Next week at NAB we’ll be celebrating our 10 year anniversary, debuting our new website, and roaming the show floor covering the latest in new technology to stream to those who can’t make it to Vegas. As you can imagine, things are pretty hectic as we attempt to deliver this update, but we’ve tried to pull together some interesting news as well as an essay by James Mathers reflecting on a decade of DCS. We’ve also got new donations to the DCS Internet Silent Auction to report, a recently posted streaming event on the Blackmagic Cinema Camera, and upcoming events happening all around the world. We’re looking forward to seeing many of you at NAB, and hope that those who can’t make the trek will check out the streaming reports and participate in the Silent Auction. Stick with us as we enter another decade of DCS.
DCS Silent Auction 2013 -- Update
Don’t forget the DCS 2013 Silent Auction is in full swing, so make sure to check out our silent auction page to see the plethora of already listed items plus these newly added ones: A Cruiser Rig (Rubber) from Wooden Camera, $1600 in select post-production services from Point.360, and a $1,000.00 Discount Certificate Toward the Purchase of a Wasp Plasma Par 1 Light Kit Complete courtesy of Hive Lighting.
More details and bidding instructions can be found on the DCS Silent Auction 2012 page:
Before you get too busy with NAB, be sure to check out our event on the Blackmagic Cinema Camera which was hosted by Hollywood DI a couple of months back. It features presentations by Early Adopter Filmmakers John Carr and Jim Geduldick as well as Hollywood DI Colorist Andrew Balis. Ryan Schorman of Wooden Camera demos accessories specifically designed for the new camera, and Blackmagic Design’s Mark Thompson also gives frank answers to the many questions that have come up in regard to the camera and workflow.
Also check out a brief slideshow featuring documentary stills from the first decade of DCS. While our new website is in the final phases of development, please access this content directly on the DCS Vimeo page: http://vimeo.com/digitalcinemasociety/videosclick here
A great new website, www.ShotOnWhat.com is a comprehensive resource cataloging the technology that has been used to make the magic we see on screen. We are offered an unbiased look behind the curtain to see exactly what path any project may have taken for Production, Post, and Distribution. Their goal is to specifically archive what gear, formats, and processes were used on projects spanning the history of motion pictures, everything from set to screen. Details are contributed, when possible, and can be edited by the actual filmmaking teams who served the project, so you can now see a movie and quickly reference the elements that helped create it including key personnel and the tools they used. This knowledge can only help to inform the choices we make on future projects and is a great contribution to the filmmaking community. With so many tools now available to Filmmakers, it's great to have ShotOnWhat?
“REDlaw” Update: It seems after settling a suit with ARRI over alleged misappropriation of trade secrets, Red is now suing Sony over patents, and demanding the disputed F-series cameras be 'destroyed.'. The ARRI suit was “dismissed with prejudice,” which means that all claims, counterclaims and defenses asserted in the case are forever dismissed and each party involved has to bear its own costs, fees and expenses. As reported by Engadget and based on court filings, RED has now filed an unrelated suit against Sony for allegedly violating two of its patents -- asking for an injunction to stop sales plus an award for damages, and even that the F5, F55 and F65 models in question be "delivered up and destroyed." RED further claims the video cams have "resulted in lost sales, reduced the business and profit of Red, and greatly injured the general reputation of Red." The patents involve RED's implementation of RAW video, but no details were given as to how it thinks those processes were infringed. I don’t think anyone expects Sony cameras to be destroyed, but it’s never boring when dealing with RED.
| || Spotlight on New Friends of DCS|
Headquartered in New York City, SHUTTERSTOCK is a leading global provider of high-quality licensable photographs, vectors, illustrations and videos to businesses, marketing agencies and media organizations around the world. The company works closely with its growing contributor community of photographers, videographers, illustrators and designers to curate a global marketplace for royalty-free imagery. Shutterstock adds tens of thousands of rights-cleared images each week, and with more than 20 million images currently available, the company recently surpassed 250-million image downloads.
ASTRODESIGN, Inc. is a leader in the design and manufacturing of high speed digital signal processing technology for applications dealing with broadcast, digital cinema and production. The product-mix include, advanced 4K and 8K uncompressed recording, processing and display systems that have established an unprecedented momentum in the high-pixel density community today. The company, headquartered in Tokyo, is fully committed to standardizing Super Hi-VISION, also known as 8kx4k and will be presenting its extensive product portfolio for a complete workflow that encompasses 4K and 8K technology at NAB2013.
NVIDIA awakened the world to computer graphics when it invented the GPU in 1999. From there, they have expanded into super, mobile and cloud computing. NVIDIA's mobile processors are used in smartphones, tablets and auto infotainment systems. PC gamers rely on GPUs to enjoy spectacularly immersive worlds. Entertainment Industry Professionals use them to create visual effects and researchers utilize GPUs to advance the frontiers of science with high-performance computers.
