{"id":8433,"date":"2019-01-14T10:02:46","date_gmt":"2019-01-14T18:02:46","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=8433"},"modified":"2021-05-30T18:20:03","modified_gmt":"2021-05-31T01:20:03","slug":"race-to-the-finish","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/race-to-the-finish\/","title":{"rendered":"Race to the Finish"},"content":{"rendered":"
\"Jimmie
Jimmie Fails and Jonathan Majors in\u00a0The Last Black Man In San Francisco<\/em> \/ Courtesy of Peter Prato \/ Sundance Institute<\/figcaption><\/figure>\n

 <\/p>\n

Black-themed films vault to the head of the story-telling pack at Sundance 2019, aided by the participation of Local 600 members on more than five-dozen features, shorts, and indie episodic projects.<\/strong><\/p>\n

Richard Wright, Toni Morrison, Arthur Ashe, and Alfre Woodard are among the more famous black Americans whose work will be showcased at the 34th\u00a0<\/sup>annual Sundance Film Festival, the premier forum for emerging voices in independent cinema, and\u00a0one that now fully celebrates racial diversity in all its manifestations. No doubt the U.S. Dramatic Competition film Clemency<\/em><\/strong>, shot by Guild DP Eric Branco for director Chinonye Chukwu with a large Local 600 crew, will provide a tour de force\u00a0<\/em>platform for Woodard, who has received recognition from SAG, Emmy, Oscar, Image, and even a Society of Camera Operators Governors Award in 2015. Woodard portrays a prison warden who must confront the inner demons that come with a lifetime of presiding over death-row executions. Also in the marquee U.S. Dramatic Competition section is Native Son<\/em><\/strong>, getting a big-screen refresh. (The first film adaptation was in 1986.) Novelist Richard Wright\u2019s enduring classic about systemic racism and the outcomes of poverty in urban America was shot by Matty Libatique, ASC (ICG Magazine, October 2018, Almost Famous<\/em>) and helmed by Rashid Johnson \u2013 a former AC making his directorial debut.<\/p>\n

Toni Morrison: The Pieces I Am\u00a0<\/em><\/strong>highlights the Documentary Premieres section.\u00a0Director\/producer Timothy Greenfield-Sanders partnered with Local 600 DP Graham Willoughby (whose many Sundance credits include Won\u2019t You Be My Neighbor? <\/em>and 20 Feet From Stardom<\/em>) to paint a word picture of America\u2019s most lauded black storyteller through her equally famous contemporaries \u2013 Hilton Als, Oprah Winfrey and Walter Mosley among them. With the VR experience, Ashe 68,\u00a0<\/em><\/strong>Guild member Eve M. Cohen continues to find Sundance\u2019s leading edge, as viewers are placed in the tennis and social rights champion\u2019s defining moment of being the first black man to win the US Open. This year, Sundance received more than 14,000 submissions, and of the 112 features selected, more than 40 percent were directed by people of color \u2013 an indicator that Sundance Festival Director John Cooper\u2019s team is far ahead of Hollywood\u2019s diversity curve. Yet even with those expectations, it\u2019s wonderful to find a surprise (also in the U.S. Dramatic Competition) like The Last Black Man in San Francisco<\/em><\/strong>. Shot by Guild DP Adam Newport-Berra (and his Local 600 camera team), and featuring a cast of non-actors, including lead actor Jimmie Fails, it tells the story of two friends trying to reclaim a stately Victorian built by Falls\u2019 grandfather in the formerly all-black Fillmore district. It\u2019s the kind of quirky indie that was once only the Sundance province of 20-something white-guys. And as with recent hits like Donald Glover’s\u00a0Atlanta\u00a0<\/em>and Jordan Peele’s\u00a0Get Out <\/em>display, when black filmmakers can tell any kind of story they want, with a strong, prominent platform, everybody wins.<\/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 the omission of films and crewmember names not provided to www.icgmagazine.com by posting date of this article.)<\/p>\n

All Photos Courtesy of The Sundance Institute Unless Otherwise Noted<\/p>\n

 <\/p>\n

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

\"Hannah
Hannah Pearl Utt (L) and Jen Tullock \/ Photo by Anna Kooris<\/p>\n

<\/figcaption><\/figure>\n

Before You Know It\u00a0 <\/em><\/strong>\u2013 The large Local 600 crew on this film, co-written, starring, and directed by Hannah Pearl Utt, about a long-kept family secret that thrusts codependent, thirty-something sisters Rachel and Jackie Gurner into a literal soap opera, included Operators Shane Duckworth, Pete Keeling, Korey Robinson, and Bill Saxelby,\u00a0ACs Myo Campbell, Adam Gonzalez, Marcos Herrera, Stacy Mize, William Powell, and Vince Rappa,\u00a0Loader Adam DeRezendes,\u00a0Still Photographers Anna Kooris, Seacia Pavao, and Walter Thomson.\u00a0Joining Pearl Utt in the cast are Judith Light, Mandy Patinkin and Alec Baldwin.<\/p>\n

 <\/p>\n

\"Big<\/p>\n

Big Time Adolescence<\/em><\/strong>\u2013<\/strong>Written and directed by Jason Orley in his feature debut, Big Time Adolescence <\/em>centers around Mo (Griffin Gluck), a young high school student who forms an unlikely bond with Zeke (Pete Davidson), a college dropout. Their friendship sours when Mo follows Zeke\u2019s destructive advice, and he\u2019s left to pick up the pieces without help from friends and family. Cinematographer Andrew Huebscher says this dark coming-of-age tale required an understated aesthetic. \u201cJason and I didn\u2019t want this to look like a comedy, the DP relates. \u201cMuch of our inspiration came from raw, unpolished portraits of teenagers. There is an authenticity to seeing a young person caught smoking a joint at a house party lit only by camera phones and LED candles. Our references were wide-reaching and included Mike Nichols\u2019 Carnal Knowledge<\/em>, Alexander Payne\u2019s Election<\/em>, and Richard Linklater\u2019s Boyhood<\/em>. We wanted it to feel like a series of faded photographs. Our brilliant production designer, Kathrin Eder, created richly textured sets that helped realize this vision.\u201d The indie feature was shot in Syracuse, NY, with local\/regional IATSE crewmembers. Huebscher used ARRI cameras for their filmic handling of skin tones and highlights, with the kit by Panavision New York.<\/p>\n

\u201cOur main body was an Arri Amira, and for B\/Steadicam we used an Arri Alexa Mini,\u201d he adds. \u201cI prefer the form factor of the Amira for handheld. I knew modern lenses would prove too sharp and contrasty, so I spent a day testing older glass with 1st AC Camille Freer. We ultimately decided on vintage Super Speeds and Ultra Speeds for their delicate rendering of details, natural flaring, and low contrast. They had a character I fell in love with, particularly at wider apertures.\u201d\u00a0Using the ARRI Color Tool, Huebscher built look profiles in prep, which he loaded directly into the cameras as .aml files. Working in ProRes 4444 at 2K resolution, the DP would occasionally add CDL parameters in camera; all of the metadata carried over into DaVinci Resolve, which the post team used to create dailies in the DNX format for the Avid. \u201cI like this approach as it\u2019s akin to working with printer lights,\u201d Huebscher concludes. \u201cI carry a Flanders 24-inch OLED monitor on every show for lighting\/reference. In the age of tiny screens and run-and-gun shoots, it\u2019s critical to get as accurate a representation of the image as possible, and it informs much of the design and lighting choices on set. Guild members on the shoot included A-camera Operator\/Steadicam Tom Wills, SOC, A-camera 1st<\/sup>AC Camille Freer, A-camera 2nd<\/sup>AC JustinMarzella, B-camera AC\u2019s Malcolm Purnell and Jelani AtuWilson, B-camera 2nd<\/sup>AC JadeBrennan, Digital Loader Todd Thompson, and Underwater Camera Operator Marque DeWinter.<\/p>\n

 <\/p>\n

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

Brittany Runs A Marathon <\/em><\/strong>\u2013 Guild DP Seamus Tierney shot this New York story about a woman living in the Big Apple who takes control of her life \u2013 one city block at a time. Written and directed by Paul Downs Colaizzo and starring Jillian Bell, Michaela Watkins, Utkarsh Ambudkar, Lil Rel Howery, Micah Stock and Alice Lee. Joining Tierney was a Local 600 crew that included\u00a0Operators Michael Hauer, Janice Min, Kate Phelan, Bill Saxelby, and Brandon Sumner,\u00a0Crane Operator Paul McKenna,\u00a0ACs Jack Berner, Andrew Brinkman, Kyle Gorjanc, Zachary Grace, Jonathan Henry, Kiersten Lane, Nolan Maloney, Autumn Moran, Mary Neary, Alec Nickel, John Pope, Andrea Romansky, Mabel Santos Haugen, Tsyen Shen, and Bayley Sweitzer,\u00a0Loaders Christina Carmody, George Lookshire and\u00a0Still Photographers Gwendolyn Capistran, Anna Kooris, and Jon Pack.<\/p>\n

 <\/p>\n

\"(L)
DP Eric Branco (L) with Director Chinonye Chukwu (C) on the L.A. set of Clemency<\/em> \/ Photo by Paul Sarkis<\/figcaption><\/figure>\n

