movie\u00a0was to make \u201ceverything feel unnatural, but in a way that isn\u2019t easy to put your finger on. [Director] Nick Pesce was heavily influenced by Giallo and other Italian horror. We also talked\u00a0about Takashi Miike\u2019s Audition<\/em>, David Lynch, and David Cronenberg.\u201d<\/p>\n

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Revenge <\/em><\/strong>\u2013 Local 600 member Robrecht Heyvaert lensed this story, shot in southern Morocco, about three wealthy married men who gather for an annual hunting game in an isolated desert canyon. When one brings along his young mistress (who quickly arouses the interest of the other two), things get dramatically out of hand. Heyvaert says the nature of the story demanded an \u201cevenly muscular\u201d look with sizzling colors, striking contrasts and surreal sharpness. \u201cThe female protagonist, Jen, and the luxurious villa where they are staying, are as stylized as a cosmetic commercial, and we chose to show the violent desert, its vicious animals and the gallons of blood just as overwhelmingly,\u201d Heyvaert recalls. \u201cThere was no attempt for realism or subtlety.\u201d For the night shoots, the DP used practical lighting as a main source. \u201cWhen it\u2019s not illuminated by a flashlight, a car light or firelight, it\u2019s pitch black, unless it\u2019s a glow-in-the-dark pink earring!\u201d he adds. The single camera shoot employed an ALEXA MINI with spherical Panavision Primo optics (in the 2.39:1 aspect ratio) and a canon 1000 mm for the binocular and sniper scope shots.<\/p>\n

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Indie Episodic<\/u><\/strong><\/p>\n

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America to Me <\/em><\/strong>\u2013 Steve James, who co-produced, co-edited and directed the beloved feature documentary Hoop Dreams<\/em>, brings this new documentary series to Sundance, which focuses on Oak Park and River Forest High School, a diverse and high-achieving school outside of James\u2019 home base of Chicago. The filmmaker digs deep into the experiences of black students, sparking candid conversations about what has succeeded and what has failed in our education system. Local 600 member Bing Liu, who shot and directed the feature documentary\u00a0Minding the Gap (<\/em>also\u00a0debuting at Sundance) was one of four cinematographers on the 10-part series, which will premiere on the STARZ Network.<\/p>\n

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Cherries <\/em><\/strong>\u00ad\u2013 <\/strong>Ava Berkofsky (ICG September 2017, Insecure<\/em>) shot and operated this pilot episode for writer\/director Diaz Jacobs about two sisters who are forced to come together after a long separation. When the man that once got between them reappears, a triangle emerges and they find themselves in a similar place as they were years before: suffocating, infuriating, and incredibly familiar. Berkofsky used an Arri Amira with Panavision Ultra Speed lenses. \u201cWe shot the piece in a single house, which was made bare and white and made sense for our main characters,\u201d Berkofsky relates. \u201cSo anytime we introduced any color in lighting or production design, it popped. My camera team [1st<\/sup> AC Yoshi Kinoshita and 2nd<\/sup> AC John Roney] were ninjas in the small spaces we had!\u201d<\/p>\n

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Franchesca<\/em><\/strong> \u2013 Nadine Martinez lensed this indie pilot for director Kaitlin Fontana about comedian Franchesca Ramsey, who finds communion and culture in a short-form series that explores beauty and fashion in the digital age. The pilot episode finds Franchesca escaping ubiquitous Internet trolls as she spends the day with her friend, Michelle Buteau, getting an ornate Japanese gel manicure. Martinez, who was joined by (B-camera operator and ICG member Diana Matos) says the project was the first time she ever worked on a crew almost fully staffed by women in every single department, and \u201cdue to national politics and conversations, there was something energizing about that!\u201d However the team only had one day to shoot, between two different locations, \u201cso I couldn\u2019t get too elaborate with my lighting due to schedule and crew size,\u201d Martinez adds. \u201cI took what already existed in our practical locations and dance our light sources around to maintain consistency for our tighter shots, while bringing in eye lights for closeups. Caitlin, Franchesca and Michelle all have backgrounds in improv and sketch comedy so I knew it was important to provide them with a certain degree of flexibility.\u201d The DP describes shooting in a nail saloon as especially difficult. \u201cOur director wanted this scene handheld to allow more space for improv between the two actors,\u201d Martinez continues. \u201cWe gave Franchesca and Michelle a few specific actions and beats to nail, then let them riff as they got their nails done in real time while they had an open dialogue as friends and colleagues about specific topics. It almost felt like we were filming a documentary even though we had control over the space.\u201d<\/p>\n