We are very proud and happy to congratulate longtime DCS Member Sean Fine on receiving the Academy Award, along with his wife and filmmaking partner, Andrea Nix Fine, in the category of Best Documentary Short for “Inocente.” Their movie tells the story of fifteen-year-old Inocente, a homeless, undocumented immigrant, who clings to her determination to become an artist in the face of a bleak future. The Fines were previously Oscar Nominated for their documentary “War/Dance.” which also won the Best Documentary prize at the Sundance Film Festival.
Veteran Cinematographer Ilan Rosenberg began his career in Israel, coming to the US in the 1980s and settling in Los Angeles. He shot numerous Indie features before landing the job as DP on the very long running and successful franchise, Power Rangers. He shot 10 seasons of the TV series, was nominated for a Daytime Emmy Award for Outstanding Achievement In Single Camera Photography, and also served as DP on the first several Power Rangers feature films. He now shoots a variety of features and documentaries as well as returning to shoot new episodes of the series, now produced in New Zealand.
Having spent over 25 years as a successful still photographer, and 15 as a Cinematographer, Joel Lipton also directs and thrives on the convergence of stills and motion. He enjoys moving between mediums and has developed a specialty serving manufacturers in our industry. His work can be seen in industry magazines and on company websites. Some of those clients include, Schneider Optics, Litepanels, Vitec Group, K-Tek, Otto Nemenz International, Band Pro, 16x9 Inc. and Innovision Optics.
New York based Cinematographer James Miller has enjoyed a long career in documentaries, entertainment, commercials, music videos and sports. James has worked with a wide variety of cameras and formats making it a priority to keep current on new technology. As Cinematographer/Producer of the recent 2011 Sundance award winning documentary BEING ELMO: A PUPPETEER'S JOURNEY, he continues to meet the challenges in creating visually stimulating cinematography that captures the essence in creative media.
| || Renewing Your DCS Membership|
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
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.
The Only Constant is Change -- Ten Years of the Digital Cinema Society
by James Mathers
The Digital Cinema Society remains dedicated to informing the entertainment industry regarding the integration of new technology. As we get ready to celebrate our 10th Anniversary this year at NAB, perhaps it is time to reflect on where we started, where we are now, and identify our goals for the future. It’s been an evolutionary decade for the way motion pictures are captured, posted, and exhibited, most notably via a transition from celluloid toward the use of digital technology. We have never celebrated or sought to accelerate this process, but we have made it our business to try to objectively track it. Our recently completed Member Survey gives us a snapshot of the group, which is now approaching an international membership of 6,000, to determine how they are viewing current trends, and adapting to these changes. Before we see where we’re at now, or ponder the future, let’s look back at where we started. I could write a book, and some have suggested I should, but let me just offer some highlights of the last decade in the history of Entertainment Industry technology and the role DCS has played.
Our group was formed in 2003, not long after the inception of digital motion picture production. It was an outgrowth of a documentary entitled Digital Cinema Solutions, which featured interviews and clips from Filmmakers who were testing the digital waters at that time, as well as Tech experts from Production, Post, Exhibition and Distribution. Filmmakers included industry luminaries such as James Cameron, George Lucas, Stephen Soderbergh, Robert Rodriguez, and Allen Daviau, ASC. At the turn of the 21st Century, George Lucas, with the cooperation of Sony and Panavision, had adapted a handheld ENG style HD television camera to shoot another installment of his “Star Wars” franchise, at that point, the most successful in the history of motion pictures. Lucas then introduced Robert Rodriguez to the technology, which he used on his own franchise, “Spy Kids.” Meanwhile James Cameron had shot “Titanic” on 35mm film, but was using the same type of HD camera as his colleagues to shoot his documentaries such as “Ghost of the Abyss,” even going so far as to then blow them up to IMAX film format for exhibition.
Exhibition was still almost entirely on film and the Digital Cinema Initiative, or “DCI,” was busy drafting standards for the widespread implementation of Digital Cinema. Stephen Soderbergh was experimenting using a standard definition Canon DV camera intercut with 35mm for his feature, “Full Frontal.” Notable ASC DPs were also starting to try DV; John Baily, ASC shot the feature “Celebration” and our own Allen Daviau, ASC shot the beautiful short, “Sweet,” which we featured in our DCS documentary. He demonstrated that quality results were possible even with a Prosumer video camera if the proper care and filmmaking sensibilities were applied to the project.
Our documentary also covered the very active Indie sector where these new methods were enabling an explosion of production. Although it was a rather small piece of the pie in the budget of a major motion picture where there may be several million dollar paydays for the stars, the ability to avoid a large upfront investment in motion picture film stock, processing, and printing was very appealing to the Indie Producer. Of course, the tens of thousands of dollars they saved would be eclipsed by the cost to make film distribution prints, if they ever got a theatrical release, but most Indie Filmmakers were satisfied to cross that bridge when they fell off of it. There was noble discussion of the democratization of movie making, but the truth is that the powers that be still controlled any significant means of distribution. So, although a lot of Indie projects were getting made, (and not always at the best quality levels,) not too many were getting widely seen; so much for democracy.