Clemency <\/em><\/strong>\u2013<\/strong>Alfre Woodard stars as a prison warden who after years of carrying out death row executions must confront the psychological and emotional demons her job creates. Guild DP Eric Branco (working with a large Local 600 crew that included Operators Andrew Brinkhaus, Matt Ryan, Anne Carson and Quaid Cde Baca, A-camera 1st<\/sup>AC Melissa Sporn and 2nd<\/sup>AC Christine Oeurn, B-camera 1st<\/sup>AC Julia Pasternak and 2nd<\/sup>AC Thomas Miner, and DIT Peter Brunet) shot with ALEXA MINI and Cooke Anamorphic lenses. Branco notes that director Chinonye Chukwu was hesitant to commit to shooting scope, \u201cso I had to lobby a bit.\u00a0I had shot a TV pilot entirely in a working prison the year prior on an Alexa Plus with Master Primes,\u201d Branco recounts, \u201cand I felt like we were fighting for every inch of space on the cellblock, especially inside the cells.\u00a0Everything in was a close-up because I just couldn\u2019t get far enough away from the actors.\u201d Branco and Chinonye looked at many tests, with the director ultimately responding to Cooke Anamorphics, lenses Branco had previously used for Night Shift <\/em>(Sundance 2017), \u201cwhich was another story set in a very tight space,\u201d he adds, \u201cso I was familiar with how they\u2019d respond to the sharp angles and vertical lines of our cramped location.Our producers went to bat for me and found the money in the budget [for anamorphic].\u00a0Looking back, I don\u2019t think we could have accomplished it any other way.\u201d<\/p>\n

Clemency <\/em>was shot in a decommissioned jail, where, Branco says, the history of the building was baked into the cinderblock.\u00a0\u201cFrom the moment we first scouted,\u201d he notes, \u201cI knew I had to find a way to let the energy of the space inform my approach.\u201d Clemency <\/em>was Branco\u2019s first union feature shot in L.A., and he says he was tasked with finding a crew that was hungry and willing to step outside the box. \u201cI interviewed and interviewed, and was completely blessed to have found a crew that not only knocked it out of the park every day,\u201d he concludes, \u201cbut did it with enthusiasm, kindness, and an unbelievable sensitivity to the actors\u2019 processes.\u201d<\/p>\n

 <\/p>\n

\"Photo
Photo by Parrish Lewis<\/figcaption><\/figure>\n

Hala <\/em><\/strong>\u2013<\/strong>Cinematographer Carolina Costa (ICG December 2018, Generation NEXT<\/em>) says the prime attraction to shooting Hala\u00a0<\/em>was that it was a coming-of-age story told from the perspective of a Muslim\u00a0girl, \u201ca movie\u00a0I hadn\u2019t seen through that lens,\u201d she describes. Costa, who shot on ALEXA MINI with Cooke S4 lenses (with the support of Panavision), says her main references were films by Claire Denis and Asghar Farhadi. Director Minhal Baig wanted the project shot in Chicago, with the city and suburbs infused throughout. \u201cOur tight schedule required a shot list,\u201d Costa explains, \u201cwhich was very specific of\u00a0where the camera would go and how it\u00a0would always maintain Hala\u2019s point of\u00a0view.\u201d Costa used lenses on the wider end \u2013 18 mm and 25 mm \u2013 with close-ups on a 32 mm. The camera was mostly static or on the dolly \u2013 aside from one scene on Steadicam and another that was\u00a0handheld. \u201cWe wanted the camera to always reflect her state of mind,\u201d Costa continues. \u201cI created a look for each location as if\u00a0they were characters. I collaborated closely with our Production Designer [Sue Tebbutt] to make sure the lighting and color\u00a0palette of each location was saying something about these people\u00a0and\/or what was happening. I could always count on my Local 600 camera team [A-camera\/Steadicam Operator Blaine Baker, A-camera 1st<\/sup>AC Sara Ingram, A-camera 2nd<\/sup>AC Nina Portillo, B-camera Operator Ben McBurnett, B-camera 1st<\/sup>AC Cory Solon, B-camera 2nd<\/sup>AC Molly Nye, DIT Ryan Shuck and Still Photographer Parrish Lewis] when it came to the short schedule and executing the director\u2019s\u00a0vision with precision. Once we got to color\u00a0correction I fell in love all over again \u2013 it was a beautiful process and our colorist brought so much to it.\u201d<\/p>\n

 <\/p>\n

\"Photo
Photo Courtesy of Natasha Braier, ASC, ADF \/Sundance Institute<\/p>\n

<\/figcaption><\/figure>\n

Honey Boy <\/em><\/strong>\u00a0\u2013 <\/strong>Directed by Alma Har\u2019el\u00a0and shot by Natasha Braier, ASC, ADF, this story about a child actor working to mend the relationship with his hard-drinking, law-breaking father was written by lead actor Shia LaBeouf and based on his own life story. \u201cWe shot in Los Angeles this past summer,\u201d Braier shares. \u201cWe shot on Alexa Mini (RAW) with Crystal Xpress Anamorphic lenses. The movie was mostly handheld, with the camera operators often reacting to and guided by the actors, who did a lot of improvisation. The DI was done with Alex Bickel at Color Collective in New York City.\u201d The large Local 600 crew included A-camera Operator Mat\u00edas Mesa, A-camera 1st<\/sup>AC Eric Jensch, A-camera 2nd<\/sup>AC Brandon Szajner, B-camera Operator Valentine Marvel, B-camera 1st<\/sup>AC Joseph Ca\u00f1on, B-camera 2nd<\/sup>AC Vic Deruddere, DIT Ernesto Joven, additional operators Eric Fletcher and Tommy Tieche, underwater 1st<\/sup>AC\/Tech David William McDonald, and additional B-camera 1st<\/sup>AC Hector Rodriguez.<\/p>\n

 <\/p>\n

\"Kate
Kate Alberts (L) and Wendi McLendon Covey (R)<\/figcaption><\/figure>\n

Imaginary Order<\/em><\/strong>\u2013 Guild member Frank Tymezuk shot this feature for writer\/director\/producer Debra Eisenstadt that the filmmakers describe as the \u201csexual, psychological and moral unraveling of an obsessive-compulsive suburban mom.\u201d The cast includes Wendi McLendon-Covey, Christine Woods, Max Burkholder, Steve Little, Catherine Curtin and Kate Alberts.<\/p>\n

 <\/p>\n

\"Tim
L to R: Tim Roth, Kelvin Harrison Jr and Naomi Watts \/ Photo Courtesy of Larkin Seiple\/Sundance Institute<\/figcaption><\/figure>\n

Luce<\/em><\/strong>\u2013 Sundance regular Larkin Seiple lensed this story from co-writer\/director and co-producer Julius Onah, about a married couple forced to reckon with their idealized image of their son, whom they adopted from war-torn Eritrea. An alarming discovery by a devoted high school teacher threatens the boy\u2019s status as an all-star student and sets events in motion. The strong cast includes Naomi Watts, Octavia Spencer, Kelvin Harrison Jr., Tim Roth and Norbert Leo Butz. Local 600 representation on the project included Operator Stewart Cantrell, Michael Drucker, Sam Ellison, and David Isern,\u00a0ACs Emily DeBlasi, Matt Degreff, Alex Dubois, Erin Endow, Michael Indursky, Rob Kuch, Shaun Malkovich, Gregory Pace, Kali Riley, Zach Rubin, Kenichiro Tanaka, Peter Westervelt, and Alan Wolfe,\u00a0Loaders Sachi Bahra, Joshua Bote, Anabel Caicedo, Justin LeBlanc, and Joseph Robinson, and\u00a0Still Photographers Gwen Capistan and Jon Pack.<\/p>\n

 <\/p>\n

\"Ashton
Ashton Sanders in\u00a0Native Son, <\/em>directed by Rashid Johnson and adapted from the Richard Wright novel by Suzan-Lori Parks\u00a0\/ Photo Courtesy of Matthew Libatique ASC\/Sundance Institute<\/figcaption><\/figure>\n

Native Son <\/em><\/strong>\u2013 Matty Libatique, ASC (ICG Magazine, September 2018, Almost Famous<\/em>), was behind the camera for this modern reimagining of Richard Wright\u2019s seminal novel about a young African-American man named Bigger Thomas, who takes a job working for a highly influential Chicago family, a decision that will change the course of his life forever. The cast for the world premiere includes Ashton Sanders, Margaret Qualley, Nick Robinson, KiKi Layne, Bill Camp and Sanaa Lathan. Joining Libatique on the film was A-camera\/Steadicam operator\u00a0Christopher Herr,\u00a0ACs Travis Cleary, Jordan Pellegrini, Joshua Quiros, Prentice Smith, and Sasha Wright, and\u00a0DIT Paul Schilens.<\/p>\n

 <\/p>\n

\"Rhianne
Rhianne Barreto in Share<\/em> \/ Courtesy of Josh Johnson\/Sundance Institute<\/figcaption><\/figure>\n

Share <\/em><\/strong>\u2013 The first of two films Guild DP Ava Berkofsky (ICG Magazine, September 2017, Hella Fun<\/em>) has in Park City this year centers on sixteen-year-old Mandy (Rhianne Barreto), who must decipher how to navigate the escalating fallout from a disturbing video, from a night she does not remember.\u00a0Produced by A24 and Loveless, and\u00a0<\/span>shot in Canada, where Berkofsky worked closely with IATSE Local 667 camera workers. Berkofsky\u00a0shot with Anamorphic V-lite Hawks in the 2.0 aspect ratio on ALEXA MINI.\u00a0Pippa Bianco wrote and directed, with Local 600 member Sabrina Lantos on unit stills.<\/p>\n

 <\/p>\n

\"The<\/p>\n

The Farewell<\/em><\/strong>\u2013 Guild DP Diana Matos and Guild Operator Lisa Sene shot the New York City unit of this tale about a headstrong Chinese-American woman who returns to China when her beloved grandmother is given a terminal diagnosis. The woman struggles with her family\u2019s decision to keep her grandmother in the dark about her own illness as they all stage an impromptu wedding to see the dying woman one last time.\u00a0Crazy, Rich Asians <\/em>breakout star Awkwafina leads the cast; main unit DP Anna Franquesa Solano shot the bulk of the project on location in China for writer\/director Lulu Wang.<\/p>\n

 <\/p>\n

\"Guild
Guild DP Adam Newport-Berra lines up a shot on location in San Francisco \/ Photo Courtesy of Laila Bahman<\/figcaption><\/figure>\n