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Guild shooter Noah Rosenthal shot this indie pilot for his father, Rick Rosenthal (former Supervising Producer for the Emmy-winning Amazon series Transparent<\/em>).<\/figcaption><\/figure>\n

Halfway There<\/em><\/strong> \u2013 Veteran TV director\/producer Rick Rosenthal (supervising producer on Seasons 1 through 3 of the Emmy-winning Amazon series Transparent<\/em>) directed this pilot about a recovering addict, Jimmy Bishop, who finds his sober living facility teetering on the edge of bankruptcy. Jimmy is forced to take in his wealthy, alcoholic mother as a client, and her arrival unleashes every other problem he has struggled his whole life to contain. Shot by Rick\u2019s son, Noah M. Rosenthal, who says this was his fourth collaboration with his father directing (most recently\u00a0Drones<\/em>), and first with Matthew Lillard as an actor, \u201cwho I had previously worked with shooting his directorial debut (Fat Kid Rules the\u00a0World<\/em>),\u201d Noah shares.<\/p>\n

\u201cWe shot at a closed down youth mental hospital for the sober living facility in Los Angeles, with the added twist of shooting much of the episode during some serious torrential downpours,” Noah adds. \u201cGaffer David Hayball and Key Grip Eddie Apodaca braved the elements with their crew and equipment on the outside, while the camera team and cast got to stay relatively dry and comfortable. With a large cast, small crew and tight schedule we tried to speed things up where we could using battery operated Creamsource LED Panels as interior units for our long day scenes.\u201d While mostly a single camera shoot anchored by 1st AC Jonathan Helms, Rosenthal was joined by a fellow AFI Alumnus and longtime collaborator Edd Lukas, who operated B-camera and headed up the Underwater Unit. \u201cMatt Laroche and the ever elusive Mark Legaspi came in to pinch-hit as B-camera 1st ACs without missing a mark,\u201d Noah says.<\/p>\n

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High and Mighty <\/em><\/strong>\u2013 <\/strong>Martim Vian shot this pilot about Chelo Chavez, who is urged by his girlfriend, Angie, to get his stoned-out, drunken, jobless life together. After emerging unscathed from multiple gunshots delivered by a mysterious man in a flower truck, Chelo discovers he has superhuman powers \u2013 but only when he\u2019s drunk or high! With the help of his friends in the \u2019hood, Chelo embarks on a mission to test his new abilities and uncover his own origin story. Vian says he and director Carlos L\u00f3pez Estrada, whose feature debut, Blindspotting<\/em>, premieres in the U.S. Dramatic Competition this year, wanted to visually bridge the gritty world of L.A. street gangs with a \u201cmore stylized and designed world\u201d where a superhero can come to life.<\/p>\n

\u201cCarlos’s background in music-videos meant we could move fast and get lots of coverage during our short 18-day schedule \u2014 essential to tell the story with the rhythm and pace that he was after,\u201d Vian recounts. \u201cGiven all the visual and practical effects, stunt work, night exteriors, and sheer number of locations involved, it meant that I had to light fast and always be shooting. Production Designer Tyler Jensen and his crew were fantastic in providing lots of practical lighting that Gaffer Will Elder and Key Grip Rich Robles could build from quickly. At the same time, since we were shooting anamorphic with Hawk-Cs, I tried to be at around a 4.0\/5.6 for most of the show, even for night scenes, which was obviously a big challenge at this scale.\u201d<\/p>\n

