Digital Cinema Society
Newsletter

February 17, 2008
Volume 4, Number 2

As a Cinematographer, I was lucky to have weathered the strike by staying busy on back-to-back Indie features; the latest with my RED Camera #30X, (details follow in this eNewsletter.) However, as DCS President, I've been remiss in setting up Digital Cinema Society events, and writing as much as I would like for our eNewsletter. Please accept my apologies, and know that we are busy setting up many exciting events including a Lighting Technology Showcase with Kinoflo, K5600, and Lite Panels, as well as a RED presentation to kick off our new Northern California/Pacific Northwest Chapter, (details below.) In the planning stages are also meetings exploring high end Digital Cinema Tapeless Workflows with the S.two company, a Greenscreen Compositing Workshop with VFX Artists, DPs, and Technology Experts, as well as a look at the new Sony XDCAM PMW-EX1. We are also trying hard to catch up on the eNewsletters, with this jam packed edition and one soon to follow which will include coverage from the HPA Technology Retreat and an essay covering all the recent activities in 3D.

Of course, we’re also gearing up for NAB with plans to hold our annual Member Appreciation Gala and roam the halls shooting booth tours to capture the latest in Digital Cinema technology to stream from the website for those who can’t make the trip. However, for members who can make it to Las Vegas during the NAB Show, from April 14-17th, we have been graciously offered free admission courtesy of B&H Photo-Video-ProAudio. Visit the NAB Registration Page and use VIP Pass Code: AE1890 at http://registration.expoexchange.com/ShowNAB081/defaultfull.aspx

click here

We appreciate your bearing with us and hope you continue to find your association with the Digital Cinema Society to be rewarding.

Kinoflo, Panel Lites, and K5600 will join forces to demonstrate the latest in Motion Picture Lighting Technology on March 8th, from 10AM to Noon at the newly expanded Big Vision Studios in Burbank. Representatives from these companies will present their products and answer questions from a panel of Cinematographers including George Spiro Dibie, ASC, Michael Goi, ASC, and DCS President James Mathers. This is bound to be a popular event, so book your place early by sending an e-mail with Lighting Technology in the subject line and your contact details. We will send a reminder with more details as the event gets closer. RSVP to DCS at Mathers@DigitalCinemaSociety.org Mathers@DigitalCinemaSociety.org This event is free to DCS members. Non-members send us an email with “non DCS member RSVP for 3/8 Lighting Seminar” in the subject line and we will reply with a link for a free trial membership.

On Saturday, March 1st, from 1-4PM we will hold our inaugural DCS Northern Cal/Pacific Northwest Chapter event with a meeting featuring the RED One camera. There will be several cameras on display as we present an overview of RED workflow from acquisition through post, and screen examples of RED ONE footage from HDCAM SR tape via high-resolution projector. DCS President, James Mathers will travel north to be joined by fellow RED Owner, Torrey Loomis, President of Silverado Systems; each will share their experiences from recently completed features. A DCS Member Panel comprised of Advisory Board Member, Adam Wilt, Cinematographer, Art Adams, and Managing Partner of VideoFax, Leigh Blicher will lead a topical discussion and Q&A. The meeting is being organized and moderated by Chapter President Simon Sommerfeld, and hosted by Creative Director, Trudi Melohn at NetApp, a leading provider of innovative data management solutions for storing, managing, protecting and retaining enterprise data. . Space is limited, so RSVP soon, and get more details at: http://dcsredevent.eventbrite.com

click here

Panasonic HPX3000 and P2 Workflow - Check in the Members Area for recently added streaming coverage of Panasonic’s Russ Walker and Doug Leighton presenting the new HPX3000 camera along with DP/P2 Expert Hal Long on P2 Workflow. The meeting was led by DCS Advisory Board member Barry Clark and held at Birns and Sawyer, Hollywood, CA.

DI Consortium at DV Expo West - Also just added to our Streaming Library is coverage of our DI Consortium presentation at the DV Expo West, “Demystifying DI.” DI Consortium Co-founders Lloyd Kaplowitz and John Healy lead a panel including Anthony Davis from Ascent Media, Doug Delany from Post Logic, and Peter Postma from Filmlight.