The Last Black Man in San Francisco<\/em><\/strong>\u00a0\u2013\u00a0<\/strong>Adam Newport-Berra says he was \u201cincredibly excited\u201d to shoot a film in San Francisco, a city, \u201crich with history and culture, amazing light and evocative architecture, whose lifeblood is supplied by the middle class,\u201d Newport-Berra describes, \u201cbut is glorified and enjoyed by the wealthy newcomers that gentrify its neighborhoods. It was important for me to find the nuance in that juxtaposition.\u201d The story, co-written and directed by Joe Talbot, centers on two friends and outsiders \u2013 Jimmie and Montgomery \u2013\u00a0who dream of reclaiming Jimmie\u2019s grandfather\u2019s Victorian home in the formerly all-black Fillmore district. While Jimmie teeters on the poverty line, he carries himself with an old-world pride that pervades the film\u2019s aesthetic. To acknowledge and heighten this, Newport-Berra used wider lenses at low angles that helped to bring the audience physically close to Jimmie. \u201cLighting Jimmie frontally popped him out of his surroundings and gave a subtle nod to a more romantic era of filmmaking,\u201d the DP adds. “Because most of the cast was made up of non-actors [including lead Jimmie Fails], the visual approach was simple and honest.\u201d Newport-Berra shot in a 1.66 aspect ratio that embraced the verticality of the city. Using the ARRI ALEXA with Zeiss Master Primes, he combined subtle diffusion and a LUT from his longtime collaborator, Damien Van Der Cruyssen at The Mill, to create a look that recalls the past while still feeling oddly modern. Newport-Berra says the project was \u201cincredibly challenging with a ton of difficult locations and tricky set pieces. I only had two weeks to prep, and I was beyond lucky to have Local 600 members like First AC Jeph Folkins, Second AC Shannon Bringham, Steadicam Operator Joe Lindsay and DIT Tim Erickson on my team. Their professionalism, speed, and amazing attitudes turned a daunting task into a rewarding project.\u201d<\/p>\n

\u00a0<\/em><\/strong><\/p>\n

\"The
Courtesy of Auditory Pictures \/ Sundance Institute<\/figcaption><\/figure>\n

The Sound of Silence <\/em><\/strong>\u2013<\/strong>Shot by Sundance veteran Eric Lin (Hearts Beat Loud, Equity<\/em>), this story centers on a \u201chouse tuner\u201d in New York City, who calibrates the sounds in people\u2019s homes in order to adjust their moods \u2013\u00a0until he meets a client with a problem he can\u2019t solve. \u201cFrom the beginning,\u201d Lin recounts, \u201c[director] Michael Tyburski and I talked about how to push the auditory elements of the scenes compositionally \u2013 we used a lot of negative space in the frame and judicious zooms, while also trying to find ways to block the scene in a way to activate off-screen space with sound. The film is also about Peter\u2019s obsession with the invisible forces that influence us; to draw out how that obsession has isolated him emotionally, and how it imposes a rigidity on his life, I shot early sequences in the film without much camera movement and wide-open on Zeiss Super Speeds for a super shallow depth of field.\u201d Lin says he embraced shadows and darkness as central touchstones for his lighting. \u201cI wanted [the lighting] not only to be grounded but also to allow room for the mystery and to emphasize the act of listening while watching,\u201d he adds. This approach extended into night scenes where Lin underexposed three-to-four stops and had to \u201ctrick the meter\u201d to get a reading to make sure he wasn\u2019t too far under. \u201cThe Alexa sensor handled the deep underexposure beautifully,\u201d he concludes. Local 600 1st AC Stacy Mize was also on the show.<\/p>\n

 <\/p>\n

\"Alice
Alice Englert (F) and Walton Goggins (R) \/ Photo Courtesy of Julius Chiu \/ Sundance Institute<\/figcaption><\/figure>\n

Them That Follow <\/em><\/strong>\u00a0\u2013 Guild cinematographer Brett Jutkiewicz shot this story about an American subculture rarely seen on screen \u2013 a snake-handling church deep in Appalachia \u2013 where a forbidden relationship forces a pastor\u2019s daughter to confront her community\u2019s deadly tradition.Britt Poulton and Dan Madison Savage wrote and directed the film, with a cast that includes Olivia Colman, Kaitlyn Dever, Alice Englert, Jim Gaffigan, Walton Goggins and Thomas Mann.<\/p>\n

 <\/p>\n

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

\"Courtesy
Courtesy of AJ Eaton\/Sundance Institute<\/figcaption><\/figure>\n

David Crosby: Remember My Name <\/em><\/strong>\u2013 <\/strong> Edd Lukas\u00a0shot this compelling portrait for director A.J. Eaton about the legendary rock \u2018n\u2019 roller, known as much for his excesses off-stage as on. Even after so many years on the road, in the studio, and in the musical limelight, Crosby has everything but an easy retirement on his mind. With unflinching honesty, some regret, fear, exuberance and an unshakable belief in family and the transformative nature of music, Crosby shares his often-challenging journey. Guild DP Dustin Pearlman contributed additional photography.<\/p>\n

\u00a0<\/strong><\/p>\n

\"Courtesy
Courtesy of Irene Taylor Brodsky \/ Sundance Institute<\/figcaption><\/figure>\n

Moonlight Sonata: Deafness in Three Movements <\/em><\/strong>\u2013 <\/strong>Irene Taylor Brodsky directs this deeply personal portrait of three lives and the discoveries that lie beyond loss: a deaf boy growing up, his deaf grandfather growing old, and Beethoven the year he was struck with deafness and wrote his iconic sonata.\u00a0<\/em>Guild DP Nick Midwig was behind the lens for the one-of-a-kind nonfiction feature.<\/p>\n

\u00a0\"Untitled<\/strong><\/p>\n

Untitled Amazing Jonathan Documentary<\/em><\/strong>\u2013 <\/strong>Dan Adlerstein lensed this story for writer\/director Ben Berman that begins as a traditional documentary following the final tour of a dying magician, i.e., \u201cThe Amazing Jonathan,\u201d but morphs into an increasingly bizarre journey, with Berman struggling to separate truth from illusion.<\/p>\n

 <\/p>\n

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

\"Courtesy
Courtesy of Parisa Taghizadeh \/Sundance Institute<\/figcaption><\/figure>\n

Dirty God <\/em><\/strong>\u2013The first of two features at Sundance this year for Local 600 DP Ruben Impens (along with\u00a0The Mustang <\/em>in Premieres Section). The European co-production (Netherlands, United Kingdom, Belgium and Ireland) focuses on a young mother in the prime of her life who is severely burned by an acid attack. While her face has been reconstructed, her beauty is lost beneath the scars. Descending down a self-destructive path with relationships crumbling, she must take drastic action to reclaim her life. Sacha Polak was co-writer and director.<\/p>\n

\u00a0<\/strong><\/p>\n

\"Courtesy
Courtesy of Jasper Wolf \/ Sundance Institute<\/figcaption><\/figure>\n

Monos <\/em><\/strong>\u2013 One of Hollywood\u2019s busiest underwater cinematographers, Pete Zuccarini, whose work on the Sundance hit All Is Lost\u00a0<\/em>in 2013 helped propel that film to a theatrical release, takes to the deep again for this story from co-writer\/director Alejandro Landes about eight kids with guns who watch over a hostage and a conscripted milk cow on a faraway mountaintop.<\/p>\n

 <\/p>\n

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

\"After<\/a><\/u><\/p>\n

After The Wedding <\/em><\/strong>\u2013<\/strong>Festival favorite Bart Freundlich (Wolves<\/em>, Trust the Man<\/em>, The Myth of Fingerprints<\/em>) wrote and directed this story (based on the Oscar-nominated film of the same name by Susanne Bier) about Isabelle (Michelle Williams), a woman who runs an orphanage in India and travels to New York to meet Teresa (Julianne Moore), a wealthy benefactor. An invitation to attend a wedding ignites a series of events in which the past collides with the present while mysteries unravel. Julio Macat, ASC, says he chose to shoot with the ALEXA 65 specifically to achieve high resolution and detail in the wide-angle shots. \u201cWe took advantage of the [wide-screen format] to be able to block scenes with our four actors and give them the freedom to move freely within that frame,\u201d Macat relates. \u201cThis format can also be very powerful for close-ups, as it creates a naturally shallow depth of focus on lenses longer than a 40 millimeter. That can work to your advantage if the desired effect is for the background to go in the direction of an impressionistic painting and for focus to be more selective.\u201d Macat says he wanted the story to be told without noticeable camera movement, which can sometimes get in the way of performance. \u201cWe agreed to let the actors and the drama be our focus,\u201d he continues. \u201cIt\u2019s a more classic style of filmmaking, in the vein of 1980\u2019s films like Kramer vs. Kramer <\/em>or Terms of Endearment<\/em>, where the camera movement is minimal.\u201d Macat praises his collaboration with Freundlich, and notes After the Wedding <\/em>will be the first ALEXA 65 film to be screened at Sundance. The DP was joined by Steadicam Operator Billy Green, A-camera 1st<\/sup>AC Glenn Kaplan, A-camera 2nd<\/sup>AC Anthony DeFrancesco and Digital Loader Ross Citrin.<\/p>\n

 <\/p>\n

\"Zac
Zac Efron, Macie Carmosino and Lily Collins \/ Courtesy of Brian Douglas \/ Sundance Institute<\/figcaption><\/figure>\n

