Digital Cinema Society
Newsletter

July 12, 2010
Volume 6, Number 4

The Digital Cinema Society continues to grow on an international level, with membership now nearing 5,000, and the formation of new chapters, such as our latest in South Africa. Our Digital Cinema Lens event at Cine Gear was an unqualified success with standing room only on the stage at Paramount Studios, and it is now available for streaming from the DCS website. James Mathers will be heading to Eastern Europe for a shoot, which inspired his essay this month on the subject of “Traveling With Gear.” ARRI’s Alexa has just hit the street, and we have events coming up in L.A. on the 22nd and Northern California, (date TBD), so that members can check it out up close and personal. 3D has also arrived in a big way with three of the top five movies opening this weekend, the World Cup Final, and Baseball all coming at us in 3D. The next installment of the “Pirates of the Caribbean” franchise has started production in 3D and Martin Scorsese is also busy shooting a 3D feature, “Hugo Cabret.” Our 3D training is still in the works, but has proven to be more difficult to organize than we had imagined, and will probably need to wait until later in the summer or early fall. Meanwhile there are plenty of other groups holding events all over the world which are listed in this eNewsletter. The mission continues and we thank all our members, volunteers, and supporters for helping DCS develop into an organization which we can all benefit from and be very proud to be associated with.

In this June 5, 2010 event from Cine Gear Expo at Paramount Studios, Cinematographers James Mathers and Geoff Boyle, Founder of CML lead an exploratory discussion on the topic of PL Cine Lenses. They try to find out what Cinematographers really need to know regarding optics, performance, price, and suitability for various applications. Representatives from top lens manufacturers include: * Jean-Marc Bouchut from Angenieux discussing their Optimo and Rouge Zooms, * Marc Shipman-Mueller from ARRI on their new Alura zooms, and Zeiss Master Primes, * Jeff Cree from Band Pro showing Leica Primes and the Ruby zoom, * Helmut Lenhof of The Carl Zeiss Company with Compact Primes and their new zoom, * Les Zellen from Cooke Optics on S4, Zooms, the new Panchos, and iTechnology, * Chuck Lee from Fujinon with their new Premier series zooms, and * Bill Turner from Schneider Optics with the introduction of their New Primes. XLH1 camera courtesy of Canon, and special thanks to volunteer Cinematographer, Chris Coyne for recording the event for streaming which can be accessed from the “New Streaming” link on our homepage.

On Thursday, July 22nd, 7PM at Alternative Rentals, Michael Bravin will be unveiling the capabilities of ARRI’s latest Digital Cinema Camera, Alexa. The seminar will be held at the Alternative Rentals new expansion facility, which includes a new prep floor, engineering room, and lens projection room. Alexa footage will also be screened on their Sony SXRD projector.

Seating is limited and RSVPs are required. Current DCS members can save a place by e-mailing Alternative Rentals with your contact details and “DCS Alexa” in the subject line to: rsvp@alternativerentals.com Location details and directions can be found at:

http://www.alternativerentals.com/html/main.html?page=directions.html

(Parking is available in the Alternative Rentals lot or on La Cienega Place).

On the Road Again -- Getting There With Gear

By James Mathers

Hollywood has long been considered “The Entertainment Capitol of the World,” but with international economics and financial incentives to Producers, much of the production that was once done in my hometown of Los Angeles has moved to off shore locations, and more recently to other US states. If I want to keep working, I have to be willing to frequently be on the road. However, traveling with gear is nothing new for me; in fact the name of my business, Migrant FilmWorkers was chosen to suggest this specialty. We came up with that moniker while working on a documentary in the 1970’s covering a group of Farmworkers as they migrated up and down the coast of California picking fruit. I have dragged production gear all over the world on features, documentaries, and TV series assignments, usually lasting anywhere from a few days to a few months, and at one time had the pleasure of shooting in Ireland for the better part of a year. However, with the security concerns raised after the 9/11 attacks, and the airlines now trying to squeeze every penny by charging for checked baggage, traveling with gear is not nearly as much fun as it used to be.

I’ll be leaving soon on assignment to Eastern Europe with two REDs and a small lighting package, and it got me thinking about all the challenges ahead and the best ways to deal with them. How can we make traveling with gear as physically and economically painless as possible with the least amount of stress? My goal in this essay is to explore the best ways to handle baggage, shipping, customs, varying world power standards, and getting through security as easily as possible.