Midwest DCS Chapter President Tom Fletcher has compiled a comprehensive chart comparing features, specs, and rental costs for the many different digital camera systems they offer including models from Arri, RED, Sony, and Panasonic. It’s a nice snap shot to compare these diverse systems when trying to choose the right tool for a job. Download it at: http://www.digitalcinemasociety.com/downloads/HD_Camera_Comparson_Chart.pdf click here

You are reminded to please take a few minutes to visit the newly revamped DCS Discussion Boards to interact with other members on topics related to Digital Production, Post, Exhibition, and Distribution. Your active participation will help insure you stay informed, and also create another valuable benefit of DCS membership. We’re off to a good start, but the more posts, the better; please share your thoughts at:

http://forums.digitalcinemasociety.org click here

Toshiba put HD-DVD out of its misery Saturday, February 16th, by confirming that it will cease manufacturing HD-DVD equipment. As previously reported Warner Brothers had opted to join Disney, Fox, MGM, Lion’s Gate, and of course, Sony, and distribute it’s library only on Blu-ray. In addition, last week, Toshiba's system was dealt more new blows when Netflix said it will no longer carry HD DVDs, with retailers Best Buy and Wal-Mart deciding to discontinue selling the players and discs. Paramount/DreamWorks and Universal were still producing HD DVD discs, but it was only a matter of time with limited outlets or compatible players in the market.

We are very pleased to announce DCS support from two more outstanding companies, tapeless workflow Pioneers, S.two and one of the largest professional electronics retailers in the world, B&H Photo-Video-ProAudio.

S.two’s wide range of products, from data capture to film out, continue to revolutionize digital filmmaking. The award-winning D.MAG is the centerpiece of a comprehensive digital workflow that integrates into every phase of digital film acquisition. Working seamlessly with several leading Digital Cinema Cameras including Arri, Dalsa, Viper, and Sony, on dozens of successful projects, such as David Fincher’s Zodiac have helped make S.two a leader in providing complete digital cinematography solutions.

B&H Photo-Video-ProAudio is a world leader in photo, video, pro audio and digital imaging retailing. From their 70,000+ sq. ft. Superstore located on the West Side of Manhattan, they have grown exponentially via the internet. B&H continuously trains it’s staff to understand the features and operation of every product they sell, and in cooperation with manufacturers, regularly schedules educational events for it’s customers and staff. Upcoming events in February include “Light It, Shoot It, Edit It” - Presented by Arri, Bogen, Sony and Adobe on Tuesday, the 19th with speakers including Fred Horne from Arri, Joe Massa from Bogen, Jim Streeter from Sony, and Dennis Radake from Adobe. On Wednesday, February 20th Paul McAniff, representing Canon presents, “High Definition Video Workflow for Professionals”. To RSVP and get more details visit: http://www.bhphotovideo.com/find/Events.jsp click here

Longtime DCS Advisory Board Member Richard Kerris, formerly of Apple Computer, has been appointed Chief Technology Officer at ILM and Skywalker Sound. At Apple, Kerris held numerous positions, from managing special projects for the applications division to managing the company’s technical marketing strategies for professional applications such as Final Cut Pro, Shake, DVD Studio Pro, Logic, Motion and iLife. Besides DCS, Kerris is an active member of the Visual Effects Society and SMPTE, and sits on the VES Technology Advisory board.

Mark Karavite is a Cinematographer and Steadicam Operator who splits his time between positions as an A Camera/Steadicam Operator on features & television pilots, and DP on TV commercials, webisodes and immersive theater projects including 3D, domed theaters & museum films. His current workload is divided evenly between film and digital acquisition.

Oak O’Connor is the Sr. Director of Production and Programming at GoTV Networks, one of the largest mobile and internet content producers and distributors. Oak also runs GoTv Studios which is available to DCS members at a discounted rate for your mobile and internet chroma key projects.

Having been involved with Linux from it’s inception, Daryll Strauss and the company he founded, Digital Ordnance, has continued to be a pioneer in VFX software for the entertainment industry. Daryll has been writing graphics software since the late 70's, starting in the Aerospace industry before taking his graphics skills to Hollywood to become a developer of visual effects software; and in the process, changing the way the film industry creates special effects. His illustrious career includes stints at Digital Domain, where he was involved in VFX for such notable films as “Titanic,” “What Dreams May Come,” and “Apollo 13.” He and Digital Ordnance remain committed to creating tools that improve production and post.