Although it wouldn’t be commercially available for several years, and never really gained industry acceptance, a Canadian company called DALSA showed a prototype for a 35mm single sensor camera, the Origin, capable of shooting in a 4K uncompressed RAW format. It was sadly ahead of its time, and the ergonomics were never properly worked out before the plug got pulled on the project, but it was truly revolutionary. I very clearly remember the DALSA NAB launch party with a standing room only crowd of every notable technology and business leader in the burgeoning Digital Cinematography field. If some kind of disaster would have taken out the entire crowd, we would all still be shooting film today.
Meanwhile Panavision was working on a high-end HD camera in an almost identical form factor of their Panaflex film camera. To be called the Genesis, with Sony electronics hidden beneath its film camera facade, it had a removable HDcam SR tape recording system built into a casing that looked like a film magazine. Their rationale was to create a unit that would physically fit into film camera architecture and support, but looking practically identical to a film camera, it also had the benefit of adding a certain comfort factor for the film professionals who were starting to contemplate shooting digitally. Within a few years it would become extremely popular and even help score a Best Picture Oscar Nomination for “Apocalypto,” as well as a Best Achievement in Cinematography nomination from the American Society of Cinematographers for DP, Dean Semler, ASC.
Although most theatrical productions continued to shoot on film, a few professionals started to realize some of the potential advantages of shooting digital, and there were some notable pictures for digital to brag about, such as when in the same year two digitally acquired productions were up for Best Picture and Best Cinematography Oscars, “Slumdog Millionaire” and “The Curious Case of Benjamin Button,” with “Slumdog” taking both prizes. This whole transition was then greatly accelerated with the adoption of large single sensor cameras where Cinematographers could use the 35mm format lenses they were accustomed to. Some of these cameras also shot in a RAW format that more closely resembled a film workflow, (not baking-in the look on the set and having enough latitude to do the color correction in post.)
The influence of the RED Digital Cinema camera was undeniable in speeding the transition. They came out with a camera that was inexpensive enough that burgeoning Filmmakers could afford to own their own camera, (even if they couldn’t always afford a very complete package of lenses and support gear.) At the same time, they wooed major Filmmakers to try their tools, including Peter Jackson, Steven Soderbergh, David Fincher, Ridley Scott, and Baz Luhrman.
Meanwhile, ARRI was making major headway in developing Digital Cameras; their D21, although still needing some ergonomic and workflow refinements, was creating beautiful results. Their Alexa came out a tad later, and their stellar reputation with filmmaking professionals built up over many decades of making extremely dependable film cameras helped them to quickly pick up a loyal following. Filmmakers including Martin Scorsese, and the highly respected Cinematographer, Roger Deakins, ASC were among the many, and in fact it was a real turning point when, after experiencing the Alexa, Deakins said in a trade magazine article that “I am seriously beginning to doubt that I will shoot film again.”
Another turning point came when there was a threatened Actors strike, and seemingly overnight, almost all television drama started acquiring digitally. TV pilot Producers opted to shoot digital, which allowed them to sign with AFTRA, who had already settled on a contract, instead of SAG who were still trying to negotiate, thus avoiding the threat of their actors walking out on strike. The two unions later merged nulling this tactic, but the die was cast, and there was no turning back from the digital transition. The continuing improvement of Digital Cinema cameras and the blurring of the lines between television and theatrical production also caused more high-end features to acquire digitally.
And then there was 3D, which had a strong resurgence helped along by James Cameron’s incredibly successful “Avatar.” The production of a 3D motion picture is much more viable to shoot digitally, not just because most systems require two cameras, which would double the film stock consumption, but mostly because the ability to preview the 3D effect with high resolution monitoring saves time and costly errors. Acquiring via digital also puts the project in the electronic realm from the get-go, making post production digital manipulation that much easier.
The transition to Digital Exhibition was also aided by 3D; movie attendance had been declining and Exhibitors were concerned that theaters needed to have the ability to give consumers something extra that they couldn't easily get in their living rooms. 3D also gave Theater Owners a rationale to charge a premium, but the Studios were not about to release 3D on film. They were already eager to get away from the expense of producing and shipping film prints. However, Theater Owners still needed prodding to scrap their trusty film projectors for more expensive digital units that were also more prone to obsolescence, yet it was the Distributors who traditionally paid for the prints. So there wasn’t much incentive for Exhibitors to make the leap, except that if they wanted to milk the 3D cash cow, they would have to convert to digital projection, and this was a strong nudge in that direction. A financial device known as a “Virtual Print Fee” was also created so the studios would pay their share of the upgrade costs by contributing the money they would have spent on making prints toward financing the new equipment.