Extremely Wicked, Shockingly Evil and Vile <\/em><\/strong>\u2013 Brandon Trost, who won the Sundance Cinematography Award in 2015 for the independent feature The Diary of a Teenage Girl<\/em>, returns to Park City with a story that chronicles the crimes of Ted Bundy (Zak Efron) from the perspective of Bundy\u2019s longtime girlfriend, Liz (Lily Collins), who refused to believe the truth about him for years.\u00a0The film was directed by Academy-Award nominated, seven-time-Emmy nominated, and Peabody- and Emmy-winning filmmaker Joe Berlinger, whose nonfiction films \u2013 Brother\u2019s Keeper, The Paradise Lost Trilogy,\u00a0<\/em>and\u00a0Metallica: Some Kind of Monster\u00a0<\/em>\u2013 have all premiered at Sundance. Guild members on the film included\u00a0Operators Jesse Feldman, Dave Schwandner, and Amanda Treyz,\u00a0ACs Joseph Bou, Amy Faust, Robert Lau, Markus Mentzer, Gregory Wimer, and Michael Wooten,\u00a0DIT Eric Ransbottom,\u00a0Utility Matthew Mulched, and\u00a0Still Photographer: Richard Baker.<\/p>\n

 <\/p>\n

\"Courtesy
Courtesy of Steven Annis<\/figcaption><\/figure>\n

I Am Mother <\/em><\/strong>\u00a0\u2013 Australian commercial\/music-video DP Steve Annis lensed this\u00a0\u201cintimate science-fiction film\u201d about a robot who raises a small girl from baby to womanhood, before a discovery makes her (and viewers) question her (and our) own importance and the morals of right and wrong. Annis shot for six weeks in Adelaide, Australia using ALEXA MINI and ARRI Master Anamorphics. \u201cPrep was four weeks of set build and lighting design with all lights built practically into the sets via more than one kilometer of LEDs!\u201d he recounts. \u201cOverall, it was an amazing experience, based 95 percent inside a studio bunker set with a great cast, including Hilary Swank and Rose Byrne.\u201d<\/p>\n

 <\/p>\n

\"Courtesy
Courtesy of Matthew Clark<\/figcaption><\/figure>\n

Late Night<\/em><\/strong>\u2013Nisha Ganatra directs a script from comedy star Mindy Kaling about a legendary late-night talk-show host whose world is turned upside down when she hires her only female staff writer. Originally intended to smooth over diversity concerns, her decision has unexpectedly hilarious consequences as the two women, separated by culture and generation, are united by their love of a biting punch line. Guild DP Matthew Clark says the look of the film came from a desire to create a natural world where the actors could feel free to play. \u201cMolly [Mindy Kaling] and Katherine [Emma Thompson] come from such different backgrounds,\u201d Clark explains. \u201cAnd Nisha really wanted the space to explore that, physically and comically. I\u2019d say it became more of a \u2018heightened naturalism\u2019 as we moved along. Even with a 25-day schedule, we still wanted to create three different worlds \u2013 the talk show studio, the writers\u2019 office, and Katherine\u2019s elegant personal life. The warmth and opulence of that personal life needed to be juxtaposed with a colder office setting and a neutral studio.\u201d Clark says lighting was the key as was color tweaking in post. As the mood changed, Clark and Colorist Sean Dunckley manipulated shadow detail color to create a subtle pre-flashed look designed to fit the emotion and context of each scene.<\/p>\n

\u201cWe decided to shoot with the Panasonic Varicam 35 and a combination of old Panavision Ultra Speed and Super Speed lenses,\u201d Clark continues. \u201cI feel like they smooth out the digital edge and allow for beautiful flares that are very natural. Because a significant number of days were in a high-rise office, where a generator and cable run were impossible on our budget, Gaffer Ken Shibata and Key Grip Tommy Kerwick, Jr. and I decided to bail on the generator. We bounced everything we could and used LEDs, paper lanterns, practicals and lighting that could be plugged into a house circuit. While we still had to shape the light, the 5000 ISO of the Varicam allowed us to achieve a low base exposure with very little equipment. Thankfully [A-camera 1st<\/sup>AC] Pedro Corcega and [B-camera 1st<\/sup>AC] Adriana Brunetto-Lipman are amazing focus pullers \u2013 and wide open on a 100 millimeter, you really need that kind of skill. By adapting, we were able to use the savings to light the talk-show set and get the manpower to help us move, sometimes to three or four locations a day. In turn, this gave Nisha more time with her actors on set.\u201d Guild members on the show along with Corcega and Brunetto-Lipman included A-camera\/Steadicam Operator Juli\u00e1n Delacruz, A-camera 2nd AC Matthew Montalto, B-camera 2nd AC Maria Gonzales, B-camera 2nd AC and loader Jeff Makarauskas.<\/p>\n

 <\/p>\n

\"L
L to R: Greg Hatton, Nathan Miller, \u00a0Alex Cason, Tadd Sackville-West, Alicia Pharris \/ Courtesy of Patrick Wymore<\/figcaption><\/figure>\n

Paddleton <\/em><\/strong>\u2013 Guild DP Nathan Miller shot this story written and directed by Alex Lehmann and produced by Sundance perennials Mark and Jay Duplass, which centers on an unlikely friendship between two misfit neighbors. When the younger man is diagnosed with terminal cancer, the pair embarks on an unexpectedly emotional journey.\u00a0Miller has a long collaborative history with producers Mark Duplass and Mel Eslyn, as well as with director Alex Lehmann, for whom he shot the Sundance feature Blue Jay<\/em>.\u00a0\u201cThere was a pre-established communication that helped expedite the technical and get straight to the creative side of things; and the same went for my camera team,\u201d Miller shares.\u00a0\u201cBecause we shot outside of Los Angeles, in Solvang, California, living and working in a small radius, our camp-like feel helped the team remain strong and communicative on and off set.\u201d As with all Netflix original films, Paddleton\u00a0<\/em>required a 4K acquisition \u2013 Miller\u2019s history using Canon camera systems led to his using a C700, of which he was very happy with the performance.<\/p>\n

\u201cWe were working off a \u2018script\/treatment,\u2019\u201d Miller continues, \u201cso the film is largely improvised, and that meant a two-camera approach. The goal was to allow for 360-degree shooting to accommodate performance, as well as using two operators dancing around each other in small spaces. Of course, when you\u2019ve got Ray Romano in the room, you know he\u2019ll be sending out comedy gold every second, so everyone has to remain on their toes to catch that lightning in a bottle.\u201d Miller adds that because of the film\u2019s subject matter \u2013 assisted suicide between two friends \u2013\u00a0\u201cit was a bit of a tightrope act to balance two very funny individuals with heavy subject matter.\u00a0We had to create a visual language for that dynamic specifically, and that was what really compelled me to join the team,\u201d he concludes.\u00a0\u201cPlus getting to film, live, and hang out with Ray Romano and Mark Duplass isn\u2019t bad either!\u201d The Local 600 camera team included Miller operating A-camera, A-camera 1st<\/sup>AC Alexandra Cason, B-camera 1st<\/sup>AC Alicia Pharris, 2nd<\/sup>AC Greg Hatton and Steadicam Operator Mic Waugh.<\/p>\n

 <\/p>\n

\"PHOTOGRAPH\"<\/p>\n

Photograph <\/em><\/strong>\u2013 Longtime Sundance DP Ben Kutchins (Crown Heights, Sleeping With Other People, Holy Rollers<\/em>) shot this feature in Mumbai, India for writer\/director Ritesh Batra about two intersecting lives \u2013 a struggling street photographer, who is pressured by his grandmother to marry, convinces a shy stranger to pose as his fianc\u00e9e. The pair develops a connection that transforms them in ways that they could not expect. Kutchins had seen Batra\u2019s last feature, Lunchbox<\/em>, and after reading ten pages of Photograph<\/em>, he knew he wanted to work on the project. \u201cThe script is lovely and understated, yet it operates on so many levels,\u201d he reflects. \u201cIt\u2019s grounded in reality, yet it\u2019s also a fable with some elements that are fantastical. It successfully performs a delicate balancing act and is a unique, layered, and special film.\u201d Kutchins says he and Batra aimed for a \u201cvisceral yet poetic feel,\u201d shooting mostly handheld to achieve an intimacy and presence with the actors. \u201cWe spoke a lot about texture, feeling, and the emotion of the characters as opposed to logistics,\u201d he continues. \u201c[The street photographer\u2019s] world tends to be more handheld and warmer, while her life is more cold and rigid; so we wanted to show that he lives in a bigger world than hers.\u00a0The light in her home is mostly from fluorescent bulbs and is colder. This is actually quite common in middle-class homes [in India], and I love it when something that exists in the real world\u00a0helps tell the\u00a0story.\u201d<\/p>\n

Kutchins says both he and Batra wanted to capture scenes in one take without interruption. \u201cEven if it ended up as something edited later,\u201d he notes, \u201cwe were always looking for that mysterious something that happens when actor and camera are in the moment together.\u201d The DP describes Mumbai as \u201ca living, breathing organism\u201d that never stops moving and changing. \u201cI don\u2019t know that there is a place more culturally different than the U.S.,\u201d he states. \u201cAnd that can, at times, be difficult. For example, we were supposed to shoot portions of his scenes in some of the poorest neighborhoods near Bandra Station. A few days before filming there, the government came in and destroyed many of the homes in the area in a show of force. It was devastating to see, and we knew that out of respect for the residents, we couldn\u2019t shoot there any longer. We had to do some last-minute scouting and come up with a new plan.\u201d Kutchins shot on ALEXA MINI, admiring the camera\u2019s dynamic range and handling of skin tones. He used older Ultra Speed and Super Speed lenses to introduce a bit of \u201cimperfection\u201d in the digital sensor. \u201cIt was incredible to do a film entirely in a different language,\u201d he adds. \u201cI couldn\u2019t take any of my usual dialogue cues, so I was responding to intonation and body language, which makes you pay attention on another level.\u201d Guild member Tim Gillis served as camera operator and 2nd<\/sup>Unit DP. \u201cWhen I had to leave the film early for a prior commitment to Ozark<\/em>,\u201d Kutchins concludes, \u201cTim finished the film as cinematographer and shares the DP credit. He did a fantastic job completing the film with the texture we had started out with.\u201d<\/p>\n