Jim Marlowe is a Digital Cinema Projection Specialist with credits ranging from HD projection for the CBS series, "Hack", to Projection for James Cameron's "Expedition Bismarck" at the National Museum of Natural History in 3D HD, and projecting "Dickson's Experimental Sound Film 1895" in HD at The Edison National Historic Site, the birthplace of the American film industry.

The husband and wife team of Steve and Diane Wright have both recently joined us as Lifetime members. Steve is a 20 year digital VFX veteran with over 60 feature film credits and is the author of the highly regarded books on compositing "Digital Compositing for Film and Video” and his new book "Compositing Visual Effects; Essentials for the Aspiring Artist." Available from Amazon.com, this book offers an introductory view of the exciting field of compositing Visual Effects for those new to the VFX industry or entertainment professionals that would like to understand it better. Steve and Diane Wright are Owners of TitleWright, a website devoted to feature film titling services, and Steve now focuses on teaching, training, and developing training products for the internet. You can view Steve’s website at www.swdfx.com

Andrew Shulkind is an L.A.-based cinematographer of commercials, music videos, and features. Though he comes from a strong film background, Andrew likes experimenting with new gear and recently shot with the Phantom, RED, Iconix, and Photron cameras. He enjoys working around the globe.

Jody Elred is a Director/Cameraman. He just returned from Sundance where he gave four standing-room-only presentations on Sony's XDCAM EX camera system. He also directed and DPd Apple Computer’s promotion with Herbie Hancock demoing their new live performance software, and recently shot test footage with RED’s Ted Schilowitz in an exotic location-- where they got some truly exotic images!

After graduating from the Brooks Institute in Santa Barbara, Carlos Congote founded Congo Films in Bogota, Colombia in 1983. Congo has developed into a leading film and HD equipment rental house in Latin America, servicing clients in 11 countries of the region with a full line of HD cameras (F-23, Phantom HD, F-900, Panasonic 2000, Digi-primes, etc.), film cameras and accessories, as well as complete electric, grip, and transportation packages. For a complete listing of gear available, visit www.congofilms.tv.

Indiana based Ken Heinemann is a Cameraman whose award-winning pieces have appeared on all the major networks, cable and satellite for almost three decades. Ken’s work has taken him virtually everywhere--from an aircraft carrier, to the interiors of several prisons, to every major Hollywood and Florida studio, Graceland, and even into the White House to shoot interviews with several U.S. Presidents.

Axel Gimenez is an emerging writer/cinematographer/editor/director whose unconventional work is garnering much attention. As part of the new generation of filmmakers weaned on the proliferation of affordable digital video equipment, Axel looks forward to being one of the many who carry the spirit of cinema into the digital age.

We very much appreciate the extra support from members who elect Lifetime 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.

Paypal Annual Renewal Link - $30US: click

here

or cut and paste this link into your browser: https://www.paypal.com/us/cgi-bin/webscr?cmd=_flow&SESSION=N38GtnQsfGxzfsNk2OWM46aahbiSqJaJzKWmy-_8TqEK4XItrgp0pUhV3WW&dispatch=5885d80a13c0db1f35bed810ca29224194ca8b1b097b671988f0ad0034239f22

Paypal Lifetime Renewal Link - $100.00: click

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or cut and paste this link into your browser: https://www.paypal.com/us/cgi-bin/webscr?cmd=_flow&SESSION=LLVeMaquZ5j6H2jm2aJvuwK0owkOCkLKjZuF5cYavhe6FT_OMV_BNJgHKXS&dispatch=5885d80a13c0db1f35bed810ca29224194ca8b1b097b671988f0ad0034239f22

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.