Today, the Digital Cinema Rollout is almost compete with the vast majority of theaters equipped with either 2K or 4K digital projection, many of them 3D capable. Television drama is now almost completely shot digitally, and digital acquisition has also made significant inroads into the last bastion of film dominance, theatrical motion pictures. Out of the last five Oscar Winners for Best Cinematography, only one was shot on film. Kodak is in bankruptcy and Fujifilm has stopped producing stock while ARRI and Panavision have manufactured their last film cameras. The writing seems to be on the wall, yet celluloid is arguably still the gold standard for quality and its archival capabilities cannot currently be matched.
It has been suggested that the Digital Cinema Society has served its purpose and should be put to bed; and to be honest, that sometimes sounds pretty tempting. Although I enjoy my involvement, my main focus remains my work as a Filmmaker and Cinematographer, and this hobby we call DCS can get pretty consuming. However, I feel there is still a strong need to help the Entertainment Industry keep current on technology, and I don’t see too many others answering the call.
While it has been an interesting decade for motion picture technology, it will continue to evolve, and change is inevitable. Advanced resolutions and glasses free 3D viewing are already at our doorstep, “Light Field” technology will soon allow focus and 3D depth cues, (from a single camera) to be set in post. Holographic technology holds great promise for more cost effect and reliable storage, as well as interesting possibilities for multi-dimentional projection. There are surely new technologies already out there that we have never heard of and many more that have yet to be imagined. The evolution of digital technology is just beginning, and DCS will continue to cover it. Here’s to the next decade, because as Charles Darwin said: "It is not the strongest of the species that survive, nor the most intelligent, but the most responsive to change."
All comments are welcome. Please write or leave a comment on our DCS Facebook page: http://www.facebook.com/DigitalCinemaSociety
| || Thank You To Our Sponsors|
As always, we want to send out a big thanks to all “Friends of the DCS,” whose support makes it possible for us to continue the DCS mission of educating the entertainment industry about the advancements in digital and cine technology: Panasonic - Canon - Sony - ARRI - AJA - ASTRODESIGN - Schneider Optics - Tiffen - FotoKem - K5600 - Fujinon - Filmtools - Key Code Media - Sound Devices - Zacuto - Zeiss - Adobe - The Studio-B&H - AbelCine - Litepanels - Petrol Bags - Anton/Bauer - Sachtler - OConnor - Angenieux - Band Pro - Redrock Micro - Libec - Marshall Electronics - Polecam - Vision Research - Convergent Design - ZGC - Cooke Optics - Dolby - Blackmagic Design - S.Two - LensProToGo - Kino Flo - Wooden Camera - Shutterstock - NVIDIA - Codex - MTI Film - Cineped - Cineo Lighting - Birns & Sawyer - JVC - Nila
| || SMPTE Webinar “High Frame Rate Cinema – A New Tool for Storytellers”|
SMPTE Webinar “High Frame Rate Cinema – A New Tool for Storytellers” - Thursday, April 25, 2013, 1:00 PM - 2:00 PM EDT
With the recent release of films produced and exhibited at frame rates higher than the traditional 24 frames per second (fps), many questions have arisen: What exactly is high frame rate in cinema? From where did the concept come? Why is it important today? What are the human psychophysical considerations?
Guest speakers David Stump, ASC and Andrew Watson, NASA, explore this newly emerged storytelling tool. To register, visit: https://attendee.gotowebinar.com/register/1005124401482403328
| || Moviola Filmmaking Webinars|
Upcoming Moviola Filmmaking Webinars
Thunderbolt: Changing the Future of Production and Post (Presented by Gary Adcock) - April 16, 2013 @ 11:30 am PST to 1:00 pm PST
Final Cut Pro X RED Feature Film Workflows (Presented by Sam Mestman) - April 23, 2013 @ 10:00 am PST to 11:30 am PST
iPhone and iPad Filmmaking Tools (Presented by Ned Soltz) - March 29, 2012 @ 11:30 am PST to 1:00 pm PST
Starting, Matching and Styling Your Color Grade (Presented by Warren Eagles) - April 30, 2013 @ 11:30 am PST to 1:00 pm PST
You can watch the webinar live for Free, or purchase the on-demand webinar for $15. http://moviola.com/webinars/
| || Through The Lens - Conversations with Cinematographers|
Through The Lens - Conversations with Cinematographers
"Through the Lens" is a web series that features a new interview with a cinematographer each week. Having premiered in February 2013, the show’s first season includes interviews with Dean Cundey, Gordon Willis, Andrij Parekh, and Peter Deming just to name a few. For the full season line up visit: http://www.crafttruck.com/through-the-lens/
Conferences: April 6-11, 2013 / Exhibits: April 8-11, 2013, Las Vegas Convention Center, Las Vegas, NV
| || SMPTE Technology Summit on Cinema|
April 6-7, 2013 at NAB
The 2013 Technology Summit On Cinema: Advances in Image and Sound (TSC), produced by SMPTE, will provide an in-depth global view of the new wave of technology coming soon to your local multiplex, with an eye toward how it might later affect the broader media ecosystem. This year topics will include the latest work on higher-frame-rate cinema, perceptual requirements for higher quality image and sound, new technologies for exhibition, business models for alternative content, and an update on digital cinema roll-out worldwide.
| || NAB Creative Master Series Panel Discussion on OBLIVION|
NAB Creative Master Series Panel Discussion on OBLIVION - Tuesday, April 9th, 11:45 am - 12:45 pm, Room S220.