* Carry It On: Because local labor is generally less expensive or rebated as part of an incentive package, and also to avoid the expense of lodging and per diem, Producers are naturally trying to save money by hiring as much crew locally as possible. Even top DPs have shared their frustration with me at not being able to bring any but their most key collaborators with them to distant locations. In most cases, I don’t have much help while in transit, so I have to be smart in how I pack to keep it manageable. I’ve had gear go missing for up to a week as lost baggage, and I’ve also had the experience of sitting on a plane watching as my bags were recklessly tossed around below by grumpy baggage handlers. It’s nice to carry the most expensive and delicate gear on the plane with you as you travel by air, and to know that when you arrive you’ll have the bare essentials to start shooting. However, with the Airlines being so strapped financially, they are trying to squeeze ancillary income from anywhere they can. Not only do you now have to buy snacks and meals that were once included in the price of a ticket, there is also now a charge to check baggage, and severe extra charges if the baggage is “over weight.” To avoid these charges, other passengers are increasingly trying to cram all their luggage into the overhead storage bins on planes, which has severely eaten into the space we would have had for our production gear. Not everyone’s baggage can be accommodated, and inevitably some bags will have to be collected by the flight attendants and “gate checked.” My solution is to carefully pack a hard case that is specifically designed to be the maximum allowable in most airline overhead bins. I’ll get a camera body, battery, lens, and a minimal amount of media to fit snug with a little padding, (ideally this will be a few pieces of essential clothing in case my checked bags are delayed.) This way, if I do have the unfortunate need to gate check, the gear will be somewhat protected. Getting through the airport and onto the aircraft can also be a challenge, so I’m careful to also pick a case with wheels and telescoping pull handle, such as the Pelican Storm i2500.

For smaller cameras, Petrol makes the Cambio which is perfect for carry on, holds a complete small format camera package, (including a fluid head,) and has the added ability to turn into a shooting platform once you get to the location. The pull handle column extends to accept a 75mm leveling ball head, the wheel axles pull out to become outriggers, and a rear leg snaps out of the back to complete the tripod. I know it must be hard to picture, but if you want to get a better idea of what I’m talking about, check out our NAB streaming coverage for Petrol. In fact, they loaned us a prototype for our shooting this year to get some feedback, and it was perfectly suited to our needs. We captured 55 separate presentations spread all over the massive NAB show floor, and I don’t think we could have done it without the Cambio. We rolled up to an Exhibitors booth with everything we needed for camera and sound in one small trolly, and in another a battery powered 1‘x1’ Lightpanel Bi-color LED. We were ready to start shooting in less than a minute, and the only problem was all the people coming up and asking us where we got this stuff, since the Cambio was just premiering at that show. We were probably maxing it out with our Canon XLH1, but the Cambio is ideal for anything up to that weight, and probably perfect for the DSLR. The Petrol interview also includes a testimonial from our own Simon Sommerfeld, the Cinematographer for this year’s coverage: http://www.digitalcinemasociety.com/media/Petrol_NAB2010.mov

*Checking Your Gear as Baggage: It used to be that the Skycaps’ eyes would light up when they saw tripod cases, which they immediately associated with lucrative tips for handling motion picture gear. A couple of dollars cash per checked bag at the curb would usually insure that there were no charges for overweight or extra bags. Tighter security now precludes such activities and we are left to try to negotiate with clerks at the ticket counter. Gone too, are the special rates most airlines used to extend for “media.” Now a tripod costs as much as a set of golf clubs, and anything over 50lbs is considered overweight. This is especially tough considering that some of the heavy duty metal rimmed cases approach this before you even start to pack; and anything over 100lbs is absolutely not accepted as checked baggage. So the trick here is to go with lighter weight cases and gear. I’m a big fan of Litepanels LEDs, especially if you’re on the road; they are lightweight, have great output, are dimmable, and the color temperature can even be adjusted with the turn of a dial on the Bi-Color; plus they can run off of just about any AC power you feed them. This means that I only have to add a plug adaptor instead of carrying bulky transformers, or having to change out the globes as I go between different voltage standards, and I don’t have to worry about flicker. I can easily run off camera batteries like the Anton Bauer Hytron 140, which will run a 1’x1’ Litepanel for about an hour; and the weight of the battery hanging on the legs of the stand serves to replace a sandbag. With the 1’x1‘ heads weighing in at only 3lbs each, I can fit a formidable documentary lighting package with stands and accessories in their nicely padded Four-Lite rolling Carrying Case, and still come in under 50lbs. to avoid any extra baggage charges.