There is strength in numbers and we are always eager to grow our membership. So, in order to make it easy for you to spread the good word about DCS, we have created a link that will allow you to personalize a short letter which describes some of the benefits of the group and offers a free trial membership. Please visit the site and send this offer to all your friends & colleagues who might be interested in joining us.

http://www.digitalcinemasociety.org/join/invitefriend.php

click here

by James Mathers

Notes From The Set - Using RED on the Indie Feature, “Balancing The Books”

Having recently wrapped my first feature shooting with RED camera, #30X, I’ve gained a few insights to share. Although not without some small bumps and idiosyncrasies to work around, the pictures have been beautiful, and overall I would say the camera is now field tested and ready for primetime. The project had a very modest budget, but was designed to be accomplished economically; not exactly "My Dinner With Andre," but quite dialogue intensive, with only a few locations. It stars Tess Harper, Lea Thomson, Ernie Hudson, Ed Begley, Jr., Lela Rochon, Dina Meyer, and Vincent Spano, (who is a Digital Cinema Society member and was very interested in the new technology.)

RED Drives - We started the shoot with the only available 4K recording option at the time, 8GB CF cards; and with long dialogue scenes, it was a challenge to "roll out" and have to reload every 4 minutes. We also found that out of our first 150 cycles between 8 cards, 3 takes had data errors which caused a loss of at least part of the material. These were all tracked back to the same card, which seemed to be the culprit, and was quickly pulled from the rotation. Luckily, we were aware of these problems in time to cover ourselves after transferring the cards to RAIDS, verifying, and playing them back within minutes via RED Alert and Quicktime.

By the end of the first week, however, we finally received my two backordered RED 320gb On-board drives, which was a great boon to the production, allowing us to roll many times longer between reloads. We still only used about a fifth of the drive's capacity; perhaps 30 minutes out of the over 150 minute per drive available. Although we experienced no further corrupt files, we needed to gain more confidence via playback and verifying the data before completely filling the drives and moving too far along in our shooting day. It takes about 15 minutes to download 30 minutes of shot material, on top of the time to run “checksum” verification software, as well as actually viewing the playback footage; so a half hour, or about 15 Gigs was our agreed upon maximum recording limit before reloading. The beauty in having the extra capacity was to be able to pick our reload times, at the end of scenes or setups, instead of interrupting a take.

Since I make a lot of use of the JibArm, I was a little hesitant at first about using the drives with so much moving camera, but they continued to perform flawlessly throughout the rest of the shoot. As we gained confidence, we had the opportunity to use them for Steadicam, and also very aggressive handheld; and even with these vibration challenges, the RED Drives came through with flying colors. They seem to be well integrated into the system ergonomically, seamlessly sliding into the cradle that also holds the batteries, and offering several output options for easy download connectivity.

Back-up and Data Storage

For data backup, we started with two 5 Terabyte eSata RAIDs, one for the set, and another identical enclosure for post, with the idea to simply swap the 1 TB removable drives in pairs between the units, and have enough overall capacity to hold the entire project. In theory, you are making two copies when you transfer to a RAID 1 configuration; however if there are mounting or directory errors, it doesn’t matter that the data is there twice if you can’t access it. So, we opted to make another on-set copy completely isolated from the RAID on smaller portable eSata drives which we bicycled to the lab, FotoKem. They turned these drives around overnight after loading it onto their SAN and making another backup to LTO data tape. In all, there were 4 separate backups including our on-set RAID, the Post RAID, The FotoKem SAN, and the LTO tape. In these uncharted waters, this seemed a minimal safety net, even though this was not a bonded picture, and there were no requirements coming down from a Studio.

Screening Dailies - We also made arrangements with FotoKem to screen our initial tests and selected dailies throughout the production. They took some of our material, created 4K DPX sequences, color timed them on a Quantel Pablo, as they would for a DI finish, then scaled them to 2K for projection. It was great to see everything through our post workflow path and see it on a big screen to make sure we were up to snuff in all areas. We also had occasion to project cut sequences as 2K Quicktime movies, which also looked pretty darn good. Either way, I can't recommend highly enough that you see your work, at least occasionally, projected on a big screen. If a project is intended for theatrical release, it is a necessity to see these 4K images on a large screen to catch any issues that might not be apparent on the relatively small HD monitors we use on the set and in Post.

Camera Movement and Lenses - Since part of my style choice for this dialogue heavy picture was to maintain a very fluid camera, we stayed mostly on the jib arm, set up in studio mode with an Angenieux Optimo 17-80mm. It's a beautiful lens and a very fast system, without the need for constant lens changes. At T2.2, the Optimo is about as fast as the standard speed Zeiss primes which I used in a smaller, hand-holdable mode on the B-camera. I’ve now seen them cut together with no matching issues, as well as with my Zeiss Super Speeds, which I used only occasionally when I needed the extra stop. Even though this lensing combination cost many times the investment in the actual camera, I believe higher quality glass is justified. I want to obtain the best image quality I can from the RED, and it all starts with the taking lens. An image is only as good as it's weakest link, and it just doesn't seem to make sense to me to scrimp on the first link in the chain.