Vian says the Guild crew played an instrumental role in keeping with the fast moving train. \u201cFirst AC Jefri Meintjes, whom I\u2019ve been working with for more than three years, always gets the job done perfectly, no matter the conditions.\u00a0Knowing I have his expertise on the camera department allows me to focus on lighting and other aspects of the job,\u201d Vian states. Also on the team was 2nd<\/sup> AC Koko Lee, DIT Skylar V. Smith and a rotating crew of operators that included position: Jeff Powers, Amanda Treyz, Edd Lukas, and Chris Hamilton, with DP Graham Futerfas on the M\u014dvi. Additional 1st ACs included Danna Rogers and Josh Coffin, and additional 2nd ACs Karson Holbrook and Sean Goode.<\/p>\n

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Paint<\/em><\/strong> \u2013 <\/strong>The second Sundance collaboration between cinematographer Sam Chase and director Michael Walker tells the story of three Brooklyn artists, all struggling to make it in the New York gallery scene. Poor decisions and mayhem ensue. Chase notes that, \u201calthough the story is set in the present, Mike and I really wanted to create a New York that was more mid 80\u2019s through the 90\u2019s in its tone than the somewhat cleaner version that New York has become. We wanted it gritty and punky, but without feeling nostalgic or forced.\u201d Chase also wanted to provide the director with a shooting environment that was conducive to freedom in the performances and maximized roll time on a very tight schedule and budget while still delivering imagery that could stand up to a piece that\u2019s wholly about a group of visual artists. \u201cWe were inspired by reportage photography of artists and musicians in the New York scene during the 1980\u2019s, particularly Nan Goldin\u2019s brilliant work,\u201d Chase continues. Shot on ALEXA with Panavision G-Series lenses as well as a PL-adapted Black Magic Pocket Cam with Zeiss Super 16-mm Super Speeds. Guild members included AC Megaera Stephens and DIT Guillermo Tu\u00f1on.<\/p>\n

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The Adulterers <\/em><\/strong>\u2013 Two co-workers engaged in an extramarital affair discover an unexpected but limited intimacy, unlocking a secret world where creativity and freedom can blossom. How long can they sustain this fleeting magic in the shadow of reality? Series writers and creators Tonya Glanz and Chris Roberti also serve as lead actors. DP Zak Schamberg (ICG January 2018, School Daze<\/em>) who was the only Guild member on the project, worked with Gaffer Derek Sexton Horani one day and Gaffer Ty Ebata the other, and that was it! Schamberg says working as a crew of two, \u201cwas a humbling experience, but it’s also fun and somewhat liberating.\u201d They shot the majority of the episodes over two days in a friend\u2019s apartment that had strong natural light. \u201cWe blocked according to the time of day, going for the most naturalistic look,\u201d Schamberg adds. \u201cFor budgetary reasons, we were also dependent on deals from friends who owned gear, which meant shooting on a combination of Canon C300, Sony FS7, Canon still lenses, and Angenieux lightweight zooms. It all matches enough for my taste; especially since every episode is supposed to have a slightly different feel. We lit almost exclusively with LiteMats.\u201d Schamberg notes that he met Glanz and Roberti while working on the then-web series (now HBO series) High Maintenance <\/em>several years ago, which, he says, \u201cstarted on a similar scale as The Adulterers<\/em>. They are very different shows, but there is a full-circle quality to premiering a web series at Sundance all these years later.\u201d<\/p>\n

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Guild shooter Bruce Thierry Cheung shot with “expressive two-shots” to fully capture the rhythm and emotion of sign language.<\/figcaption><\/figure>\n