Sony invites all Smart or Flex pass holders to join Academy Award Winning Cinematographer Claudio Miranda, ASC and DIT Alex Carr as they discuss their experiences shooting Universal Pictures, OBLIVION, starring Tom Cruise. Learn the digital workflow and Cinematography techniques used to create this major motion picture.
Claudio will discuss how he was able to shoot this futuristic thriller by candlelight, against front-screen projection and in high-contrast scenes. Alex will talk about working with RAW files, multiple deliverables and the challenges of an international production. The panel discussion will invite questions from the audience, and is moderated by Jon Fauer, ASC of “Film and Digital Times.”
OBLIVION, which will be released the week following the NAB Show in Digital, 35mm and IMAX, is the first of a slate of big-budget feature films to be shot with Sony’s F65.
Remember: To attend this session, you must have a Smart or Flex pass. If you are not registered yet, use code NX01 and receive a $100 discount off the non-member rate. Use link: http://registration3.experientevent.com/showNAB131/Default.aspx?App=EO&Passcode=NX01 to register.
| || Shutterstock Contest at NAB|
Shutterstock Contest at NAB
Shutterstock, the premium online stock footage resource for professionals is offering the chance to win a brand new Canon 5D Mark III DSLR bundle. Visit the Shutterstock booth at NAB, (LVCC South Hall # SL13017) and also be entered to win one of ten GoPro® HERO3 cameras and receive one free HD video download of your choice from Shutterstock’s collection of over 900,000 clips.
| || 12th Annual NAB CPUGNet SuperMeet|
12th Annual NAB CPUGNet SuperMeet
Tuesday, April 9, 2013, 4:30 pm - 11:00 pm (doors open at 4:30 pm,) Rio Hotel, Amazon Ballroom, Las Vegas, NV
Join the Creative Pro User Group Network (CPUG Network), including BOSCPUG, LACPUG, SF Cutters, New York MoPictive, CHICPUG, DC|MD|VACPUG and collaborative video user groups around the Globe in Las Vegas for the largest gathering of creative and collaborative editors, Adobe, Avid, Final Cut Pro and Autodesk gurus, Visual Storytellers and collaborative Digital Filmmakers in Las Vegas in 2013. DCS Members us promotional code: dcsvip for $5.00 off registration. http://supermeetlv13.eventbrite.com/
| || Events of Interest - Los Angeles & Surrounding Areas|
| || The Global Cinematography Institute - Level 1, Session 6|
The Global Cinematography Institute - Level 1, Session 6
“GCI” adds prominent faculty and has a new Level 1, Session 6 beginning on April 13th. Oscar winning Cinematographer, Russell Carpenter, ASC joins GCI as a guest instructor in Feature Film Lighting while Cinemtography Agent, Patty Mack will be providing guidance to the students as they prepare to embark on their careers, and Artist Zhenya Gershman will assist with the instruction in History of Art and how it relates to the aesthetics of cinematography. www.globalcinematography.com
| || Tribute to the Art of Special Effects|
Tribute to the Art of Special Effects Event - Sunday, April 14th @ 2:00 PM, Dark Delicacies Book Store, Burbank, CA
Join veteran editors and special effects artists in this tribute to the history of Special Effects, which will include Documentary DVD and Book signings by the editors and authors of “The Wizard of MGM” the newly published memoirs of A. Arnold “Buddy” Gillespie, and “Sense of Scale,” a personal behind the scenes look into the fantastic miniature world of movie special effects as told by the model makers themselves. Location: Dark Delicacies Book Store, 3512 W. Magnolia, Burbank, CA 91505.
| || Rev Up Trans Media Presents: FINAL CUT PRO X CLASS|
Rev Up Trans Media Presents: FINAL CUT PRO X CLASS
APRIL 16-18, 2013 -Tuesday-Thursday - (9:00 am - 5:00 pm) - Los Angeles, CA
This three day hands-on course is designed for those who want to learn the full feature set of Final Cut Pro X and how to use it in any editing environment. The class includes the Apple Pro Training Series book: Final Cut Pro X, which includes a DVD of all the video material used in the course. (This course covers the requirements necessary to become an Apple Certified Pro, Level 1 in Final Cut Pro X.) Use coupon code: DCS for an extra $75.00 off the cost of the course at check-out or bring your own laptop and save $135.00.