Hand-holding the RED - Although the B-camera was mostly there for back-up and didn’t see too much action, we did have one full day of hand held camera. Since I've had back problems ever since being accidentally tackled many years ago while shooting a football scrimmage scene, I was a little worried, but the RED proved very comfortable and compares favorably to hand-holding a 35mm film camera. As long as there is an Assistant to help hoist it on and off your shoulder between takes, I think it is very manageable. The weight is probably about 35 lbs with Prime lens, matte box, rails, compact follow focus, compact HD onboard monitor, RED battery, RED drive, and necessary cables. (FYI, I didn’t receive my backordered Electronic Viewfinder until just after the shoot, so we had to work around it with a heavier on-board HD monitor in order to split off a feed for the Director.)

Sound - All went well recording Sound-on-Camera, but we noticed when we had to occasionally re-make the Quicktime reference files from the R3D files, that we seemed to erase the on-camera audio; (at least on the Quicktimes.) We have been assured by RED that Audio is still on the R3D files, and of course, we always have master audio with matching timecode available from the Sound Mixer.

Time Code - We recorded double system audio and jam synced to the Sound Mixer’s Time-Of-Day, Free-Run timecode; (we used a Lock-it box which we jammed a couple of times a day to the Mixer’s master recorder, and then re-jammed the camera every time we changed batteries.) The Sound-On-Camera is being used for dailies and off-line with the idea to access the Sound Mixer’s master recording only for the final mix, if necessary.

Lighting Differences

I lit much as I would with film, although I am normally working with 500 ASA Kodak Vision stock these days with film, and I've been rating the RED, as the company recommends, at the slower 320 ASA. Note, this is the same as AGFA negative stock, which I used for many years before they stopped making it, so I am comfortable working at that speed, although it requires a little more exposure than current higher speed film stocks.

The dynamic range is similar to modern film stocks but I did note one anomaly. We had several car drive-bys and the headlights, even during a daytime exposure gave an undesirable halo/ghost artifact that I was only able to avoid by spraying down the running lights with Streaks ‘N Tips to the point it almost looked silly. I first thought it was my zoom or the filters I was packing, but it also occurred with primes running clean, so it must be something in the sensor. Research is needed to pin this down before I attempt more shooting with cars, but the issue has been reported to RED, and I’m sending them sample footage to try and figure it out. I should note, that they have been very attentive, and seem to appreciate any issues I have brought to their attention. Everything may not be perfect, but they are dedicated to constantly improving the camera, and when they identify a problem they try to quickly fix it.

Batteries - We mostly used the four RED batteries purchased with my camera, which was the A-Camera for this shoot. However, we occasionally had to resort to using some non-RED batteries that came with the subrented B-Camera when we got in a jam. Since this was essentially a one camera shoot, and we didn't use the B-Camera much, it took awhile to realize this problem, but it seems that non-RED batteries are not capable of talking to the camera to give a status update. The camera seems to think it is on AC Power Supply, so you don't know when it gets low. A problem arises when it runs out of power, in that it simply shuts down without warning. Shutting down in this way, without first unmounting the drive, can cause data loss of one or several clips that have recently been shot on a drive. The system also seems to renumber all the files, which doesn't lose shots, but causes lots of confusion. Some batteries do have their own digital status readouts, and there are third party devices that can be plugged in line to give a low voltage warning; but for now, I'll be sticking with all RED batteries.

Conclusion - Like most Indie features, the hours were long, but we were not hampered or slowed down by the new technology. The images are solid, and I know from previous testing that they will translate well to a filmout should this little picture get a theatrical release. The RED camera will not be right for every project that lies ahead, but for “Balancing The Books,” I think it was the right choice.