This Close<\/em><\/strong> \u2013 <\/strong>Best friends Kate and Michael (Shoshanna Stern and Josh Feldman) who are deaf, try to balance their personal and professional lives. Kate is newly engaged and struggles to grow at work, while Michael battles self-destructive writer\u2019s block after having his heart broken. As they tackle their own issues, their friendship is put to the test. Shot by Bruce Thierry Cheung (with additional cinematography from B-camera operator Judy Phu), who notes that he and director Andrew Ahn wanted to use cinematography to craft an emotional space in between each character. \u201cWe also thought a lot about form and architecture and how Josh and Shoshannah could be framed by the environment around them,\u201d Cheung notes. The DP often shot with\u00a0expressive two shots to fully capture the rhythm and emotion of sign language. \u201cWe always wanted to show the pairing of hand gestures and facial expressions in signing,\u201d he adds. \u201cGaffer Chad Dougherty and I sought to light environmentally to give the director and the actors the space to \u2018discover\u2019 on-set. We played with dynamics of light \u2013 bright areas and dark areas within the same frame to mirror the emotions of the script.\u201d\u00a0Cheung used an ALEXA MINI and Super Baltar package from Panavision Hollywood with 1st AC Cameron Owen joining him as the other Guild member on the crew.<\/p>\n

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Photo courtesy of M\u00e5rten Tedin<\/figcaption><\/figure>\n

Tropical Cop Tales <\/em><\/strong>\u2013 Another entry from Sundance alumnus Jim Hosking about two burned-out city cops, Keymarion \u201cPrimetime\u201d Weeyums and Demetrius \u201cMeechie\u201d Franks, who relocate to a tropical paradise for a relaxing twilight end to their careers, which ends up being the most vicious, menacing place on earth. DP Martin Tedin describes the project as \u201cpretty crazy,\u201d shooting 6 to 7 pages a day with a lot of special effects. \u201cWe used Zeiss Master anamorphic back and front flare elements, a little diffusion and some chocolate,\u201d he adds. \u201cWe had two cameras \u2013 one handheld and one on Steadicam. We had to keep the lighting simple to get through the days. The art department and wardrobe did some great stuff, which made our lives easier.\u201d The Guild crew included A-camera operator John Lehman, A-camera 1st<\/sup>\u00a0AC Chris Larsen, A-camera 2nd<\/sup>\u00a0AC Brock Byrd, B-camera operator Stephen Thompson, B-camera 1st<\/sup>\u00a0AC Jessica Hershatter, B-camera 2nd<\/sup>\u00a0AC Kane Pearson and Loader Alex Talley.<\/p>\n

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Shorts <\/u><\/strong><\/p>\n

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Aria <\/em><\/strong>\u2013 <\/strong>Set in present-day Athens and centered around a seventeen-year-old girl who is working at a kebab place and waiting for a driving lesson from her father. Instead he leaves her in charge of an unknown immigrant girl with whom she will ultimately spend her day and learn about her father and herself. Federico Cesca shot the project on ALEXA, with Ultra Primes.<\/p>\n

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Blue Christmas <\/em><\/strong>\u2013\u00a0Cinematographer Robbie Ryan was behind the camera for this entry from Scottish director Charlotte \u201cCharlie\u201d Wells, about a debt collector who, on Christmas Eve in 1968 in a Scottish coastal town, goes to work to avoid confronting his wife\u2019s worsening psychosis at home.<\/p>\n

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Don\u2019t Be A Hero <\/em><\/strong>\u00ad\u2013 <\/strong>Drew Daniels shot this film about a lonely woman in a small town who gets her thrills by robbing banks on the side. Working with fellow Guild members Troy Dickerson and Michael McLure (1st<\/sup> AC\u2019s) and Joe Rosenblit (2nd<\/sup> AC), Daniels shot spherical with PV standard Primes to capture \u201cthe mundane world of her day job and her crappy relationship with her boyfriend. We shot anamorphic C-series lenses for the sexier bank-robbing escapist life that she leads on the side.\u201d Lighting was kept simple and practically motivated, though, as Daniels adds, \u201cit was edited for contrast and sexiness, in line with the story arc of the character. We mixed dolly and static for the bank robbing\/romantic sections of the film and handheld for the mundane, reality-based sections. The film is a stylistic medley, and I really feel it reflects [director] Pete Lee\u2019s personality quirks and his vision of the world.\u201d<\/p>\n