 <\/p>\n

\"David
David Oyelowo and Storm Reid \/ Photo by Lacey Terrell\/Sundance Institute<\/figcaption><\/figure>\n

Relive <\/em><\/strong>\u2013 Guild DP Sharone Meir, whose work on the 2104 Sundance double award winner Whiplash <\/em>(Audience and Grand Jury Prize) helped launch the career of Oscar-winning writer\/director Damien Chazelle, returns to Park City with this compelling drama from writer\/director Jacob Estes. After a man\u2019s family dies in what appears to be a murder, he gets a phone call from one of the dead, his niece. He\u2019s not sure if she\u2019s a ghost or if he\u2019s going mad \u2013but as it turns out, he\u2019s not. Instead, her calls help him rewrite history.\u00a0David Oyelowo, Mykelti Williamson and Alfred Molina lead the cast. Supporting Meir were Local 60o Operator Eric Leach,\u00a0Loader Michael McGee,\u00a0Utility Raul Perez,\u00a0DIT Chris De La Riva, and\u00a0Still Photographer Lacey Terrell.<\/p>\n

 <\/p>\n

\"Courtesy
Courtesy of Jose Haro \/ Sundance Institute<\/figcaption><\/figure>\n

Sonja: The White Swan <\/em><\/strong>\u00a0\u2013 ICG member Daniel Voldheim shot this true-life story about Sonja Heine, considered the inventor of modern figure skating, who took Hollywood by storm in the 1930s. This world-class athlete sacrificed everything to stay in the spotlight. Directed by Anne Sewitsky with Ine Marie Wilmann in the title role.<\/p>\n

 <\/p>\n

\"Courtesy
Courtesy of Ilze Kitshoff \/ Sundance Institute<\/figcaption><\/figure>\n

The Boy Who Harnessed the Wind<\/em><\/strong>\u2013 Oscar nominee Chiwetel Ejiofor co-writes and directs this U.K. production about a thirteen-year-old boy in Malawi who, against all odds, invents an unconventional way to save his family and village from famine. The film is based on the true story of William Kamkwamba, with a cast that includes Ejiofor, Maxwell Simba, Lily Banda, Noma Dumezweni, A\u00efssa Ma\u00efga and Joseph Marcell. Oscar-nominated cinematographer and Local 600 member Dick Pope, BSC (Mr. Tuner, The Illusionist<\/em>), lensed on location in Africa.<\/p>\n

 <\/p>\n

\"Courtesy
Courtesy of Focus Features<\/figcaption><\/figure>\n

The Mustang<\/em><\/strong>\u00a0 \u2013 Local 600 DP Ruben Impens, who shot the Golden Globe-nominated drama Beautiful Boy<\/em>, lensed this drama for director Laure de Clermont-Tonnerre about a convict who, while participating in a rehabilitation program training wild mustangs, struggles to connect with the horses and his fellow inmates. When he is challenged to soothe an especially difficult horse, he learns to confront his violent past.\u00a0Starring Matthias Schoenaerts, Connie Britton and Bruce Dern. Guild members on the project included\u00a0Operators Jeff Comfort, Dennis Dwyer,\u00a0ACs Denis Bosnjakovic, Ryan Mhor, Nigel Nally, Stephane Renard, and Angel Rodriguez<\/p>\n

 <\/p>\n

\"Photo
Photo by Atsushi Nishijima<\/figcaption><\/figure>\n

The Report <\/em><\/strong>\u00a0\u2013 Eigil Bryld (ICG Magazine, June\/July 2018, Thieves Like Us<\/em>) shot this true-life story for writer\/director Scott Z. Burns about Daniel Jones (Adam Driver), the lead investigator for the U.S. Senate\u2019s sweeping study into the CIA\u2019s Detention and Interrogation Program. Tactics employed in the program, in the aftermath of the 9\/11 attacks, were later found to be brutal, immoral and ineffective. With the truth at stake, Jones battled tirelessly to make public what many in power sought to keep hidden. The large Local 600 camera team was made up of Operators Johan Aidt and Afton Grant,\u00a0Assistants Sunil Devadanum, Kevin Howard Jr., Scott Koenigsberg, Robert Lau, Hamilton Longyear, Dean Martinez, Jonathan Monk, Rob Muia, Andrew Peck, Eric Robinson, Yusuke Sato, Samantha Silver, Sebastian Slayter, Troy Sola, Katie Waalkes, Jelani Wilson, and Alexander Worster,\u00a0Libra Tech Pierson Silver,\u00a0Loaders Trevor Barcus, Anabel Caicedo, Mateo Gonzalez, Jason Hochrein, and Holly McCarthy, and\u00a0Still Photographers Atsushi Nishijima, Nicole Rivelli, Walter Thomson, and JoJo Whilden.\u00a0Annette Bening, Jon Hamm, Ted Levine, Maura Tierney and Michael C. Hall round out the cast.<\/p>\n

 <\/p>\n

\"Courtesy
Courtesy of Eirik Evjen \/ Sundance Institute<\/figcaption><\/figure>\n

The Sunlit Night<\/em><\/strong>\u2013 AC Scott Miller worked on the New York City unit of this European co-production (Germany and Norway), which was directed by David Wnendt and centers on an American painter and a Russian \u00e9migr\u00e9 who find each other in the Arctic Circle. Together, under a sun that never sets, they discover a future and family that they didn\u2019t know they had. The international cast includes Jenny Slate, Zach Galifianakis, Alex Sharp, Gillian Anderson, and David Paymer.<\/p>\n

 <\/p>\n

\"First
First AC Tom Funk on location for Noble Jones’ film \/ Courtesy of Mark Davis<\/figcaption><\/figure>\n

The Tomorrow Man <\/em><\/strong>\u2013 John Lithgow and Blythe Danner star in this story about two people \u2013 one obsessed with preparing for a disaster that might never come, the other shopping for things she may never use \u2013\u00a0who find each other in a small town somewhere in America. First AC Tom Funk says he was recommended by a colleague for a project that would quickly become one of the most interesting of his career.\u00a0The six-week shoot, in Rochester, NY, was helmed by writer\/director\/DP Noble Jones, using director David Fincher\u2019s RED Xenomorph model D camera system (ICG Magazine, April 2018, Mindhunter<\/em>). \u201cAs the 1st<\/sup>AC on the primarily single-camera show, I worked closely with Noble Jones,\u201d Funk recalls. \u201cWe allowed for a post-heavy workflow, stemming from Jones\u2019 time working with Fincher. We utilized the Xenomorph 6K features and framed for a 5K extract, allowing for more options in post.\u201d Funk says the Xenomorph has a Paralink wireless video transmitter, RT motion receiver, and a Zaxcom time code and audio receiver all built into the camera. \u201cAlong with the \u2018snap up\u2019 matte box and gear tray at the front, paired with the Leica Summilux-C lenses, this camera creates a very quick setup,\u201d he shares.\u00a0\u201cSlap on a battery, turn on the Xenomorph, which powers-on the camera and all accessories, format the media, and you\u2019re ready to shoot!\u201d<\/p>\n

 <\/p>\n

\"Allison
Allison Janney and Viola Davis \/ Photo by Curtis Baker \/ Sundance Institute<\/figcaption><\/figure>\n

Troop Zero<\/em><\/strong>\u2013 Guild cinematographer Jim Whitaker lensed this period story for directors Bert & Bertie, set in rural Georgia circa 1977, about a young misfit who dreams of life in outer space.\u00a0When a national competition offers her a chance at her dream, to be recorded on NASA\u2019s Golden Record, she recruits a makeshift troupe of Birdie Scouts, forging friendships that last a lifetime and beyond.\u00a0Oscar winner Viola Davis heads up a strong cast that also includes Mckenna Grace, Jim Gaffigan, Mike Epps, Charlie Shotwell and Allison Janney. The large Guild \u00a0team was made up of\u00a0Nicole Hirsch-Whitaker shooting additional photography,\u00a0Operators Michael Applebaum, George Bianchini, Morgan Davis, Mike Kennedy, Louis Normandin, Douglas Pruss, Craig Rice, Zachary Sieffert, and Michael Stumpf,\u00a0ACs Matthew Blea, Michelle Clayton Samaras, Bryan DeLorenzo, Christopher Fisher, Lisa Lengyel, Dan McKee, Paul Rahfield, Lance Romano, Rigney Sackley, and Zander White,\u00a0Loader Michael Reynolds,\u00a0DITs Adrian Jebef and Aaron Picot,\u00a0Utility Mitchell Orcino,\u00a0Crane Tech Ernest Rydberg, and\u00a0Still Photographer Curtis Baker.<\/p>\n

 <\/p>\n

\"Rene
Rene Russo and Jake Gyllenhaal \/ Photo by Claudette Barius<\/figcaption><\/figure>\n

Velvet Buzzsaw<\/em><\/strong>\u2013 Oscar nominee Dan Gilroy (Nightcrawler<\/em>) writes and directs this contemporary thriller set in L.A.\u2019s art scene, where big-money artists and mega-collectors pay a high price when art collides with commerce.\u00a0The cast is led by Jake Gyllenhaal and includes Rene Russo, Toni Collette, Zawe Ashton, Tom Sturridge and Natalia Dyer. Oscar and ASC Award winner Robert Elswit, ASC (There Will Be Blood<\/em>), was behind the camera, with Christopher Moseley handling additional photography, along with veteran\u00a0Operators Colin Anderson, John Joyce, Mark Moore, Andrew Rowlands, and David Speck,\u00a0ACs Erik Brown, Jeff Comfort, Ryan Creasy, Jacob LaGuardia, Jay Levy, Chris Mayhugh, David Mun, Evan Nelson, James Razo, Adrian Santacruz, Ryan Shoemake, Larissa Supplitt, Ron Tatham, Aaron Tichenor, Matthew Williams, and Terry Wolcott,\u00a0Technicians James Apted, George Dana, Keith Davis, Sean Dommett, Maurizio Dotto, Dustin Evans, Joshua Friz, Yuriy Fuks, Ryan Haskins, Jessie Hinojosa, Steve McDonagh, Michael Montez, Clay Platner, Robert Rubin, Mike Ryan, Mark Spath, Christopher Toll, and Jimmy Ward,\u00a0Loader Amanda Darouie,\u00a0DITs Erica Mckee, and Daniel Satinoff,\u00a0Still Photographers Claudette Barius and Unit\u00a0Publicist Cid Swank<\/p>\n