| || Variety Entertainment & Technology Summit|
Variety Entertainment & Technology Summit
April 29, 2013, The Ritz-Carlton Hotel, Marina Del Rey, CA
| || 2013 J.L. Fisher 8th Annual Mixer & BBQ Lunch|
2013 J.L. Fisher 8th Annual Mixer & BBQ Lunch
Saturday, May 18, 2012, 9:00 AM - 4:00 PM, Burbank, CA
Join J.L. Fisher and their co-hosts the SOC, ICG & ASC for a day of exhibits, education and delicious food. While you’re there, don’t forget to check out the product demos by DCS supporting companies: Sony, Canon, Anton/ Bauer, BandPro, Filmtools, BandPro, OConnor, Arriflex, Kino Flo, ZGC, Tiffen and many more. Raffle tickets will be sold to benefit The Vision Center at Children’s Hospital of Los Angeles. Location: J.L. Fisher Headquarters, 1000 Isabel Street, Burbank, CA. No RSVP necessary. Please, no pets. For more information, including seminar times, visit the J.L. Fisher website at www.jlfisher.com
| || The Association’s DSLR Lighting Workshop|
May 25-26, 2013 - Burbank, CA
Learn the lighting techniques to make your HDSLR video more filmic.
Receive $50 cash back on registration by mentioning Digital Cinema Society on the registration page. http://www.theassociation.tv/canonbootcamp.php
| || Cine Gear Expo Los Angeles 2013|
Cine Gear Expo - May 31-June 2, 2013, (Film Series Competition Screenings - May 30th) - The Studio at Paramount, Hollywood, CA
| || 4th Annual New Media Film Festival|
4th Annual New Media Film Festival
June 11 & 12, 2013, Landmark Theatre, Los Angeles, CA
| || SMPTE “Entertainment Technology in the Internet Age” Conference|
SMPTE “Entertainment Technology in the Internet Age” Conference -
June 18-19, 2013, Stanford University’s Palo Alto, California Campus
This two-day conference will explore the technology, creative, and business requirements for delivering a compelling, high-quality, monetizable entertainment experience over the web covering 4 aspects of the ecosystem and include an evening event with keynote speaker(s).
For more information, including a full schedule and registration visit: www.smpte.org/ETIA2013
SIGGRAPH 2013 -
Conference: 21-25, July 2013 / Exhibition: 23-25, July 2013, Anaheim Convention Center.
The 40th International Conference and Exhibition on Computer Graphics and Interactive Technologies. http://s2013.siggraph.or
| || AbelCine Workshops in Los Angeles|
Digital Cinema Society members receive a 10% discount on any AbelCine Training Course. Use code: DCSMember10 for discount.
April 24 - Sony FS100 & FS700 Workshop / May 1 - Canon C300 & C500 Workshops / May 8 - Sony F3 Intensive / May 13 - Digital Technician: Understanding Color / May 20 - Digital Technician: Waveforms & Vectorscopes / June 3 - Digital Technician - Exposing and Shooting Log / June 10 - Digital Technician: Color Management - Creating & Applying LUTs / June 17 - Digital Technician: On Set Media Management / June 24 - Digital Technician: Working with Raw / July 1 - Digital Technician: Monitor Calibration / July 8 - Digital Technician: Camera Matching.
For a complete list of classes or to register for those listed above, visit: http://training.abelcine.com/events/category/training-2/upcoming/
| || DCS Members invited to Participate in Sony Training at the new Digital Motion Picture Center|
DCS Members invited to Participate in Sony Training at the new Digital Motion Picture Center
DCS members are invited to apply to attend educational sessions to experience new Sony 4K Technologies at the Digital Motion Picture Center located on the Sony Studios lot in Culver City. An introductory session will be held every Thursday from 9:30AM to 5:30PM. Attendees will have a chance to learn from an intellectual perspective what 4K technology is, train on the operation of the F65 and F55, as well as the opportunity to shoot 4K pictures, process them through a 4K workflow and view the results on a 4K projector.
A second set of classes are also scheduled every Wednesday afternoon from 1PM to 5PM that will involve more in-depth Operational Training on the new F55 and F5 designed for those who have already taken the Introduction to 4K course. This advanced sesseion will cover everything there is to know about the new F cameras including very detailed session on building and configuring the cameras and changing menus, an opportunity for students to shoot "pre-scripted" shots on the set, and a review of the workflow followed by a grading session of the footage that the attendees shoot.