*Shipping Your Gear Ahead: As long as you have a little extra time available for the gear to travel as cargo, it can take a lot of the stress out of hauling everything on the plane with you, and with the ever-increasing airline baggage fees, the cost is getting more comparable. For smaller packages, you might consider a service like FedEx, but for a large amount of gear, you probably want to go to a Shipper/Customs Broker, who will handle it in coordination with a Carnet, (more on that to follow.)

* Traveling With Batteries: As of January 1, 2009, lithium ion batteries over 100Wh have been classified as Class 9 Dangerous Goods. This is not good news for RED owners such as myself, since the RED BRICK batteries are 140Wh. Much care must be taken in order to comply with the applicable US and international rules pertaining to documentation, shipping, and handling procedures. Even the RED Digital Cinema company adds a RED BRICK shipping and handling surcharge on orders including RED BRICKS. For air travel, you cannot check-in any spare “L-Ion” batteries as baggage regardless of the battery watt hour (Wh) rating. (The exception is only if the battery is less than 160Wh and is physically installed or attached to a camera or equipment.) Less than 100Wh is not a problem to check or carry-on provided you take precautions by covering any exposed terminals with tape or put them in an insulated plastic bag. However, with Lithium Ion Batteries between 100Wh and less than 160Wh, (RED and smaller Anton Bauer Dionics,) you are limited to carrying on-board a maximum of two spare batteries, taking safety precautions as noted above, along with one extra battery if it is physically installed or attached to a camera or other equipment. Carry-on of any spare battery over 160Wh is not allowed under any circumstances, and you cannot carry-on or check this size battery, even if it is attached or installed in a camera. To transport a Lithium Ion battery over 160Wh, you have to ship it as separate cargo and classify it as Class 9 – Miscellaneous Dangerous Goods.

Although they may be a little heavier, many popular batteries, such as Anton Bauer Hytrons are not of this chemistry and there are no special travel restrictions. While I’ve long been an Anton Bauer user, I haven’t previously felt comfortable using them with my RED camera because the batteries were not able to communicate their status to the camera. As opposed to the RED BRICKS which give a constant indicator of remaining charge, and do a safe shut down should the battery reach a critically low level, other brands could shut down unexpectedly and cause a loss of data on the drives. However, I understand that RED will now be cooperating with Anton Bauer to allow for such status info sharing. I also like the fact that I can use one battery on a variety of HD and Digital Cinema Cameras including the new ARRI Alexa. And whereas other batteries have been known to fly off the camera with a small jolt, I’ve never had that problem with the robust lock on the Anton Bauer Gold Mount. As previously mentioned, they also work great to power the Litepanels, so that will be my chosen power solution on my upcoming trip.

* Customs and Carnets: Aside from keeping dangerous and illegal goods, such as illicit drugs from crossing the border, Customs is all about collecting import/export taxes, and Carnets can be thought of as a “Merchandise Passport.” These are documents that simplify customs procedures for the temporary importation of commercial samples and professional equipment.  They facilitate international business by avoiding extensive customs procedures and eliminating payment of duties and value-added taxes (minimum 20% in Europe, 27% in China.) Carnets allow a temporary exporter to use a single document for all customs transactions, make arrangements in advance at a predetermined cost, and register the goods with the home country’s Customs service for ease of re-entry. Carnets can be procured through registered Customs/Shipping agents by providing them a detailed list with ownership documentation, such as purchase receipts, and the physical equipment in advance for inspection as necessary by the home country Customs service. There is a fee, which includes a bond to insure that any duties will be paid should the merchandise be sold abroad, but given the alternative of having your gear hung up indefinitely in customs, or having to pay huge duties, it can be a good value. Every time you cross an international border, you need to have the Carnet stamped in and out by Customs, but for the countries that subscribe to this system, (most of the industrialized world,) it is just routine. The Carnet is good for a year, after which it needs to be surrendered with the necessary stamps so the bond can be released.

For those third world countries that don’t use Carnets, it is still a good idea to prepare a detailed inventory of the gear you are traveling with, and have it signed off by a Customs official in the country of origin before departure. This will at least assure that you’ll be able to bring it back home without paying duty; but going to countries that don’t honor the Carnet can be a no-man’s land with tricky border negotiations and corrupt border agents often looking to extort cash for themselves.

