Co-hosts Jon Fusco, Emily Buder, and yours truly, Liz Nord discuss the Netflix acquisition of Oscar-worthy Mudbound, the highly charged SAG Awards, what effect the new American administration is already having on filmmakers, and which cameras and lenses were most popular among Sundance cinematographers this year. In Ask No Film School, DP Shane King clues us in on cropping 4K footage. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, and other notable things you might have missed while you were busy making films.
Listen to the episode by streaming or downloading from the embedded player above, or find on iTuneshere.
Show Links & Mentions
No Film School articles
- Follow our growing list of Sundance 2017 coverage here.
- Here Are the Official Winners of the Sundance Film Festival Awards
- Sundance's Biggest Deal: Netflix Vies for an Oscar Winner with 'Mudbound'
- Riding a Big Wave of Bull$#!% with Award-Winning Sundance Doc 'NUTS!'
Filmmaking Tools
- Infographic: Cameras and Lenses Used on Sundance 2017 Films
- FujiFilm Officially Launches the G-Series of Medium Format Cameras
- RØDE Announces New VideoMic Pro+, VideoMic Soundfield for 3D On-Camera Audio
Upcoming Deadlines: Grants & Opportunities
- Bureau of Creative Works Short Film Grant - February 6
- Sundance Feature Film Creative Producing Fellowship and Lab - February 7
- West Danish Film Fund (DVF) - February 8
- Kamera Kollectiv DP & Equipment Access for political films: email we@kamerakollektiv.com
Upcoming Deadlines: Festivals
- AFI DOCS Film Festival - Friday, February 3
- San Francisco Documentary Film Festival - Earlybird deadline Friday, February 3
- Sheffield Doc Fest - Tuesday, February 7
- Macon Film Festival - Thursday February 9
Film Releases
HBO
- Solitary: Inside Red Onion State Prison - February 6
- NUTS!- February 1
Netflix
- American Crime Story: The People v. O.J. Simpson - February 2
Theatrical
- I Am Not Your Negro - February 3
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This episode of Indie Film Weekly was produced and edited by Jon Fusco.
