פסטיבל הסרטים SUNDANCE 2015, באילו מצלמות צולמו הסרטים ? 
 

בפסטיבל סאנדנס השנה, הוקרנו סרטים שצולמו במגוון של מצלמות. מפילם 16 מ"מ, מצלמות Blackmagic, ואפילו סרט שצולם ב iPhone 5S  יוצרי הקולנוע כבר הבינו מזמן כי המצלמה היא רק כלי בארגז הכלים שלנו, ולכל פרויקט המצלמה המתאימה לו. כמו כן, זו השנה הראשונה בהיסטוריה של פסטיבל סאנדנס, שלא הוקרנו סרטים בפילם 35 מ"מ. כל הסרטים הוקרנו בהקרנה דיגטלית. הנה לפניכם מבחר מהסרטים שהיו השנה בסאנדנס, ופירוט באיזה מצלמה הסרט צולם? ולמה בחרו במצלמה הזו?

Blackmagic 4K Production Camera

Director Daniel Junge on the shooting of his Sundance doc about the life and times of Evel Knievel We had to shoot all over the country and take four cameras. We had a four camera set up and we also needed decent color space and good resolution, so we chose Black Magic cameras because for the price,we couldn't beat that, for the quality that we got from that camera. We were shooting direct to ProRes, so it helped our workflow in premiere and after effects and then ultimately throughout the post process...We're shooting all 60 interviews from four angles. There is a little bit of a Rashomon thing going on -- different perspectives on history -- so we wanted that staccato cutting as well, which you see in the film

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The Royal Road
 

Film 16mm

Jenni Olson had this to say on the reason to shoot her Sundance New Frontiers feature on regular 16mm I just love 16mm for so many reasons, but it is also very intertwined with this whole topic of nostalgia in multi-layered ways. Not only is it 16mm, it's a regular 16mm. People shoot on super 16mm, which mimics 35mm. I shoot regular 16mm, so you have this 4:3 aspect ratio, which in-and-of-itself creates for the viewer some kind of nostalgia. What I'm seeing is from the past or has these associations. I read an interview with Wes Anderson about The Grand Budapest Hotel where he talked about that. At one point in the film he uses a 4:3 aspect ratio for that very reason, to evoke something

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The Overnight
 

Canon EOS C500

Director Patrick Brice on the shooting of his Jason Schwartman-Adam Scott uncomfortable romantic comedy film in U.S. Dramatic Competition I knew I wanted to shoot the film hand-held. Me and my DP, John Guleserian, who shot like crazy, and about time, is a master of things coming in and out of focus. We also really wanted to use practical lighting or as little lighting as possible. I mean, with the technology nowadays, it's real easy to get a beautiful image like that. Well I don't know if it's easy, but there's an opportunity to get a beautiful image using the bare essentials tools for us. We shot on Canon C500's. We had two cameras, which was exciting. I mean, it's the first thing I've ever made incorporating two cameras. I was just like a kid in a candy store. We wanted each shot to have intention behind it. Even though they're with this B camera, we wanted this B camera to essentially feel like another A camera

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Advantageous
 

RED Epic

Director Jennifer Phang of this indie Sci-fi flick in U.S. Dramatic Competition said this We shot on the RED Epic. We also had pickups with Blackmagic and the Alexa. I think we had some pickups from the Scarlet as well. I think we're pretty happy with the dynamic range in the raw, in the log files we got. I was really happy to use the RED. We used a lot of 5K for a lot of the interiors and it allowed us to do some re-framing which was important for us. I had to be resourceful and so being able to speed along the process allowed for re-framing sometimes was important. It's an indie film. It gave me more time with the actors and since this is an actor-performance driven film, that's what I prioritized

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