 <\/p>\n

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

\"Self-Portrait
Self-Portrait by Anton Yelchin \/ Sundance Institute<\/figcaption><\/figure>\n

Love, Antosha <\/em><\/strong>\u2013 This portrait of the Russian-born Jewish actor Anton Yelchin, whose life was tragically cut short at the age of 27, was shot by Guild DP Radan Popovik and co-produced by Drake Doremus, whose indie feature Like Crazy <\/em>co-starred Yelchin and won the Grand Jury Prize at the 2011 Sundance Film Festival.<\/p>\n

\u00a0<\/em><\/strong><\/p>\n

\"DP
DP Kristy Tully on location in Texas \/ Courtesy of Janice Engel<\/figcaption><\/figure>\n

Raise Hell: The Life & Times of Molly Ivins <\/em><\/strong>\u2013DP Kristy Tully says shooting this documentary about the famed political journalist and Bill of Rights warrior was like taking an epic road trip through Southwest Texas in the spirit of Ivins herself. \u201cI\u2019ve shot my share of documentaries that are as important as they are heavy on the soul,\u201d Tully relates. \u201cBut this project was as fun and uplifting as it was important.” Tully says that because she was working alone, she kept the package small and versatile \u2013 Canon C300 and sometimes a Canon 5D MKII when a second size for an interview was needed. The lighting was a hybrid of beauty and natural. \u201cWe wanted regular people and the celebrities alike to look their best but feel like it could be natural light,\u201d Tully explains. \u201cI traveled with my old trusted Rifa Light \u2013 the first piece of equipment I ever bought \u2013 retrofitted to use daylight Kino bulbs. I tried to keep it outside a window, but if that\u00a0wasn\u2019t an option I\u2019d use the lightweight Roadrags flag kit to\u00a0bring down a bright shirt or a close wall. I also used the hard grid on the front of the Rifa Light, which was a lifesaver in small rooms. The most useful and underrated tool working bare bones in the heat was oil-blotting tissues. Not even the toughest cowboy in Texas could complain about a little face wipe!\u201d\u00a0Tully says director Janice Engel was able to schedule exterior interviews that would capture the dramatic Texas landscapes at dawn and dusk. \u201cWhen we got to New York,\u201d Tully adds, \u201cwe were able to move around the\u00a0city with slightly larger sources, which gave me the ability to shape the light more carefully.\u201d<\/p>\n

 <\/p>\n

\"Courtesy
Courtesy of Timothy Greenfield-Sanders \/ Sundance Institute<\/figcaption><\/figure>\n

Toni Morrison: The Pieces I Am <\/em><\/strong>\u2013 <\/strong>Longtime Sundance documentary DP Graham Willoughby(Won\u2019t You Be My Neighbor? 20 Feet From Stardom<\/em>) lensed this intimate meditation from director\/producer Timothy Greenfield-Sanders about America\u2019s most lauded black storyteller. The non-fiction feature examines Morrison\u2019s life and work, and the powerful themes the writer has confronted throughout her literary career. The illustrious artists joining Morrison on camera include Hilton Als, Oprah Winfrey, Russell Banks, Angela Davis, Walter Mosley, Peter Sellars and Fran Lebowitz.<\/p>\n

 <\/p>\n

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

\"Courtesy
Courtesy of Kasia Ladczuk \/ Sundance Institute<\/figcaption><\/figure>\n

The Nightingale<\/em><\/strong>\u2013 <\/strong>Guild member Grant Adams was Steadicam operator and shot additional photography for Australian writer\/director Jennifer Kent\u2019s story set in 1825 in the Tasmanian wilderness. Clare (Aisling Franciosi), a young Irish girl, is bent on revenge for a terrible act of violence a British officer committed against her family. As she chases him down through the inhospitable terrain, she enlists the services of an Aboriginal tracker, who is marked by trauma from his own violence-filled past.<\/p>\n

 <\/p>\n

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

\"L
Nicholas Alexander, Margaret Qualley, Chloe Levine, Maxton Miles Baeza, Jari Jones, May Hong and Paige Gilbert Washington \/ Courtesy of Meridian Entertainment\/ Adam LLC\/Sundance Institute<\/figcaption><\/figure>\n

Adam <\/em><\/strong>\u2013 Shawn Peters shot this coming-of-age-comedy for director Rhys Ernst and longtime Sundance regular, Producer James Schamus. The story centers on Adam (Nicholas Alexander), an awkward teenager who spends his final high school summer with his older sister in New York City. The young woman has thrown herself into the city\u2019s lesbian and trans activist scene, and over the course of the summer, Adam and those around him experience love, friendship and attendant hard truths. AC Jason Chau and\u00a0Still Photographer Jeong Park joined Peters on the project.<\/p>\n

 <\/p>\n

\"DP
DP Ashley Connor on location in Alabama \/ Courtesy of Wes Frazer<\/figcaption><\/figure>\n

The Death of Dick Long <\/em><\/strong>\u2013 <\/strong>Guild DP Ashley Connor (ICG Magazine, January 2018, My Sundance Moment<\/em>) returns to Park City for director Daniel Scheinert. The low-down on her new film: Dick died last night, and Zeke and Earl don\u2019t want anybody finding out how. That\u2019s too bad though, because news travels fast in small-town Alabama. Connor says they shot the feature on location in Alabama during an extremely wet and hot summer. Connor, working with Guild 1st<\/sup>AC Kali Riley, shot on ALEXA XT with Panavision Primos. \u201cOur references were mainly Wim Wenders\u2019 The American Friend\u00a0<\/em>mixed with a healthy dose of some Coen Brothers and William Friedkin,\u201d Connor reflects. \u201cIt was so fun getting to collaborate with Daniel [Scheinert] and his sensibilities. He brought out my sillier, more playful side. It ended up being a big sweaty hang with all my best friends, where we got to make a movie that speaks to the laughable dark hell known as America that we\u2019re all living in. Roll Tide!\u201d<\/p>\n

\u00a0<\/em><\/strong><\/p>\n

\"Maynor
Maynor Alvarado and Manuel Uriza \/ Courtesy of Lisa Rinzler \/ Sundance Institute<\/figcaption><\/figure>\n

The Infiltrators<\/em><\/strong>\u2013 Guild 1st<\/sup>AC Meghan Noce worked on this timely feature from co-directors Alex Rivera and Cristina Ibarra about a rag-tag group of undocumented youth, \u201cDreamers,\u201d who deliberately get themselves detained by U.S. Custom and Border Patrol agents in order to infiltrate a shadowy, for-profit detention center. The cast includes Maynor Alvarado, Manuel Uriza, Chelsea Rendon, Juan Gabriel Pareja and Vik Sahay.<\/p>\n

\u00a0<\/em><\/strong><\/p>\n

\"Naomi
Naomi Watts in writer\/director Alistair Banks Griffin political thriller \/ Sundance Institute<\/figcaption><\/figure>\n

The Wolf Hour <\/em><\/strong>\u2013Alistair Banks Griffin wrote and directed this period story about a known counterculture figure, June E. Leigh (Emily Watts), who now lives in self-imposed exile in her South Bronx apartment during the incendiary 1977 Summer of Sam in New York City. When an unseen tormentor begins exploiting June\u2019s weaknesses, her insular universe begins to unravel. Shot by Khalid Mohtaseb with a Local 600 team that included\u00a0Operators David Isern and Daniel Stewart,\u00a0ACs Tom Atwell, Zachary Grace, and Nolan Maloney,\u00a0Technocrane Operator Scott Buckler,\u00a0DITs Justin Hartough, Zachary Sainz, and Ryan Winsor, and\u00a0Still Photographer Alison Rosa.<\/p>\n

 <\/p>\n

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

\"Corporate<\/a><\/p>\n

Corporate Animals <\/em><\/strong>\u2013 Disaster strikes when the egotistical CEO of an edible cutlery company leads her long-suffering staff on a corporate team-building trip in New Mexico. Trapped underground, this mismatched and disgruntled group must pull together to survive. Demi Moore and Ed Helms lead the cast, with Sundance alumna Tarin Anderson behind the camera. This indie feature was shot in Santa Fe, NM with two cameras throughout to be, as Anderson describes \u201cmore efficient\u201d in covering eight to nine actors in most of the scenes. \u201cThe biggest challenge was keeping the film visually interesting as the majority of the story takes place in one location,\u201d Anderson shares. \u201cWe used mostly LED\u2019s to make lighting transitions with color shifts more seamless.\u201d The large Guild camera team included A-camera\/Steadicam operator Juergen Heinemann, A-camera 1st AC Kingslea Bueltel, A-camera 2nd AC Dan Bass, B-camera 1st AC Lane Luper, B-camera 2nd AC Daniel Maestas, and DIT Luke Mullen.<\/p>\n

