Is the process of image construction becoming more democratic? In the digital age, a moving image goes through a long line of intermediate steps from acquisition to projection. Suddenly, the old adage of "we'll fix it in post" is starting to make some sense. But what does this do to the traditional role of the DP? How do nonlinear editing, image manipulation, color correction, visual effects, digital masters, and blow-up transfers change the life cycle of the picture? If images are endlessly flexible, then when does it ever end?
As you use our Online Archives, please understand that the information presented from Festivals, Labs, and other activities is taken directly from official publications from each year. While this information is limited and doesn't necessarily represent the full list of participants (e.g. actors and crew), it is the list given to us by the main film/play/project contact at the time, based on the space restrictions of our publications. Each entry in the Online Archives is meant as a historical record of a particular film, play, or project at the time of its involvement with Sundance Institute. For this reason, we can only amend an entry if a name is misspelled, or if the entry does not correctly reflect the original publication.
If you have questions or comments, please email [email protected]