* The “Fixer”: When traveling to such countries, it is especially advisable to have a “Fixer;” a local who speaks the language, knows native customs, systems, and is familiar with your type of needs. They can help keep you safe and steer you through local negotiations as smoothly as possible. News organizations have their trusted favorite Fixers all over the world, and I found them a good source of referrals. Local film commissions and tourism offices can also be very helpful.

* Cosmic Rays and CCD Cameras: There is one problem traveling by air with digital cameras that I want to make you aware of, but for which I really don’t have a good practical solution. It seems that exposing the camera’s CCD sensors to gamma radiation, “cosmic rays” via air travel can cause permanent damage in the form of “lit” or “blown” pixels. Cosmic rays are all around us, but you’ll find more at higher altitudes, and that is ultimately why your camera is more susceptible to such an effect while traveling by airplane. Because photodiodes in CCD imagers use voltage to convey information, they can be susceptible to such high-energy particles. When a cosmic ray punches your photodiode, the energy stream is so great that the diode gets stuck, creating a permanently lit pixel.

However, there is absolutely nothing one can do to prevent cosmic ray damage. Wrapping the camera in lead or any other substance will not provide protection, as the particles will simply pass right through. The best protection is to ship your equipment on the ground, rather than in the air, but of course this is not usually practical for overseas travel. If you need something to worry about, more information can be found in an article written by Juliet Verni of Abel Cine Tech, which she has allowed us to reprint on our DCS Tech Tips page. Many cameras have special circuitry to mask lit pixels, usually when black balancing, and since I can’t really do anything about it, I will choose to concern myself with other matters. I’ll be busy enough trying to get myself and my camera package safely there and back again; it isn’t as easy as it used to be. And, I sure wish RED would have chosen another name for their new EVF other than...BOMB.

All comments are welcome:

Mathers@DigitalCinemaSociety.org

Congratulations to Michael Goi, ASC for being re-elected to serve a second term as President of the American Society of Cinematographers (ASC) and to Richard Crudo, ASC for his election as Vice President and Ron Garcia, ASC for being elected Sergeant at Arms.

Congratulations to the following members for receiving Emmy Nominations: Director of Photography Chris Manley, ASC for Mad Men, Director of Photography Ousama Rawi, B.S.C., C.S.C., for The Tudors, Director of Photography Vanja Cernjul, for Nurse Jackie, Director of Photography Christian Sebaldt, ASC for CSI: Crime Scene Investigation, Director of Photography Gary Baum, for Gary Unmarried, Director of Photography Ben Smithard for Return To Cranford, and Camera Operator Bert Atkinson, for his work on Dancing With The Stars.

Director of Photography, Matthew Siegel has recently returned to his home base of Los Angeles from an extended stay working in China.  Matthew has many years of experience in commercials, television and feature films and is a noted workshop instructor for companies such as Aaton, ARRI, and Panasonic as well as serving on the faculty at The International Film Workshop in Rockport Maine.

Tashi Trieu was born and raised in Denver, Colorado. Over the past 10 years, he has gained a wealth of experience in film and video post-production. In 2006, Tashi moved to Los Angeles to attend Chapman University’s Dodge College of Film and Media Arts, and he received a BFA in Film Production in 2010, with an emphasis in cinematography and digital post-production. He received one of Chapman University’s highest honors, The Einstein Award which recognizes the enormous contribution made by students to the film program. Tashi works as a freelance digital intermediate colorist and Smoke/Flame artist. With a background in visual effects, 3D animation, and compositing, Tashi brings a well-rounded approach to new projects, which are consistently pushing the limits of technology.   Recently, Tashi was DIT and colorist on a 3D Coke commercial directed by Rob Cohen. It will play in theaters in Europe this summer and is one of the hottest viral videos on Youtube.

We count on your dues and contributions to continue our mission and maintain our services to members. So, if your membership has expired, or will soon, and provided that you value our services and can afford to offer support, please take a few minutes to renew your membership at the $30 annual level or $100.00 for a Lifetime Membership. You can follow the convenient Paypal links,(using any major credit card, and you don’t need to be signed up for Paypal,) or you can send payment to our offices at P.O. Box 1973 Studio City, CA 91614, USA.