James Mathers, President and Cofounder, The Digital Cinema Society

All comments are welcome:Mathers@DigitalCinemaSociety.org

Due to strong user participation and positive feedback, Sony's Media & Application Solutions Division invites DCS members to a new session in their free online series on HD Media and New Digital Formats. They are also offering an encore presentation of “Sony HD Media in Perspective” (Seminar 208) and “How to Protect Your Digital Assets” (Seminar 209). The new and encore seminars are scheduled for February 19th-21st. Please note: these seminars are currently available for PC users only. For complete seminar schedule and signup information, visit: www.sony.com/promedia. www.sony.com/promediaclick here

Friday, February 29, 2008 - Burbank, CA

Doors open at 6:30 p.m., Presentations begin at 7:00 p.m.

You’ve heard the hype...Now see it in the real world. Come join AlphaDogs for a very special Editors’ Lounge all about the RED Camera and how to successfully handle its data all the way through post.

To start the evening off, cinematographer and DCS President James Mathers will be on hand with his RED ONE camera to demonstrate its use. Staff from the Digital Service Station will demonstrate file preparation in REDCINE and REDALERT. Representatives from Apple and Avid will go over proper workflows to streamline the editing process in their respective NLEs. Apple's Roland Wood will show how to polish the edited result in Color. And finally, Lucas Wilson and Tony Cacciarelli from Assimilate will show true native-file DI (up to 4K!) using SCRATCH. There will even be representatives from RED to answer your questions.

Show up at 6:30 PM to mingle and network with your peers; Presentations will begin at 7:00 p.m. As always, the price of admission is to bring the beverage of your choice. They expect a large crowd, so RSVP now at www.editorslounge.comclick here to secure your spot!

The Editor's Lounge is located at 1612 West Olive Ave., Burbank, CA. Phone: 818-729-9262. You must rsvp to attend.

For more information about AlphaDogs, visit: www.alphadogs.tvclick here

The Digital Cinema Society, as participants in the SSG Screening Series, is being treated to a host of free screenings, including many industry premieres, usually followed by a Q&A with the Filmmakers and actors. The legendary Fine Arts Theatre in Beverly Hills is equipped with state-of-the-art film and 2K digital projection available from a variety of playback formats. Special thanks to Michael S. Hall and Bob Nuchow of the Screening Services Group for inviting us to be a part of this year-round, all industry inclusive SSG Screenings Series.

Screening Series Schedule

Dog Days of Summer, Friday, February 22nd @ 7:30 p.m. Screening and Q&A

Cinema Without Borders - Hosts Winning Shorts & Feature from the Palm Springs Film Festival: Soft Sunday February 24th @ 12:30 PM

Oscar Viewing Party Sunday, February 24th, 3PM, On the Big Screen in Hi-Def with D-Cinema

April Moon Saturday, March 8th, 7:30p.m. Screening and Q&A

Extra Ordinary Barry Sunday, March 23rd, 7:30p.m. Feature film screening and Q&A

Title: Star Trek: New Voyages - TO SERVE ALL MY DAYS: A Night in 1969 Saturday, March 29th, 7:30p.m. Red Carpet Premiere Event: Screening and Q&A

Michael Levine - LCO 25th Anniversary seminar on 3 Magic O's Saturday, April 5th, 2:30p.m. Seminar/Talk

Two Tickets To Paradise (Series 1 Year Anniversary) Friday, April 11th, 7:30p.m. Feature Film Screening with Q&A

FINE ARTS THEATRE, 8556 Wilshire Blvd, Beverly Hills, CA 90211 $2.00 Validated Theatre Parking in lower garage level at: 8484 Wilshire Blvd (Flynt Communications building) South-East corner of La Cienega and Wilshire / Validate parking ticket at theater concessions stand - (Volunteers are always needed & welcomed. Receive free parking validation by volunteering)

RESERVE for SSG SCREENING SERIES events at http://screenitfirst.com/ssg/events/list

click here

For more information on the Fine Arts Theatre, the Wilshire Screening Room, and the SSG Screening Series visit: http://www.studioscreenings.com/FATevents.phpclick here

