The Genius Color Filtration and Lighting Hacks of Sundance Breakout ‘The 40-Year-Old Version’

Shooting on 35mm black-and-white stock, cinematographer Eric Branco employed some creative techniques to bring this shimmering comedy to life.

“The play rang a little inauthentic,” says an older white producer to an up-and-coming black playwright. “I asked myself, ‘Did a black person really write this?” (It’s a chamber piece about a black family reckoning with a gentrifying Harlem.) To “grab the core audience,” the producer suggests she write white people—the gentrifiers—into the play. He casually adds that he’s still looking for someone to pen his Harriet Tubman musical.

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What’s Hot, Exciting, and New on the First Day of Sundance 2020

Sundance 2020 first impressions from the NFS team.

Founder Ryan Koo joins George Edelman, Charles Haine, and Oakley Anderson-Moore to discuss their first impressions on the ground at Sundance. From the New Frontiers Program to opening night films, to parties… we cover it all.

This Podcast is sponsored by SmallHD. Founded by a group of independent filmmakers, SmallHD has been innovating the on-camera and production monitor industry for an entire decade. It started by creating the first ever HD monitor that could sit on top of a DSLR. Today, it’s products like the 703 Bolt, that has an integrated wireless receiver and a daylight viewable screen. SmallHD is in the business of providing real-time confidence for creatives. With an extremely wide-range of field monitors, SmallHD prides itself on durability and useability. Whether it’s paired with a mirrorless camera during a wedding, or used for a video village in Hollywood, SmallHD has a monitor for every production. Powerful software tools, a unified user experience, and premium display quality help make SmallHD monitors the industry standard.

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Cinematographer Sean Price Williams on Illuminating the Award-Winning Sundance Film ‘Tesla’

A limited budget but giant ambition.

Cinematographer Sean Price Williams found himself in a bind just prior to production. In prep, he and director Michael Almereyda were going to lean on film to detail the visual language behind Tesla, a period piece that explores the revolutionary innovations of Nikola Telsa (Ethan Hawke) and his distaste of Thomas Edison (Kyle MacLachlan).

At the rental house he found out film was no longer an option. “We were going to shoot Super 16mm on a reversal film stock [EKTACHROME] that Kodak reintroduced which has a very low sensitivity, but at the last minute, we had to change,” says Williams. “We wanted to shoot on film so we could light faces and let things fall off into total black. I wanted to embrace the contrast of that look.”

While the unexpected change was not ideal, the cinematographer used the moment to surprise himself and chose a camera he never used before, the Sony VENICE. The switch to digital wasn’t a total loss of prep.

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20 Film Terms You Need to Know to Survive On-Set

20 On Set Film Terms You Need to Know A film set is a wacky place full of nicknames, strange film terms, and abbreviations. There have been so many days when someone has asked me to do something and I’ve enthusiastically responded “Copy that”, before realizing I don’t fully know what they even asked. Before…

The post 20 Film Terms You Need to Know to Survive On-Set appeared first on Indie Film Hustle®.

“We Took a Minimalist, Naturalistic Approach”: DP Charlie Sarroff on Relic

The devastation of dementia is translated into a haunted house horror film in Natalie Erika James’ Relic. It follows Edna (Robyn Nevin) after she mysteriously disappears from her home, causing her daughter and granddaughter great worry. She eventually returns without an idea of where she was, and it appears that something sinister follower her back. DP Charlie Sarroff talks about the inspirations for the visual style of Relic and the equipment that made it happen. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being […]

“It Was Important to Draw Out Tension and Let the Awkwardness Breathe”: Editor Sean Lahiff on Relic

Natalia Erika Jame adapts the real-world terror of degenerative disease into a supernatural horror film in Relic. Edna, an aging woman, is feared for by her daughter and granddaughter after she abruptly disappears, leaving in her wake the signs of someone struggling with dementia. One day, she inexplicably returns, and a dangerous entity may have come back with her. Editor Sean Lahiff talks about why he so enjoys editing the “darker side of genre films.”  Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being […]

“Feels as if Time Is Unspooling in Front of Our Eyes”: Editor Gabriel Rhodes on Time

Fox and Rob Rich are married, but they’ve been apart for 21 years—Rob is currently serving a 60-year sentence for a crime that they both committed. Fox has been diligently fighting for the release of her husband, while also filming home footage to share with Rob so he can watch his six children grow and observe the home life he cannot be a part of. Garrett Bradley’s documentary feature debut Time explores the violent oppression of African American people entrenched in America’s prison system and editor Gabriel Rhodes elaborates on the process of weaving archival, home and interview footage together […]

“A Dream Refusing Deferment”: Garrett Bradley | Time

Whether capturing or creating a world, the objects onscreen tell as much of a story as the people within it. Whether sourced or accidental, insert shot or background detail, what prop or piece of set decoration do you find particularly integral to your film? What story does it tell? The telephone is a key object throughout the film. It’s the middle man. The conduit between problems and solutions, hope and disappointment. A dream refusing deferment.  Sundance Responses 2020