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End of the Line <\/em><\/strong>\u2013 From Academy Award-nominated filmmaker Jessica Sanders, whose film After Innocence<\/em> won the Sundance Special Jury Prize, comes this story about a lonely man who goes to a pet store and buys a tiny man in a cage. Guild DP Brett Pawlak (The Glass Castle, This Is Us<\/em>) was behind the camera.<\/p>\n

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Eve <\/em><\/strong>\u2013 Transparent <\/em>DP James Frohna shot this film \u2013 written, directed and starring the 74-year-old widow of Leonard Nimoy, Susan Bay Nimoy \u2013\u00a0who reflects in her Sundance director\u2019s statement about the evolution of the project. \u201cOne fateful night at a dinner party, I sat between Jim Frohna and his wife, producer Diana Kunce, and we started to talk about my script and the importance of stories about women \u2013\u00a0two days later we were in pre-production!\u201d Nimoy, a former actress, producer and TV director, says filmmaking is so much different than it was 30 years ago. \u201cDigital technology allows filmmakers to work more intuitively, organically and intimately because the camera gives the actors freedom and space and the possibility of improvising in the moment,\u201d she adds. \u201c[The project\u2019s DP] Jim Frohna was an artist in motion and an inspiration to me. We shot Eve <\/em>in four days.\u201d<\/p>\n

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Garfield \u00ad<\/em><\/strong>\u2013 <\/strong>Guild DP Todd Banhazl shot this film about a woman who wakes up in a strange place, with a strange guy. As she pieces together how she got there, she realizes that the reasons may be bigger than just the night before. Banhazl shot digitally with ALEXA and with Cooke s4s. He says he and director Georgi Banks-Davies wanted a soft, natural-looking image to contrast with the kinetic and experiential handheld-style camerawork. \u201cMost of the film takes place in a small London flat with large windows on one side,\u201d Banhazl describes. \u201cThe Cookes provided the right balance of soft blacks and lovely skin tones, while holding contrast when shooting into bright windows. We wanted a stark, uncomfortable atmosphere for the two characters to deal with. Georgi described the visual intention as, \u2018When you wake up with someone you just met the night before, and you\u2019re still drunk and everything is buzzing.\u2019\u201d Banhazl used cooler white light to accentuate the differences between the characters\u2019 skin tones, \u201cwhich has a lot of narrative significance in our film,\u201d\u00a0he continues. \u201cThe biggest challenge was managing the changing sunlight coming through the windows while shooting 360 degrees on set. We were a few floors up in the apartment building, and we had no money for rigging outside the windows. The workflow was such that we allowed the actors to try alternative ideas as well as letting the camera discover new things from take to take. My main objective was to put myself and the camera in the emotional and visceral experience of these two characters waking up after a possible one-night stand.\u201d<\/p>\n

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Home Shopper <\/em><\/strong>\u2013Cinematographer Kai Saul teamed with first-time director and Academy Award Nominee, actor Dev Patel, to bring this twisted story of revenge to life. Penny (Sophie Kargman) is trapped in a loveless marriage and spends her days under the spell of the Home Shopping Channel (hosted by Armie Hammer). When her marriage takes a turn for the worse, the channel proves to be her saving grace – or perhaps it was the origin of her problems all along. Saul used an ALEXA XT with vintage Panavision Super Speeds and underexposed the digital negative to create an organic but slightly murky feel. \u201cThe meticulously staged photography of Gregory Crewdson and the haunting narrative paintings of Goran Djurovic were references Dev and I visited often,\u201d Saul observes. \u201cWhen crafting our shots, we only moved the camera if it was absolutely motivated, and much of the film plays out exclusively in wides and\/or close-ups to create an uncomfortable level of tension.\u201d<\/p>\n