Class sizes are limited and may be backlogged by several weeks, but DCS members in good standing are invited to contact us to be added to the wait list, and as space becomes available you will be contacted by Sony to schedule your session. RSVP with your complete contact details and Sony DMPC Intro or Sony DMPC F5/F55 in the subject line to: RSVP@DigitalCinemaSociety.org
| || Upcoming Events of Interest - East Coast|
| || 5th ANNUAL FILM FINANCE FORUM EAST|
5th ANNUAL FILM FINANCE FORUM EAST - April 16, 2013, Dream Hotel Downtown, New York, NY
Streaming Media East - May 21 - 22, 2013, Hilton New York, NY
Digital Video Expo East 2013
June 19, 2013, Metropolitan Pavilion, New York, NY
DV Expo East will feature technology exhibits from the industry’s leading suppliers, keynotes, educational sessions, networking events and more! This event is free and registration is required. http://www.dvexpo.com/content/dvexpo_east/east_headlines.php
| || Manhattan Edit Workshop - Editors Survival Kit Workshop|
Manhattan Edit Workshop Presents: Editors Survival Kit Six Week Intensive Workshop
Multiple Dates to choose from: April 22-May 31, 2013 / June 17, 2013 - July 26, 2013 / September 09-October 18, 2013 / November 04 - December 13, 2013
| || On-going Manhattan Edit Workshop Discount for East Coast DCS Members|
Digital Cinema Society members receive a 15% discount on any Apple, Avid or Adobe certified classes. Note: This offer excludes 6 week classes, ICA classes and Special Classes) Use code: MEWDCS for discount. For complete schedule, visit: www.mewshop.com.
| || AbelCine Workshops in New York|
Digital Cinema Society members receive a 10% discount on any AbelCine Training Course. Use code: DCSMember10 for discount.
April 15 - HD Essentials: Camera Fundamentals / April 17 - Sony FS100 & FS700 Workshop / April 20 - Scene-linear workflow/ACES w/ Charles Poynton / April 22 - HD Essentials: Understanding Formats & Compression / April 24 - Sony F5 and F55 Intensive / April 29 - HD Essentials: Workflows & Media Management / April 30 - The C47: The Art of Writing Proposals and Creating Budgets / May 1 - Canon C300 & C500 Workshop / May 6 - HD Essentials: The Hows and Whys of Lighting / May 13 - HD Essentials: Audio for the Videographer / May 16 - Light and Frame for the Best Looking Interview / May 18 - the C47: Real World Video Podcasting / May 20 - HD Essentials: Introduction to Digital Cinema / May 29 - Red Production to Post Workshop / June 3 - HD Essentials: Choosing the Right Camera / June 10 - HD Essentials: Secrets of Optics
| || Events of Interterest to DCS Members - Midwest|
| || Hollywood Camera Work Seminar Series|
Hollywood Camera Work Seminar Series - Green Screen Intensive and Camera-Blocking Master Classes - Chicago, IL
May 3-4-5: Green Screen Intensive - 2 1/2 Days of industry-leading green screen training for Directors, DPs and VFX Artists. Learn how to shoot spectacular green screen and perfect matchmoving quickly and keep your budget under control.
May 7-8-9: Camera Directing Raw Technique - 2 1/2 days of intense training in camera techniques and framing techniques to make your shots look more expensive and graceful.
May 10-11-12: Camera Directing Master Class - 2 1/2 day seminar on where to put the camera. You’ll learn how to competently stage scenes with just a script and a stage, and to get more powerful blocking using fewer setups.
All three events are held at Atomic Imaging, 1501 N. Magnolia Ave., Chicago, IL 60642. Mention that you are a DCS member and receive 5% discount on top of any multiple booking discounts.