Paypal Annual Renewal Link - $30US: click

here

Paypal Lifetime Renewal Link - $100.00: click

here Checks should be sent to: The Digital Cinema Society, P.O. Box 1973, Studio City, CA 91614, USA. Check payments must be in US dollars. Please note that if you are a student, or otherwise cannot afford the dues, just send a note and we will be happy to extend your membership.

Early adopters who purchase the Sony SRW-9000 from Band Pro between now and September will be eligible to receive the PL mount and 35mm sensor upgrade kit on January 1st, 2011 for only $30,000. (Original cost: $50,000). Contact Band Pro now for more details and demos: www.bandpro.com

HD Camera Guide, the online site for broadcast and professional HD cameras, lenses and accessories is inviting camera professionals to test their trivia knowledge. For a chance to win, visit: www.hdcameraguide.com

July 15, 2010, 10:00 a.m. PDT to 11:30 a.m. PDT

Live Webinar - Free / Live Webinar + Archive + Bonus Material - $25. http://www.newmediawebinars.com/webinars/aperture-3-for-final-cut-pro-users/

July 29, 2010, 10:00 a.m. PDT to 11:30 a.m. PDT

Live Webinar - Free / Live Webinar + Archive + Bonus Material - $25. http://www.newmediawebinars.com/webinars/final-cut-pro-7-bootcamp-for-avid-editors/

August 5, 2010, 10:00 a.m. PDT to 11:30 a.m. PDT

Live Webinar - Free / Live Webinar + Archive + Bonus Material - $25. http://www.newmediawebinars.com/webinars/media-100-editing-workflows/

August 12, 2010, 10:00 a.m. PDT to 11:30 a.m. PDT

Live Webinar - Free / Live Webinar + Archive + Bonus Material - $25. http://www.newmediawebinars.com/webinars/final-cut-pro-keyboard-shortcuts/

August 17, 2010, 10:00 a.m. PDT to 11:30 a.m. PDT

Live Webinar - Free / Live Webinar + Archive + Bonus Material - $25. http://www.newmediawebinars.com/webinars/red-camera-to-nle-workflows/

August 26, 2010, 10:00 a.m. PDT to 11:30 a.m. PDT

Live Webinar - Free / Live Webinar + Archive + Bonus Material - $25. http://www.newmediawebinars.com/webinars/stereo-3d-filmmaking-bootcamp/

Fear not if you didn’t get a chance to make it to NAB and experience Panasonic's latest technologies and products. They are taking their exhibition on the road to cities all across the US from early June through mid-August. You can learn about the: AG-HPX370 a new, affordable P2 HD shoulder-mount camcorder, their new Internet Protocol (IP) and Serial-controlled video production system, the AG-3DA1, the first professional quality, fully-integrated Full HD 3D camcorder, a new, 25.5-inch 3D LCD production monitor and much more.

Dates and Locations include: * Tuesday, July 13 Portland, OR * Wednesday, July 21 San Diego, CA * Thursday, July 29 Atlanta, GA * Wednesday, August 4 New York, NY * Thursday, August 12 Minneapolis, MN.

For more information and To Register: http://www.panasonic.com/business/provideo/cat_camcorders.asp

Saturday, July 17, 2010, 1:00 PM - 6:00 PM, Santa Monica, CA

Led by Snehal Patel, this 5-hour Boot Camp workshop is for industry professionals that want to use the Canon 5D or 7D DSLR cameras for film and television. Early Bird discount ends on July 15th. For more information and registration, visit: http://www.theassociation.tv/canonbootcamp.php

July 22-25, 2010, San Diego, CA

www.comic-con.org

Conference: 25-29, July 2010 / Exhibition: 27-29, July 2010, Los Angeles Convention Center, Los Angeles, CA

The 37th international conference and exhibition on computer graphics and interactive techniques. For more information or to register, visit: http://www.siggraph.org/s2010/

Saturday, July 31, 2010, 1:00 PM - 6:00 PM, Burbank, CA

Snehal Patel, a veteran in DSLR production and post, will talk you through diverse shooting situations during this 5-hour BOOT CAMP. You will be required to film a portion of a short scene that will be created by the class.  This scene will involve handheld shots, dolly moves and car mounts and will become a part of the Boot Camp Reel. Early bird discount ends on July 29th. For more information and registration, visit: http://www.theassociation.tv/canonbootcamp.php