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Men Don\u2019t Whisper <\/em><\/strong>\u2013<\/strong>The second short lensed by Drew Daniels at Sundance this year was co-written\/-directed by and co-starring Charles Rogers and Jordan Firstman, about a gay couple who try to prove their masculinity to one another by sleeping with women at a sales convention. Daniels notes that \u201cthe first thing the directors told me was that they wanted the film to have a \u2018sophisticated look.\u2019 This, and the idea of framing the two men together in a two-shot for much of the story, led me to shoot anamorphic with Primos, C-Series and a T-series zoom from Panavision.\u201d Daniels, working with Guild AC Keith Jones, shot roughly 22 pages in two days, and needed to keep the lighting very simple. \u201cI used skirted China balls and covered wagons that I made myself and had a small crew consisting of only a key grip and gaffer,\u201d he reflects. \u201cWe shot entirely locked off or on a doorway dolly and kept the coverage very simple, sometimes throwing in a subjective zoom to keep it fun.\u201d<\/p>\n

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The Blazing World<\/em><\/strong> \u2013 Ed Wu shot this short for the Midnight Shorts section about a woman plagued with dreams of a strange world since she was a little girl. After a mysterious man with a map visits her one night, she decides to give in to the incessant calls of the landscape that haunts her dreams. Wu describes the\u00a0film as a \u201cvery fun project\u201d visually to take on. \u201cIt has a weirdly surreal and evocative tone to it,\u201d he states. \u201cTo bring this out, I knew I wanted to push the limits in the colors of the film, and experiment with ideas that I normally wouldn’t. I decided to go very soft with a Lowcon 1 filter to bloom the highlights and lift the shadows. Also, as a split second decision while on-set, I cut a piece of light pink lighting gel and put it in front of the camera, which I later pushed more in post.\u201d Wu says yet another last-minute decision was to put a prism filter (Fractal Filters), which created a Kaleidoscope vision to one of the shots. “On top of the filters, I knew I wanted to throw give a back feel to a slow 1970’s zoom, close-up to wide shot, to enhance the eeriness of the piece,\u201d he concludes.<\/p>\n

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Special Events<\/u><\/strong><\/p>\n

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Wild, Wild Country<\/i><\/b>\u00a0\u2013 Another project from Guild DP Adam Stone at Sundance 2018 is this six-part docu-series recounts the amazing true story of a fallen religious movement. In 1981, a group of\u00a0disciples of an extremely wealthy guru named Bhagwan Rajneesh appear in the small, conservative Oregon town of Antelope, dressed in all red and with portraits of their leader hanging from their necks.\u00a0They proceed to spend more than $125 million to build Rajneeshpuram, a 64,000-acre utopia, complete with a hospital, schools, restaurants, a shopping mall, and their own airport. The spokesperson for the movement is Ma Anand Sheela, a fearless disciple whose belief in the principles of Rajneesh are only outweighed by her feisty spirit. In order to stack the results of county elections in their favor, the Rajneesh bus thousands of homeless people onto the ranch. When these new recruits are denied voting rights by the state, Rajneesh leaders surreptitiously infect local restaurants with salmonella, resulting in the largest biochemical terrorist attack on U.S. soil.<\/p>\n

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Cinematography-Focused Events at Sundance 2018<\/u><\/strong><\/p>\n

Canon Creative Studio 2018<\/strong><\/p>\n

Canon U.S.A. is returning as a Sustaining Sponsor to the 2018 Sundance Film Festival, celebrating filmmakers working behind the camera at the\u00a0Canon Creative Studio,<\/strong>\u00a0located at 592 Main Street.\u00a0The Canon Creative Studio will be open from January 19-22, from 11a.m. \u2013 7p.m.\u00a0 The lounge will feature a touch and try area stocked with all of Canon\u2019s cinema cameras and lenses.<\/p>\n