For registration and course details, visit: www.hcwseminars.com
| || Events of Interest in Other U.S. Areas|
CinemaCon (Presented by NATO - National Association of Theatre Owners) - April 15-18, 2013, Caesars Palas, Las Vegas, NV
Melissa McCarthy to be awarded CinemaCon’s 2013 Female Star of the Year. www.Cinemacon.com
| || 35th Annual Mountain Film Festival in Telluride|
35th Annual Mountain Film Festival in Telluride - May 24-27, 2013, Colorado
InfoComm 2013 - Conference: June 8-14, 2013 / Exhibits: June 12 - 14, 2013, Orange County Convention Center, Orlando, Fl
Projection Summit 2013 - June 10-11, 2013, Orlando, FL June 10-11
| || Events of Interest to DCS Members - International|
Mediatech Africa - 17-19, July 2013, The Coca Cola Dome, Northgate, Jhb, South Africa. www.mediatech.co.za
Cinema Today Asia - July 26-28, 2013, Chennai Trade Centre, Chennai, India. http://www.biztradeshows.com/cinema-today/
Cinema India Expo 2013 - 31 July - 1 August, 2013, The Leela, Sahar, Andheri (East), Mumbai, India. http://www.cinemaindiaexpo.com
4th Highly-functional Film Technology Expo (FilmTech Japan) - 10-12 April, 2013, Tokyo Big Sight Japan. www.filmtech.jp
23rd Korea International Broadcast Audio & Lighting Equipment Show - May 13-16, 2013, COEX, Seoul, Korea. www.kobashow.com
5th Film Expo 2013 China - High-performance Film Technology Expo (Shanghai) - June 4-6, 2013, Shanghai New International Expo Centre. www.film-expo.com
INAUGURAL FILM FINANCE FORUM CHINA - June 16, 2013, Shanghai, CHINA. http://winstonbaker.com/Event_Calendar.html
Broadcast Asia 2013 Exhibition and Conference - 18-21 June 2013, Marina Bay Sands, Singapore, http://www.broadcast-asia.com
Skip City International D-Cinema Festival 2013 - July 12-21, 2013, Skip City Audio Visual Hall, Saitama, Japan. www.skipcity-dcf.jp/
Show Canada - May 28-30, 2013, St. John’s, Newfoundland. http://www.showcanada.ca
MIPDoc - International showcase for documentary and factual programme screenings - 6-8 April 2013, Cannes, France. www.mipworld.com
MIPTV - International content marketplace for television, 8-11 April 2013, Palais des Festivals, Cannes, France. www.mipworld.com
International Film Festival Summit - 11-12 April 2013, Paris, France. http://filmfestivalsummit.com/iffs-events/paris-2013/
Sundance London 2013 - 25-28 April 2013, The O2, London, UK. www.sundance-london.com
Cine Video Expo Lisbon 2013 - 10-11 May, 2013, Lisbon, Portugal. http://www.cvelisbon.ulusofona.pt/
Festival de Cannes - 15-26, May 2013, Cannes, France. http://www.festival-cannes.com/en.html
4th Annual International Film Finance Forum - 17 May 2013, Intercontinental Carlton Hotel, Cannes, France, http://variety.com/conference/4th-annual-international-film-finance-forum/
Kyiv International TV and Radio Fair - Main forum for professionals of Ukrainian Media Industry, 22-24 May 2013, Exhibition Centre “Kiev Expo Plaza, Ukraine. http://www.media-fair.kiev.ua/en/
Transylvania International Film Festival, 31 May - 9 June 2013, Cluj, Napoca. http://www.tiff.ro/en
Media-Tech Europe 2013 - 11-12 June, 2013, Hamburg, Germany. www.media-tech.net
DIMENSION 3 2013 - International S-3D & New Images Forum, 18-21, June, 2013, Seine-Saint-Denis, France. www.dimension3-expo.com
Edinburgh International Film Festival - 19-30 June, 2013, Edinburgh, Scotland. www.edfilmfest.org.uk
Eighth Annual ICTA Seminar Series - June 22-23, 2013, Barcelona, Spain, http://www.internationalcinematechnologyassociation.com/events/June/
CineEurope 2013 - June 24-27, 2013, El Centro de Convenciones, Internacional de Barcelona, Barcelona, Spain, http://www.cinemaexpo.com/cineeurope
NATPE Budapest - 24-27 June, 2013, Sofitel Chain Bridge Hotel, Hungary, http://www.natpebudapest.com/
DAM EU 2013 - Henry Stewart Events Presents: DAM EU 2013: The Art & Practice of Managing Digital Media - June 27-28, 2013, London, UK., http://www.henrystewartconferences.com/dameu2013/
Edit Fest London - June 29, 2013, Dolby Theater - Soho, London, UK. http://editfest.com/edit-fest-la/edit-fest-la-schedule/
| || Below the Line Screening Series|
DCS Members in the Los Angeles, New York and London areas have the opportunity to attend first run screenings through the Below the Line Screening Series. In order to become a part of this program, you must be an approved and registered member of the Below the Line Filmmaker Screening Series. DCS membership does not automatically qualify you to become a registered member. To apply for membership, visit: http://screenings.btlnews.com/registration.php
| || Worldwide Educational Workshops hosted by the International Colorist Academy|
Attention Colorists or Anyone Interested in the Science of Color -- The International Colorist Academy offers a number of training solutions at various locations around the world including Los Angeles, London, Copenhagen, Berlin, and Singapore. Renowned Colorists Kevin Shaw, Jeff Olm, Warren Eagles, Blake Jones, Simon Walker, and Dado Valentic have teamed up to offer open classes covering general color correction, workflows, clients, looks and styles etc. The courses are typically 3 days long at various locations. They also offer system specific training on-site, on your equipment at your facility. Visit the ICA website to see the latest offerings around the globe: http://www.icolorist.com
| || Follow DCS on Facebook and Twitter|
Don’t forget that the Digital Cinema Society has a Facebook fan page. Check in for the latest news, event details and general DCS hubbub at: http://www.facebook.com/DigitalCinemaSociety
On Twitter, you can follow us @DCSCharlene
| || Our Home, The Digital Cinema Society:|
"It is not the strongest of the species that survive, nor the most intelligent, but the most responsive to change." Charles Darwin