February 20 - 22, 2008 (pre-retreat seminars 2/19) - Rancho Las Palmas Resort & Spa, Rancho Mirage CA. It's time to get plugged in again with FOUR FULL DAYS of the newest and most relevant technology discussions and demonstrations! The HPA Technology Retreat Program is now available at www.hpaonline.com, where you'll also find the full Technology Retreat Conference Schedule, including a presentation by DCS’s James Mathers on the RED One Digital Cinema Camera. For a direct link to the 2008 Program, http://www.hpaonline.com/mc/page.do?sitePageId=59956&orgId=hopaclick here or copy and paste this into your browser:

http://www.hpaonline.com/mc/page.do?sitePageId=59956&orgId=hopa

HD Expo, Los Angeles, March 6, 2008 at the Beverly Hilton Hotel

Focus on future technologies and their impact on today’s productions and content. A gathering of industry leaders to discuss and debate where these technologies are driving the industry. http://www.hdexpo.net click here

March 10 & 11, 2008, Hollywood, CA

The CGAM Conference: For the first time ever, CGI companies, advertising and marketing agencies and corporate executives from around the world will be gathered in one spot. Learn from the most prominent people in the industry; people with their fingers on the pulse of this technology.

At the Renaissance Hollywood Hotel,California.

http://www.cgamconference.comclick here

March 15-16, 2008, Los Angeles, CA.

Join Master trainer and DCS Lifetime Member Steve Wright, a twenty year industry compositing veteran of over sixty motion pictures and author of the definitive book on the subject, Digital Compositing for Film and Video and the just released Compositing Visual Effects: Essentials for the Aspiring Artist, for his Shake for Final Cut Pro 6 class March 15-16, 2008. To find out more and to enroll visit: http://www.weynand.comclick here

The Henry Stewart Road Shows have been designed to introduce companies and individuals to the benefits of Digital Asset Management and Marketing Operations through end user led case studies, with an emphasis on local success stories. Learn from seasoned professionals who have been there, done that and deployed extremely successful business models.

Chicago, IL – March 7th 2008

Atlanta, GA – March 10th 2008

Santa Clara, CA – March 14th 2008

Austin, TX – March 18th 2008

For more details and to register, visit: http://www.damusers.com click here

If you use Final Cut Pro on the job, at home or in your classroom, these three-day hands-on classes will have you using Final Cut Pro 6 like a pro!

Ogden, Utah - February 27-29, 2008

Cullowhee, North Carolina - March 6 - 8, 2008

Los Angeles, CA - March 28-30, 2008

For more information and to enroll visit: http://www.weynand.comclick here

Sony EX-1 Workshop - Wednesday, February 20, 2008 - 9:30am - 11:30am - Chicago, IL

Join the team from Fletcher Chicago Sales and Rental as they explore the SONY EX1 at Fletcher Chicago, 1000 N. North Branch St., Chicago, Illinois

To RSVP for this event, email: seminars@fletch.com and put “RSVP - Chicago - Tapeless Workflow Workshop” in the subject line.

Fletcher Chicago & Fletcher Wisconsin (newly formed) are camera SALES and RENTAL facilities, recognized by Sony and Panasonic as a premier Midwest camera reseller offering education and after-sale support.

For more information, visit: http://www.fletch.com/eventsonyex12.htmlclick here

March 4-5, 2008, Miami, Florida

Media Manufacturing Industry Professionals gather annually at MEDIA-TECH Showcase & Conference to meet one-on-one with technical experts, view live demonstrations, network, get expert advice to specific challenges, find resources and source new products, learn about emerging or changing trends, and to stay on top of every issue surrounding media manufacturing. Mayfair Hotel & Spa, Miami, Florida, USA. http://www.media-tech.net/index.php?id=411click here

March 7-16, 2008, Austin, TX

http://www.sxsw.comclick here

March 10-13, 2008, Las Vegas, Nevada

Now in its 35th year, ShoWest is the most prestigious and longest running convention and trade show exclusively for the cinema exhibition and distribution community. Bally's and Paris Las Vegas

http://www.showest.com/filmexpo/index.jspclick here

March 13-23, 2008 San Francisco, CA

The Center for Asian America Media presents the San Francisco International Asian American Film Festival (SFIAAFF) every March. The SFIAAFF is the nation’s largest showcase for new Asian American and Asian films, annually presenting approximately 130 works in San Francisco, Berkeley and San Jose. Since 1982, the SFIAAFF has been an important launching point for Asian American independent filmmakers as well as a vital source for new Asian cinema. http://festival.asianamericanmedia.orgclick here