Canon is also pleased to welcome back Salt Lake City local photographer Michael Ori, to shoot professional headshots of creative studio guests with the Canon EOS 5D Mark IV.\u00a0 Canon will provide guests with an 8\u201d x 10\u201d physical copy of Ori\u2019s portraits, printed on-site with the Canon imagePROGRAF PRO-1000 Professional Inkjet Printer, as well as a high resolution digital copy.\u00a0As part of Canon\u2019s second consecutive collaboration with IMDbPro, IMDbPro Members can instantly upload their portraits to their profiles.<\/p>\n

Daily programming at the Canon Creative Studio will include panel discussions from festival filmmakers on topics such as: shooting cinematic VR on Canon\u2019s 4.5 million ISO ME20F-SH camera, lens choice, and documentary cinematography. Canon will also feature a round table-style conversation with a group of filmmakers who are cinematographers first, women second.\u00a0These panels will be streamed via Facebook Live to media sponsor\u00a0American Cinematographer\u2019s<\/em> Facebook page<\/u>, so aspiring and established cinematographers alike who can\u2019t make it to Park City this year can watch from home during or after the panel discussions take place.<\/p>\n

On Monday, January 22, Canon will present an educational workshop from cinematographer Shana Hagan (Generation Wealth<\/em>) and Canon\u2019s Loren Simons, called \u201cBackpack Filmmaking with the EOS C200.\u201d\u00a0 Attendees will have the opportunity to learn about the EOS C200\u2019s Cinema RAW Light workflow.<\/p>\n

On Friday, January 19, Saturday January 20, and Monday, January 22, the Canon Creative Studio will feature new programming, our networking Magic Hours, co-hosted by IMDbPro, the AFI Conservatory, and VER.<\/p>\n

For the sixth consecutive year, Canon will celebrate cinematographers, directors, editors, producers, and crew to the invite-only\u00a0Raise Your Glass To Cinematography<\/strong> party.<\/p>\n

The Canon Creative Studio is an invite only lounge.\u00a0 To request entry to the Canon Creative Studio, please visit:\u00a0https:\/\/canonsff18.splashthat.com\/.<\/em><\/p>\n

ZEISS Celebration of Cinematography-Lounge Party<\/strong><\/p>\n

Cinematographers! Come celebrate the art of moviemaking with ZEISS during Sundance this year. We’ll be hosting a Cinematographer\u2019s lounge at\u00a0Downstairs on Main Street<\/em>\u00a0in Park City, UT on Tuesday, January 23rd. Stop by between 9a.m. and 4:30p.m. to warm up, grab a bite, have a drink, and learn about the latest in Zeiss Cinema lenses.<\/p>\n

At 5pm, we’ll be hosting a talkback session with special guests. Come hear how Zeiss provides real-world solutions for your biggest artistic challenges.<\/p>\n

AND! Stop by during the day and pick up a pass for you (and a guest) to our end-of-day party, hosted by Zeiss and\u00a0Kalkutta! Come relax, refresh and refocus at Downstairs with Snehal Patel, Richard Schleuning, Tony Wisniewski and the rest of the ZEISS crew. You won’t want to miss this Celebration of Cinematography!<\/p>\n

Register now to reserve your spot. A link to your IMDB credits is required to request an invitation. Registration does not guarantee an invite.<\/p>\n

January 23, 2018<\/p>\n

Cinematographer\u2019s Lounge<\/p>\n

9:am \u2013 4:30p.m.<\/p>\n

Cinematography Panel<\/p>\n

5p.m. \u2013 7p.m.<\/p>\n

Invite Only Party<\/p>\n

9p.m. \u2013 1a.m.<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Buckle up for the biggest, baddest, bravest Sundance yet, as ICG filmmakers (who account\u00a0for more than half of all\u00a0the shorts\/features in the fest this year) dump a blizzard of daring and innovation on Park City.\u00a0By\u00a0David Geffner.\u00a0All photos courtesy of The Sundance Institute unless otherwise noted.\u00a0 Sundance 2018 holds the promise of being the most diverse and engaging year ever for Local 600 members in the 25-plus-year history of this acclaimed indie film festival. 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