The Sundance documentary Sugarcane follows the investigation into abuse and missing children at an Indian residential school, which ignites a reckoning on the nearby Sugarcane Reserve. It was directed by Julian Brave NoiseCat and Emily Kassie and focuses on the intergenerational legacy of trauma from the residential school system — including forced family separation, physical and sexual abuse, and the destruction of Native culture and language.

The film’s director of photography was Christopher LaMarca, who took the time to walk us through his process on the film.

How early did you get involved on this film?
I was involved with Sugarcane from day one of production. The film was shot over the course of two years.

How did you work with directors Julian Brave NoiseCat and Emily Kassie?
Emily was also a cinematographer on the film, and we shot side by side throughout production. Direction on a verité film is very tough because things are happening in real time. It’s important that the directors’ and the DP’s instincts are aligned visually, tonally and energetically. You need to be able to communicate in high-pressure situations without words. Without this depth of connection, this immersive style of filmmaking falls apart quickly.

Are there some bits that stick out as more challenging than others?
The most difficult thing about shooting verité is maintaining the visual voice of the film while simultaneously running sound and having the stamina to stay present when the world around you is in constant flux. The locations, lighting and characters’ movements are always unpredictable.

Director/cinematographer Emily Kassie and I worked closely with our colorist Marcy Robinson to dial in the look we had established in-camera during production.

What was it like working with Marcy?
Marcy is amazing. We had established a look during production that she was able to accentuate and strengthen throughout the grade. A lot of our time together was spent finding the depths of our blacks and pushing the digital image toward the feel of film.

Can you talk lighting?
When shooting a verité film, one must embrace the available light of each scene, whether it’s the sun or an overhead fluorescent light. We were often shooting way before sunrise and after sunset, capturing every ounce of blue- and golden-hour light each day. We used artificial light very sparingly and only to accentuate the available light when needed.

What did you shoot on and why?
Our A camera was a Canon C500 Mark II. (B camera was a Canon C300 Mark II). We selected the C500 Mark II for its full-frame sensor, low-light performance, modularity and ability to run four channels of audio. We chose not to have a dedicated sound person, so we ran audio in-camera throughout production, which wouldn’t have been possible without this camera. The majority of the film was shot on 35mm f1.4 and 50mm f1.2 Canon L-series prime lenses.

Looking back on the film, would you have done anything different?
Films like this are a rite of passage. We never sacrificed our vision or broke down as a team, even in the most unrelenting moments. I wouldn’t change anything.

Finally, any tips for young cinematographers?
Find your voice by pushing through your perceived comfort boundaries. It is only through your own self exploration and discipline that you will find the skills to embrace the resistance that’s coming your way.