 <\/p>\n

\"Courtesy
Courtesy of Lowell A. Meyer<\/figcaption><\/figure>\n

Greener Grass<\/em><\/strong>\u2013 Guild DP Lowell A. Meyer teamed with co-directors\/co-writers\/actors \u2013 Jocelyn DeBoer and Dawn Luebbe, and Producer Natalie Metzger (who also produced Meyer\u2019s previous feature,\u00a0Thunder Road<\/em>) to tell this demented suburban-comedy story, where every adult wears braces on their teeth and couples coordinate meticulously pressed outfits. \u201cLikeThunder Road<\/em>,\u201d Meyer explains, \u201cGreener Grass\u00a0<\/em>was based on an award-winning short film from 2016. It was a bit intimidating to come onto a project not having shot the source material, especially when it had been established with such bold lensing and filtration choices, but I was lucky to learn quickly into the process that the directors wanted a cinematographer with whom they could adapt and expand the visuals to better serve the feature-length narrative.\u201d<\/p>\n

Meyer mixed prime and zoom lenses throughout \u2013 some scenes were long oners on a dolly with an Ang\u00e9nieux 24-290 mm or 30-80 mm. \u201cFor more intimate scenes, we used Super Speeds to get close to the actors and keep a light footprint on our locations,\u201d he adds. \u201cIn keeping with the short, we decided to heavily diffuse the image with a 1980s glow, using a combination of Black Pro Mist and Low Contrast filters. However, unlike the short, we created a visual arc with the filters, using them aggressively when the world and characters were seemingly pleasant, and then slowly removing the filters once the story\u2019s darker undertones started to bear themselves. By the end of the film, we weren\u2019t using any filtration at all.\u201d Meyer says he and Gaffer John Cico kept units small enough to avoid needing a tow plant, \u201cwhich would slow us down and require more crew than we could accommodate.\u201d Cico controlled units from his iPad, making lighting setups simple, fast and feasible for the demanding schedule. \u201cWe shot in 3.2K on an Alexa Mini,\u201d Meyer continues, \u201cand had an on-site editor making daily assemblies that we could watch every other day, almost like dailies, but with fully cut scenes. They had a fully assembled cut of the film only a day after wrapping!\u201dThe lush, green environment of Peachtree City, just outside of Atlanta, served as the movie\u2019s base. \u201cSince the film is called\u00a0Greener Grass<\/em>, it was very important to DeBoer, Luebbe, [Production Designer] Leigh Poindexter and me that the green was the deepest shade possible,\u201d he concludes. \u201cThat\u2019s something we also tweaked in color correction with our colorist Derek Hansen [at The Mill LA] to ensure consistency throughout the film.\u201d<\/p>\n

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\"Nathan
Nathan Stewart Jarrett in Lucas Heyne’s film\/ Courtesy of Kern Saxton \/ Sundance Institute<\/figcaption><\/figure>\n

Mope<\/em><\/strong>\u2013 Local 600 member Bryan Koss, SOC, shot this story about two low-level porn-industry male performers, aka \u201cmopes,\u201d who set their sights on an impossible dream: stardom. Directed and co-written by Lucas Heyne. Guild\u00a0Operator Orlando Herrera was also on the show.<\/p>\n

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\"Dakota
Dakota Johnson and Armie Hammer in Babak Anvari’s thriller \/ Photo by Michele K. Short<\/figcaption><\/figure>\n

Wounds <\/em><\/strong>\u2013 Disturbing and mysterious things begin to happen to a bartender in New Orleans after he picks up a phone left behind at his bar.\u00a0Armie Hammer and Dakota Johnson star. The Guild team included\u00a0Operators Michael Applebaum and Greg Morris,\u00a0ACs Allan Keffer, Richard Lacy, John Richie, Zander White, and Evan Woss,\u00a0Still Photographer Michele K. Short, and Unit\u00a0Publicist Andy Lipschultz.\u00a0Babak Anvari (Under the Shadow<\/em>) writes and directs.<\/p>\n

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

\"Kate
Kate Krieger and Joe Holt \/ Courtesy of Federico Ferrari \/ Sundance Institute<\/figcaption><\/figure>\n

Delivery Girl<\/em><\/strong>\u00a0\u2013 Kate Krieger directs and stars from her own screenplay about a young woman struggling with her identity. Trisha leads a double life within her fiercely Catholic household \u2013 selling drugs to make ends meet while carrying on with a secret lover. With the support of her friend Leroy (Joe Holt), a 40-year-old seeking to regain custody of his child, Trisha fights for the courage to embrace her future while confronting her past in the first episode of this dramatic series. Guild DP Oliver Lanzenberg was behind the camera.<\/p>\n

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\"Amy
Amy Landecker and Ali Liebegott in the Kyra Sedgwick-directed film \/ Courtesy of Michelle Lawler \/ Sundance Institute<\/figcaption><\/figure>\n

Girls Weekend <\/em><\/strong>\u2013 <\/strong>Shot by Michelle Lawler and directed by Emmy- and Golden Globe-winning actress\/producer\/director Kyra Sedgwick, Girls Weekend\u00a0<\/em>tells the story of\u00a0a queer daughter who begrudgingly returns home to Las Vegas for a weekend with her estranged, homophobic sister and people-pleasing mother. When her gun-toting dad lets it slip that her mom\u2019s cancer is back with a vengeance, Erica (Ali Liebegott) must decide whether or not she can be part of the dysfunction that is her family.\u00a0\u201cI found it easy to relate to a story about a queer person going home to visit their conservative relatives where Fox news is\u00a0permanently\u00a0on in the background; it can feel\u00a0polarizing\u00a0and alienating,\u201d Lawler notes. \u201cThe DP says she and Sedgwick wanted viewers to feel \u201cstuck in this house\u201d with Erica. To create a feeling of paralysis, they employed a static camera and approached the cinematography in a restrained manner, limiting all camera movement. \u201cIt was challenging to just sit in those moments and be still,\u201d Lawler describes. \u201cWe shot in one house over two days. Guild member Peter Lau, a great First AC, pulled focus.\u00a0Once the whole crew lands in one house, space can become limited quickly.\u00a0The Arri Mini was our camera of choice with Cooke S4 primes. Peter built the Mini as small as possible so we could fit into tiny bathrooms and hallways.\u201d<\/p>\n

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\"Donny
Donny Divanian, Brent Weinbach, Kevin Camia, Andie MacDowell, Frankie Quinones, Christian Duguary and Chase Berstein \/ Courtesy of John Rutland \/ Sundance Institute<\/figcaption><\/figure>\n

The Dress-Up Gang<\/em><\/strong>\u2013Topher (Christopher) Osborn shot this wickedly funny and surrealistic comedy, with help from Guild Operator Coby Oliver, that expands upon the cult-hit web series by creators Robb Boardman, Cory Loykasek and Donny Divanian. Donny, a responsible adult with the innocence and outlook of a child, relies on guidance and life advice from his friend Cory, the dad-like thirty-something who has been crashing on Donny\u2019s couch for quite some time. Two of the gang\u2019s escapades are presented in this pilot episode.<\/p>\n

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\"Courtesy
Courtesy of Michael Ognisanti<\/figcaption><\/figure>\n

Work in Progress <\/em><\/strong>\u2013 Co-screenwriters Tim Mason and Abby McEnany wrote this story about which DP Michael Ognisanti says he knew \u201cthe comedy would be there on-screen, because Abby and Tim are both hilarious people. The challenge was going to be how we weave deeper issues about anxiety, depression and insecurities into comedic situations that provide the story\u2019s depth.\u201d Ognisanti says much of the material is based on McEnany\u2019s life, and that authenticity and the myriad layers of her character were what they wanted to capture. \u201cWe worked to reflect that both tonally and visually,\u201d the DP continues. \u201cWe shot in real locations, mostly night interiors, and didn\u2019t want anything to look artificially lit. We usually started with practicals when possible and would then augment with small LED\u2019s \u2013 LiteMats, China lanterns, et cetera.\u201d Mason (who directed) and McEnany both have an improv background, so Ognisanti shot with two cameras to ensure capture of any unscripted moments, which couldn\u2019t be recreated after the fact. \u201cWith two cameras,\u201d Ognisanti explains, \u201cmore planning is necessary in order to be efficient and get the most out of each setup. We made storyboards for everything. Tim would describe his ideas on how to construct the scene and then I used Cinema 4d with the Cine Designer plug-in to build the storyboards in a 3D environment (after scouting the locations and getting measurements of the layout).\u201d Ognisanti was able to simulate focal lengths and depth of field in the actual environments, which having already created a visual of how things would look was extremely helpful once he got to set. The production used two ALEXA MINIs with Zeiss Super Speeds. Daufenbach Camera and 2nd Cine in Chicago supplied cameras and lenses. The color grade was done by Paul Galati at Optimus Chicago. \u201cWe were limited with budget and time,\u201d Ognisanti concludes, \u201cbut the collaboration and dedication of the cast and crew brought it all together. You can see that reflected in the final product.\u201d<\/p>\n

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U.S. Narrative Short Films<\/u><\/strong><\/p>\n

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

As Told to G\/D Thyself <\/em><\/strong>\u2013 Oscar nominee (Arrival)\u00a0<\/em>and three-timeSundance Cinematography Award winner (Ain\u2019t Them Bodies Saints, Mother of George, Pariah<\/em>) Bradford Young, ASC, teams with his fellow Ummah Chroma artists Terence Nance, Jenn Nkiru, Marc Thomas and Kamasi Washington to co-write\/direct and shoot this cosmic journey of sacred youth, during which pain, pleasure and sublimation are non-negotiable.<\/p>\n

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\"Lola
Lola Wayne Villa and Lola Reid \/ Courtesy of Ava Berkofsky \/ Sundance Institute<\/figcaption><\/figure>\n

How Does It Start<\/em><\/strong>\u2013 Ava Berkofsky\u2019s second Sundance film this year was for writer\/director Amber Sealey, about 12-year-old Rain (Lola Wayne Villa), whose self-absorbed parents, distracted by their recent divorce, leave her alone to navigate the complexities of love. Berkofsky says she shot\u00a0on ALEXA CLASSICS, “with Panavision Ultra Speeds and my regular First AC Carman Soles \u2013 a newish but proud member of Local 600.”<\/p>\n

