BEA2026

This panel explores the art and science of Premiere Pro color correction, focusing on the transformative role of power window techniques in modern post-production. Color correction shapes a film's mood, narrative, and visual coherence, while power windows allow precise control over specific frame areas, enabling targeted adjustments to exposure, contrast, and hue.
Moderator: Timothy D. Sorel, University of Florida

Academic filmmaking presents a unique set of opportunities and challenges, requiring creativity, collaboration, and resourcefulness. This panel explores practical strategies for success in academic filmmaking, including identifying and securing funding, cultivating productive and mutually beneficial collaborations with students, leveraging institutional resources and expertise, and building partnerships with campus and community organizations.

Moderator: Brian Graves, Florida State University
Panelists: Jaime L Jacobsen, Colorado State University
Marty Lang, Mississippi State University
Greg Luft, Colorado State University

Please join us as we recognize all of the Faculty Festival winners from Film & Video, IMET and Sports competitions.  

After the awards are handed out, we will hear from our Best of Competition winners.
Confirmed Presenters

Interactive Multimedia
Emerging Media & Technology Category
Capturing New Perspective in Modern Media: Using Drone Videography to Showcase the Sam Houston State University Community; Antonio Bocanegra II, Sam Houston State University

Interactive Reality Category
Eyes of Freedom Immersive; Pat Clark, University of Colorado Boulder

Sports Competition
Long Form Sports Video Category
Authentic ACC: Syracuse Spring Football; Jordan Kligerman, Austin Beehner, Mike Lang & Richard Wiesmann, Syracuse University

Audio Competition
Long-Form Production Category
The Traveling Radio Show Goes to the CSU!; Jeff Jacoby, San Francisco State

Scriptwriting Competition
Narrative Feature Category
Hole-in-the-Wall; Matthew Evans, University of Georgia

From the early explorers and ethnographic filmmakers such as Robert Flaherty in Nanook of the North, through projects like the BBC’s Searching for the Wrong-Eyed Jesus, and into the present day, documentary has carried a long and often ignoble history of colonial representation. These works, while influential in the canon, too often reproduce a white or outsider gaze, casting communities as objects of study rather than as active participants in the telling of their own stories.

This panel takes as its starting point the urgent need to interrogate and reimagine documentary practices. We ask: How can we be more intentional in decentering the white gaze in our work? What strategies exist to resist exoticizing or “othering” participants, while still engaging in meaningful storytelling? And what does a community-based production process truly look like—one in which participants are not only subjects, but collaborators and co-authors of their narratives?
Moderator: Dominique Taylor, Northwestern State University of Louisiana
Panelists: Yonatan Tewelde, Penn State Harrisburg
Tula Goenka, Syracuse University
Dominique Taylor, Northwestern State University of Louisiana
Colin Lasu, Central State

Team Deakins is the creative partnership of Roger Deakins and James Ellis Deakins. Together, they have collaborated on films, a podcast (Team Deakins), and two books, as well as other sundry projects. For over 30 years, this partnership has continued to evolve into a unique working collaboration. The session will be moderated by 7x Emmy-nominated cinematographer, Adam Bricker.

Roger A Deakins
Roger A. Deakins CBE, ASC, BSC, is one of today’s most honored cinematographers, renowned for his vast and varied body of work. He has been nominated for an Oscar 16 times and has won the award twice for the films Blade Runner 2049 and 1917. He has also received 17 nominations for the top honor awarded by the American Society of Cinematographers and has been nominated 11 times for the BAFTA award, winning five of them. Some of his other Oscar nominations are for: Denis Villeneuve’s Prisoners and Sicaro; The Coen Brothers’ Fargo; Martin Scorsese’s Kundun; The Reader; Sam Mendes’ Skyfall; and Angelina Jolie’s Unbroken, just to name a few. He has also been recognized by his British peers, with 11 British Society of Cinematographers (BSC) nominations and 7 wins. His myriad professional honors also two Independent Spirit Awards, numerous Critic’s awards and the National Board of Review’s Career Achievement Award. He is the sole cinematographer who has been honored with a CBE and a knighthood from his home country of England. Together with James, they have published two books: BYWAYS (a monograph of stills) and REFLECTIONS, a visual memoir.

James Ellis Deakins
James Ellis Deakins is the creative work partner of Roger Deakins. Born on the east coast of the United States, she double majored in college in Latin and Greek, doing a graduate course in Latin as an undergraduate. Once out of school, she began her film work in New York City as a film lab technician at DuArt Film Laboratories and then as a script supervisor in production. After moving to Los Angeles, she met Roger Deakins on a film set and their creative collaboration began. Eventually relinquishing the role of script supervisor to more fully enter into their collaborative partnership, she and Roger developed their unique working style which has continued to evolve as they enter into new enterprises including a podcast (“Team Deakins”), a website, BYWAYS (a book of still photography) and a visual memoir, REFLECTIONS. James’ natural affinity with technology proved essential when productions moved from the use of film capture to digital. Team Deakins create their approach to a film and execute the plan together. James oversees the many details that need to be coordinated which allows Roger to focus on capturing the visual. Working together, James and Roger have strived to create memorable images as well as share their knowledge with others.

Adam Bricker
Adam Bricker, ASC is a seven-time Emmy and five-time ASC nominated cinematographer based in Los Angeles. Originally from Chicago, Adam’s first camera was a MiniDV Handycam, a gift from his parents for his thirteenth birthday, and his first credits included the films he shot starring his three younger sisters. Adam studied digital cinema at DePaul University before graduating from the USC School of Cinematic Arts, where he fell in love with cinematography. Adam’s most recent work includes Hacks (HBO), Chef's Table (Netflix) & American Vandal (Netflix).