27 Oscar-Nominated Films That Used DaVinci Resolve for Editing, Grading, and VFX

While the world of film, television, and other forms of video and content has evolved quite a bit over the past hundred years or so, it’s hard to point to a singular event and goal more notable than the Academy Awards.

You know, the Oscars. That magical television show where Hollywood honors its best films and greatest players.

To be included in the Oscars in any way is beyond an honor and perhaps one of the most universal signs of success in this industry. And while we were excited to watch this year’s show just as everyone else did, we’re also just as excited to learn more about how these films and projects came together—and more specifically—what gear and technology were used by the filmmakers and creative teams to reach these pinnacles of success.

That’s why it’s cool to see this list, put together by the Blackmagic Design team, highlighting the 27 nominated films from this year’s Academy Awards that used DaVinci Resolve tools for editing, color grading, visual effects, and/or audio post-production.

Check out the full list below.

Oscar-Nominated Films That Used DaVinci Resolve Studio

Some of this year’s cinematic highlights include big hits like KPop Demon Hunters and One Battle After Another , both of which are included on this esteemed list. However, as an aspiration for the rest of us more likely to find success with short films and documentaries, it’s nice to see so many of these projects celebrated for their success and inspirational achievability.

Here’s the full list of Oscar-nominated films that used DaVinci Resolve Studio:

• “All the Empty Rooms” graded by Kath Raisch of Company 3
• “Armed Only With a Camera: The Life and Death of Brent Renaud” graded and DI conform by Keith Jenson of Brainwomb
• “Avatar Fire and Ash” graded by Tashi Trieu
• “Ballad of a Small Player” graded by Andrew Daniel at The Look
• “Bugonia” graded at Company 3 by Greg Fisher
• “Children No More: Were and Are Gone” graded by Erez Laufer
• “Come See Me in the Good Light” graded and used for conform by Stephen Derluguian
• “Cutting Through Rocks” graded by Pamela Valenzuela of Filmo Estudios
• “F1” graded at Company 3 by Supervising Colorist Stefan Sonnenfeld with Parker Jarvie
• “Frankenstein” graded at Company 3 by Supervising Colorist Stefan Sonnenfeld with Dave Muscat
• “If I Had Legs I’d Kick You” graded by Nat Jencks of PostWorks New York;
• It Was Just an Accident” graded by Christophe Bousquet at M141, with online editorial by Niels Barroin, Pierre Beautrait, Thomas Debauve and Congnan Fan
• “Jane Austen’s Period Drama” graded by Senior Colorist Andrew Francis, with online editorial also by GABHA Studios
• "Jurassic World Rebirth" graded by Colorist Paul Ensby at Goldcrest Post, with online editorial by Ellie Clissett, Guilhem Coulibaly, Harry Field, Colin Foulkes and Isabelle Soole
• “KPop Demon Hunters” graded by Natasha Leonnet of Picture Shop
• “Little Amélie or the Character of Rain" graded by Grégoire Lesturgie in collaboration with TransPerfect Media
• “The Lost Bus” graded by Supervising Colorist Stephen Nakamura with Colorist James Slattery of Company 3
• “One Battle After Another” graded by Gregg Garvin at Roundabout Entertainment
• “The Perfect Neighbor” graded by Allie Ames of PostWorks New York
• “The Secret Agent” graded by freelance colorist Dirk Meier BVK CSI at Rotor Film, with online editorial by Omri Peled and Max Göbel
• “Sentimental Value” graded by Senior Colorist Julien Alary of TMLS
• “Sirāt” graded by Rafa Marmodoro
• “Train Dreams” graded by Sergio Pasqualino Jr. of Bleach Color Grading
• “Two People Exchanging Saliva” written and directed by Natalie Musteata and Alexandre Singh, graded by Nat Jencks of PostWorks New York, with VFX and online by Alexandre Singh, editing by Hanna Park and on set LUTs created by DP Alexandra de Saint Blanquat
• “The Ugly Stepsister” graded by Axel Rundquist
• "The Voice of Hind Rajab" graded by Lead Colorist Philipp Orgassa of BASIS BERLIN Postproduktion, with online editorial by Anna-Sophie Voll and Benjamin Meyer
• “Weapons” graded by Alex Bickel of Color Collective