August 6-7, 2010, Universal Studios, Universal City, CA

http://www.ace-filmeditors.org/newace/home.html

August 7, 2010, Kappa Studios, Burbank, CA

This meeting will feature Avid’s Media Composer 5. Avid will demo RED workflow from Media Composer offline to film resolution finish and color correction in Avid DS. To register for this meeting, visit: http://www.kappastudios.com/?page_id=21

August 12-14, 2010, Hollywood, CA

Dedicated to presenting the latest technologies in audiovisual restoration and preservation. The Reel Thing brings together a unique line up of laboratory technicians, format experts, and preservationists. For more information or to register, visit: www.the-reel-thing.org

August 28-29, 2010, Alternative Rentals, Los Angeles, CA

This event is designed to be a small, intense 2 day course with a 5:1 participant to instructor ratio and a maximum of 40 attendees. This master class is for Directors, DP’s, A.C’s, Loaders, Media Managers and Independent filmmakers. It will be a simulated set environment where participants are challenged as an Elite Team on a daily basis. Participants can bring their own DSLR, or a Canon 5D Mark II loaner will be made available for each.  Participants will prep, shoot, test, convert rigs in a breakneck pace, make company moves, change color temp on the fly while changing frame and shutter speeds, understand the power of Neutral Density filters and get to see the successes projected on a 25‘ screen, just to name a few.

DCS Member Discount: DCS members will receive a 40% discount. For more details and to register, visit www.hdslrbootcamp.com and make sure to click Digital Cinema Society in the pull down menu on the Sign-Up page.

September 15-16, 2010, Hilton Los Angeles, Universal City, CA

http://www.3d-summit.com/

September 26, 2010, 5:00pm, Directors Guild of America, Los Angeles, CA Join the International Cinematographers Guild as they honor the best and brightest emerging cinematographers of 2010. For more information, visit: http://www.ecawards.net/

September 28-30, 2010, Pasadena Convention Center, Pasadena, CA

REGISTER FOR THE DIGITAL CINEMA SOCIETY September Meeting @ Digital Video Expo!

Spend the day at Digital Video Expo for FREE! Digital Video Expo offers two days of FREE vendor training sessions, FREE lighting master classes, FREE networking events, FREE keynote speakers, and an exhibit hall packed with hundreds of new products! When you are done exploring the show floor, attend the Digital Cinema Society meeting on Wednesday, September 29, 2010 @ 5:00pm.

SPECIAL DISCOUNT FOR DIGITAL CINEMA SOCIETY MEMBERS!

Receive an additional $50 off the Digital Video Conference Program, and/or FREE exhibit hall passes by using customer code DCS10.  See all of our NEW Conference options including single day workshops @ http://dvexpo.com/conference/grid_sessions.php and http://dvexpo.com/conference/grid_appletraining.php Don’t delay, register today by visiting http://www.dvexpo.com!

October 26-28, 2010, Renaissance Hollywood Hotel, Hollywood, CA

http://www.smpte.org/events/

July 13-14, 2010, Marriott Marquis, New York City

Members and non-members welcome. For more information and cost, visit: http://www.smpte.org/events/3d_conference/

September 19-20, New York, NY

http://createasphere.com/En/3d.html

Tuesday, Sept. 21 - 1:00pm to 7:00pm | Wednesday, Sept. 22 - 11:00am to 4:00pm, The New Yorker Hotel, New York

http://createasphere.com/En/expo-home.html

September 23-24, 2010, New York, NY

http://createasphere.com/En/dam-ny-conference-home.html

October 9, 2010, 11 a.m. - 7 p.m., New York City, NY

www.theshowbizexpo.com

October 13-14, 2010, Jacob K. Javits Convention Center, New York, NY

http://www.ccwexpo.com/

August 24-29, 2010, Monterey, CA

The BLUE Ocean Film Festival & Conservation Summit (BLUE) which had its debut in June 2009 to international acclaim is recognized as a ground-breaking ocean focused forum which combines great films, photography, entertainment, conservation outreach and policy discussions along with an comprehensive industry conference for veteran and emerging media professionals, scientists and conservationists. For More Information, visit: www.blueoceanfilmfestival.org