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\"Courtesy
Courtesy of Lowell A. Meyer<\/figcaption><\/figure>\n

Lockdown <\/em><\/strong>\u2013<\/strong>Cinematographer Lowell A. Meyer\u2019s second film at Sundance this year was also his fifth with longtime working partners, co-writers\/directors Celine Held and Logan George, who were inspired by a photo in The New York Times\u00a0<\/em>regarding the use of lockdown drills in American schools in reaction to the rise in active shootings. \u201cThey thought it\u2019d be a good setting to explore the unspoken and gray area that is sexual desire and consent in maturing high-school-age teens, particularly in a lesbian friendship,\u201d Meyer relates. \u201cAs such, we wanted the camera work to feel realistic, while also very focused. We mainly stuck to prime lenses to be intimate with our characters, with the exception of a few zoom shots.\u201d Meyer used dolly and sticks when the story is \u201ccalculated and calm,\u201d switching to handheld when things are more uncertain. \u201cWe erred toward longer lenses to help make our subjects feel isolated, and abstracted by their classmates and teachers,\u201d he adds. \u201cWe\u2019d switch to wider lenses in action-filled moments or when our characters were physically close. We wanted the school \u2013 as well as their relationship \u2013 to have a sense of danger and uncertainty.\u201d<\/p>\n

Filming took place in a working high school north of Pittsburgh, giving the production the air of a documentary, \u201cbut one in which we had complete control over every element,\u201d Meyer describes. \u201cWe used real students at the school, and only brought in the two leads to play students [in high school at the time of filming]. Held and George are incredibly gifted when it comes to directing child and young-adult actors, as well as non-actors, which I think adds tremendously to the authenticity of their films.\u201d Gaffer Denair Isaac relied on a wheeled ARRI SkyPanel that was moved from set to set to amplify the existing overhead practicals. \u201cThe biggest lighting setup we had was in the locker room during the lockdown drill in which the teacher turns off the lights,\u201d Meyer notes. \u201cWe were inspired by how much red was present in The New York Times\u00a0<\/em>photograph, and we were lucky to find a high school with a locker room full of red lockers! We embraced that look so that when the lights are turned off, the room \u2013 aside from a sliver of white light hitting the leads \u2013 is full of this ominous and deeply saturated red bounce, which made the scene rest somewhere between romantic and scary.\u201d<\/p>\n

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\"DP
DP Meena Singh \/ Photo Courtesy of Isabelle Vosmikova<\/figcaption><\/figure>\n

One Cambodian Family Please For My Pleasure <\/em><\/strong>\u2013 <\/strong>In 1981, Hanka (Emily Mortimer), a lonely refugee from Czechoslovakia, paints an all-too-appealing picture of\u00a0her American life as she writes a letter begging an organization to help relocate a Cambodian refugee\u00a0family to Hanka\u2019s new \u201chometown of dreams,\u201d Fargo, ND.\u00a0Cinematographer Meena Singh says the script was very personal for her. Singh, like director A.M. Lukas, was raised in an immigrant family in the Midwest in the 1980s. \u201cI referenced old family photos when designing the look for the film,\u201d Singh shares. \u201cAnd I shot on Panavision Primo Anamorphics to provide a richness that invokes memory and childhood and gives the film a truly cinematic feel. I was fortunate to have a trifecta of creative geniuses working with me \u2013 gaffer Chad Dougherty, focus puller Camilla Foschi and colorist Nick Hasson.\u201d<\/p>\n

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\"Courtesy
Courtesy of Alex Kavutskiy<\/figcaption><\/figure>\n

Squirrel<\/em><\/strong>\u2013 Local 600 cinematographer Ryan Thomas shot this story, directed by Alex Kavutskiy, about a woman\u2019s fortitude to forgive being tested by a meager apology. Thomas says he knew the best approach to this dark comedy, \u201cwhich has exquisite performances,\u201d was to just stay out of the way and \u201cgive the actors room to do their work,\u201d he explains. \u201cWe did a number of long static takes to heighten the uncomfortable situations these characters were putting themselves in.\u201d Thomas says he anticipated budget challenges and was fortunate to get a \u201cgreat price\u201d from The Camera Division on an ALEXA CLASSIC and a set of Cooke S4s. \u201cThe small crew worked in our favor as the schedule was tight and forced us to keep our lighting minimal and simplistic,\u201d he adds. \u201cThe only thing that still surprises me is that I allowed them to shoot in my house for one of the characters \u2013 I knew it was right for the story, with minimal work, so it was too tempting to pass up.\u201d<\/p>\n

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New Frontier<\/u><\/strong><\/p>\n

\"Courtesy
Courtesy of Eve M. Cohen<\/figcaption><\/figure>\n

Ashe \u201968 <\/em><\/strong>\u2013 VR pioneer Eve Cohen, working with Guild VR DIT Ben Schwartz, and Lead Artists Brad Lichtenstein, Beth Hubbard, Jeff Fitzsimmons and Rex Miller, teamed with John Legend, Mike Jackson, Masha Vasilkovsky, Ruah Edelstein, Madeline Power and Vernon Reid to create this socially powerful VR experience. Fifty years before Colin Kaepernick there was tennis champion Arthur Ashe, and this story immerses viewers in Ashe\u2019s defining moment (in 1968), as he becomes the first black man to win the US Open and then proceeds to use his newfound celebrity to lift his voice against injustice.\u00a0Cast includes Chris Eubanks, Michael Cleary, Peter Begley, Andrew Panter and Alex LaCroix.<\/p>\n

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\"Courtesy
Courtesy of Jeffrey Waldron<\/figcaption><\/figure>\n

Ghost Fleet VR<\/em><\/strong>\u2013Guild DP\u2019s Jeffrey Waldon and Alejandro Wilkins shot this immersive VR Cinema project that revolves around a true story of modern slavery. Homing in on the Thai fishing industry, the experience is told through one man\u2019s harrowing ordeal to escape a prison of water after 10 years at sea.\u00a0Lead artists include Lucas Gath and Shannon Service with a cast that featuresTun Lin and Vithaya Pansringarm.<\/p>\n

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

\"John
John Mulaney and Renee Elise Goldsberry in Documentary Now, Season 52 Preview \/ Courtesy of Alex Buono \/ Sundance Institute<\/figcaption><\/figure>\n

Documentary Now <\/em><\/strong>\u2013 Longtime Saturday Night Live <\/em>and Guild DP Alexander Buono (www.icgmagazine.com<\/a>, November 2015, Real Fun<\/em>) directs, produces and shoots this faux nonfiction series from IFC that first premiered in 2015, with contributing writers\/stars Fred Armisen, Bill Hader, Seth Myers and others. Sundance is previewing the newest season of the series.<\/p>\n

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\"Now
Now Apocalypse<\/em>\u00a0camera team L to R: A-camera 2nd AC Michaela Angelique, A-camera 1st AC
Derek Plough, B-camera 2nd AC Brittany Meadow,\u00a0A-camera Operator Yvonne Chu, Digital Loader
Issac Guy, DP\u00a0Sandra Valde-Hansen, B-camera Operator\/Steadicam\u00a0Jesse Bactat, SOC, B-camera 1st AC
Paul Auerbach \/ Photo by Katrina Marcinowski<\/figcaption><\/figure>\n

Now Apocalypse <\/em><\/strong>\u00a0\u2013 Sundance is screening the first three episodes of this new 10-episode STARZ series, which will premiere on March 10, 2019 and was shot by Sundance alumna and Guild DP Sandra Valde-Hansen. Directed and Produced by Hansen\u2019s longtime collaborator, Gregg Araki, the series centers on Ulysses (Avan Jogia) and his friends trying to navigate Los Angeles as they pursue love, sex and fame. Between dating-app adventures, Ulysses grows increasingly troubled as foreboding dreams make him paranoid \u2013 or maybe he\u2019s just smoking too much weed? Valde-Hansen and Araki have worked together for a decade, with the DP having shot Araki\u2019s last two features (White Bird in a Blizzard, Kaboom<\/em>), both of which premiered at Sundance.\u00a0\u201cI know Gregg\u2019s aesthetic and style, which made shooting his first television series a fairly seamless transition,\u201d she shares.\u00a0\u201cWe block-shot all 10 episodes, so the entire team approached this like shooting a feature \u2013 a 400-page feature in 40 days! The difference between Gregg\u2019s features and this series was the pace was faster and we had more to accomplish.\u00a0With Gregg at the helm and such a strong crew, seasoned in both indie features and television, we were able to complete a show that we all are very proud of. We can\u2019t wait for [Now Apocalypse<\/em>\u2019s]craziness to turn the world upside down.\u201d\u00a0Valde-Hansen was supported by a large Local 600 team that included A-camera Operator Yvonne Feucht Chu, B-camera Operator\/Steadicam Jesse Bactat, SOC, A-camera 1st<\/sup>ACDerek Plough, B-camera 1st<\/sup>AC Paul Auerbach, A-camera 2nd<\/sup>AC Michaela Angelique, B-camera 2nd<\/sup>AC Brittany Meadows, Digital Loader Isaac Guy and Still Photographer Katrina Marcinowski.<\/p>\n

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ONGOING EVENTS<\/strong><\/span><\/p>\n

 <\/p>\n

Adobe Events – Sundance 2019<\/u><\/b><\/u><\/b><\/p>\n

Explore the Wide World of Editing Panel<\/b><\/p>\n

Join a lively discussion with genre- and generation-spanning editors about the ever-evolving craft of editing. Hear Sundance Film Festival success stories, ranging from iconic documentaries to groundbreaking fiction features. Panelists include Carla Gutierrez, editor of 2018\u2019s hit documentary RBG; Will Merrick, editor and graphic artist for the technological thriller Searching (2018 Sundance Film Festival Audience Award: NEXT); and Paul Rogers, editor of The Death of Dick Long from this year\u2019s NEXT category. Reception to follow.<\/p>\n