Digital Asset Management, Henry Stewart DAM Conference Series

Wednesday, September 22, 2010, Avenue Hotel, Chicago

http://www.hsconferences.com/dcabout.aspx

September 25–27, 2010

Giant Screen 101 and committee meetings will be held on September 24, 2010

Host: Tennessee Aquarium & IMAX 3D Theater in Chattanooga, Tennessee

http://www.giantscreencinema.com/Events/2010ConferenceChattanooga.aspx

September 28, 2010 - held in conjunction with the GIANT SCREEN CINEMA ASSOCIATION (GSCA) International Conference and Trade Show 2010

Host: McWane Science Center and IMAX Dome Theater

http://www.giantscreencinema.com/Events/2010ConferenceChattanooga.aspx

October 7-21, 2010, Chicago, IL

www.chicagofilmfestival.com

October 11-14, 2010, Orlando World Center Marriott, Orlando, Florida

http://www.showest.com/filmexpo/index.jsp

23, 24, 25 July 2010, Chennai Trade Centre, Chennai, India

http://www.cinematoday.in/

July 23, 2010 - August 1, 2010 at Skip City (Saitama, Kawaguchi), Japan

For more information, visit: http://www.skipcity-dcf.jp

Beijing International Radio, TV & Film Equipment Exhibition - August 23-26, 2010, China International Exhibition Center, Beijing, China

http://www.birtv.com

September 1-11, 2010, Venice Lido, Venice, Italy

The aim of the Festival is to raise awareness and promote all the various aspects of international cinema in all its forms: as art, entertainment and as an industry, in a spirit of freedom and tolerance. The Festival includes retrospectives and homages to major figures as a contribution towards raising awareness of the history of cinema.

http://www.labiennale.org/en/cinema/festival/

International Broadcasting Convention, RAI Auditorium, Amsterdam

Conference: 9-14, September 2010 / Exhibition: 10-14, September 2010, RAI Amsterdam

For information or to register, visit: www.ibc.org

International trade fair for film technology

18-20 September 2010, M,O,C, Veranstaltungscenter, Lilienthalallee 40, Munich, Germany

The cinec offers an extensive program with the cinecForum in the form of lectures, workshops and seminars on new and innovative product development. The possibility of meeting, to discourse and position determination to make the cinec an indispensable industry gathering and market place for contract negotiations.

For more information or to register, visit: http://www.cinec.de/

International Convention & Trade Fair, 21-24 September, 2010, St. Petersburg, Russia - “LenExpo” Exhibition Complex, Hall No. 7

http://www.kinoexpo.ru/eng/index.htm

2-3 October 2010, Cannes, France

International Film & Programme Market for Kids TV, Video, Cable & Satellite.

http://www.mipworld.com/en/MIPJUNIOR/

4-8 October 2010, Cannes, France

International Film & Programme Market for TV, Video, Cable & Satellite

http://www.mipworld.com/en/MIPCOM/

October 5-9, 2010, Makuhari Messe, Tokyo

Cutting-edge IT & Electronics Comprehensive Exhibition.

www.ceatec.com

13-28 October 2010, London, UK

http://www.bfi.org.uk/lff/

12-15 October, 2010, London, UK

Includes: The Pixel Market - 13-14, October 2010

The Pixel Market is a brand new two-day marketplace which will showcase 20 of the best international cross-media projects to financiers and decision-makers from across the media industries during Power to the Pixel’s Cross-Media Forum. Up to half of the 20 project teams selected for the market will be chosen to present In Competition at The Pixel Pitch where they will compete for the £6,000 ARTE Pixel Pitch Prize. All teams will take part in The Pixel Meetings, a day of one-to-one business meetings with international decision-makers, financiers and commissioners from the film, games, mobile, interactive, arts, publishing, broadcast and tech industries. Successful participants will also gain free accreditation to the Conference Summit on the first day of Power to the Pixel’s Cross-Media Forum on 12 October 2010. The deadline to apply for the Pixel Pitch Prize is 6 August 2010.

For more information, visit: www.powertothepixel.com

14-15 October 2010 (Preconference Workshops: Wednesday 13, October 2010), Novotel London West - London, UK

http://www.streamingmediaglobal.com/europe/index.asp

Conference: October 21-22, 2010 / Exhibition: 21-23, 2010, Bombay Exhibition Centre, Goregaon(E), Mumbai, India

www.bradcastindiashow.com

28 October - 5 November 2010

http://www.romacinemafest.it/romacinemafest

http://www.digitalcinemasociety.org

click here

The End

"It is not the strongest of the species that survive, nor the most intelligent, but the most responsive to change." Charles Darwin