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DCS Newsletter


It's hard for us to believe, but we are entering our seventeenth year covering Entertainment Industry technology.  We began in a time before Facebook, iPhones, HDSLR or RED cameras.  HD was still pretty new and no one gave much thought to 4K, 8K, or a transition from celluloid in favor of digital technology.  With the monumental changes we have witnessed, our mission remains to help our members and the Industry at large keep current on technology.  Reviewing and analyzing the previous year’s cinema technology advancements has become an annual ritual for the January edition of the DCS eNewsletter.  It seems important to assess where we stand before the onslaught of many more innovations that are sure to be coming our way at NAB.  In this month's essay, James Mathers looks at the growing cinematography trend toward large sensors and the lenses to cover them.

There is industry news to share, as well as some new streaming from our January 14th event at Sigma, Burbank, Introduction to Field Audio Recording.  And, we are now taking RSVPs for our annual DCS Cinema Lighting Expo, which will return to the IATSE Local 80 stage in Burbank, on Saturday, February 29th.  Details of our events and a code for a comp NAB Exhibits pass follow. Those and many others can also be found in our comprehensive Calendar of Events from the homepage.

Now Streaming: DCS Event Coverage:Introduction to Field Audio Recording

DCS FieldAudioStreamingNewPicsDaniel McCoy, CAS and Noah Mathers share their wealth of experience including tips and tricks to help beginners to know the basics of recording sound on location for movies and TV.

Part Two features Woody Woodhall, CAS, the President of Allied Post Audio and Supervising Sound Editor, Sound-Designer and Re-recording Mixer who gives the post perspective including what is needed for a good sound mix and how to best deliver it.

The event was held on January 14, 2020 at SIGMA in Burbank. Special thanks to our streaming production crew including Producer David Mahlmann, Camera Operators Cameron Cannon and Mitch Gulbin, with Christopher Scott Knell handling Data and Post Prep. James Mathers served as Announcer and Editor.

View the complete coverage here:


Announcing the 2020 DCS Cinema Lighting Expo, Saturday February 29th in Burbank

2020LightingExpoAnnounce2x600Join the Digital Cinema Society for our annual exploration of Motion Picture Lighting and Grip Technology. The event will return to the IATSE Local 80 stage in Burbank on Saturday, February 29th.

We've been holding this event annually for over a decade now, and it gets bigger and better each year.  Although participating manufacturers and special guests are still confirming, we will be sure to have some of the top companies and talent in the business.

Many renowned ASC Cinematographers have joined us over the years to give interviews and/or lighting demos, recently including Russell Carpenter, Michael Goi, Roy Wagner, Robert Yeoman, Bill Bennett, Sam Nicholson, David Stump, and Bruce Logan.

Manufacturers invited to participate include, (in alphabetical order):

AMPAS Sci-Tech Council • Aputure • ARRI • BB&S Lighting • BROKEH Lighting System • Cineo Lighting • Dedolight California • DMG Lumiére • ETC • Fiilex • FilmGear • FLUOTEC • Kino Flo • K 5600 • L.A. Rag House • Light & Motion • LiteGear • Litepanels • Lowel • Luminys • MACCAM • Mole Richardson • Nanlite • Nila • Panasonic • Quasar Science • Rosco Labs • SWIT • The Rag Place • Westcott • Zylight

Time: Saturday, February 29th, Starting at 9:30AM and ending at 5:30PM

Please indicate if you are a DCS member, list "Lighting Expo" in the subject line, and don’t forget to give us your contact details when sending your RSVP e-mail:


Note: If you want to bring a guest, we’ll need their name and email address in order to confirm the RSVP.


NAB 2020 – DCS Code Comp Exhibits Pass

DCS NAB2020 Announce600It's time to start planning for NAB 2020 at the Las Vegas Convention Center, Las Vegas, NV. Conferences run this year from April 18-22, with Exhibits from April 19-22, 2020.  Note that exhibits start on a Sunday this year and run through Wednesday; (Sunday is the new Monday).  DCS members can sign up for both at the following link: https://registration.experientevent.com/shownab201/Flow/ATT/?marketingcode=PR34

For a complimentary Exhibits Hall Pass, use DCS NAB Show code : PR34

Note: Discount codes for conferences and NAB associated events coming soon.


Industry News


CODEX and PIX Brands to unite under X2X Media Group

X2X logo blackCODEX and PIX have announced that the two companies are to be brought under a single unified brand identity with the establishment of the X2X Media Group. This brand consolidation will further strengthen the group’s offerings to the entertainment industry, leveraging the two companies’ reputations for pioneering innovation and engineering strengths under a single umbrella.  While maintaining their strong identities and their independent branding, the new collaboration will ensure creative continuity and reduced project risk by ensuring that ideas are accurately shared, stored, and preserved throughout the entire creative process.  X2X headquarters will remain in San Francisco, while the company expands its engineering operations in Wellington, Odessa, Budapest, London, and Royal Leamington Spa, along with additional sales and support offices in New York and Los Angeles.

NETFLIX Approved Cameras and Specs

Netflix LogoThe following is a link to Netflix's website which details the cameras they approve for content that will run on their site.  They are less strict with documentary programming and projects that were picked up by them for distribution after production.  Generally, however, 90% of the total runtime of a final program should be captured on approved cameras. The cameras listed meet the minimum resolution and capture requirements.  Note that the list is being continually updated as new camera systems come to market and are evaluated. https://partnerhelp.netflixstudios.com/hc/en-us/articles/360000579527-Cameras-and-Image-Capture

Tom Fletcher and Gary Adcock's Year End Update to 2019 Camera Comparison Chart Now On-line

2019CamCompareChartx320Gary Adcock and Tom Fletcher, (current and former Presidents of the Digital Cinema Society Midwest Chapter,) have come out with yet another update to their famous Camera Comparison Chart. It includes cameras that came out at the end of the year including the Canon C500 Mark II, the Sony PXW-FX9, as well as a firmware update for the Sony Venice regarding frame rates.  The information has been gathered from numerous conversations with various cinematographers, colorists, colleagues and manufacturers. The authors stress that this is subjective, rather than scientifically collected and tested data, with the goal of sharing information with the industry in order to help filmmakers make educated decisions on cameras and formats. Details including estimated latitude, frame rates, resolution, weight, rental cost, as well as perceived pluses and minuses are all summarized to two pages.  With the rapid pace of new cameras being released, the authors expect to have a new version coming out on a regular basis.  They can be reached to report discrepancies by email to: cameracomparisonchart

The image in this announcement is a placeholder; to view or bring the complete chart as a PDF visit: www.digitalcinemasociety.org/downloads/2019_CameraComparison%20Chart.pdf


One DPs Perspective

JM Headshot2014Med by James Mathers Cinematographer and Founder of the Digital Cinema Society

2019: The Year of Growing Sensors and the Lenses To Cover Them

SensorsAndLensesToCoverX600Reviewing and analyzing the previous year’s cinema technology advancements has become an annual ritual for the DCS eNewsletter.  Come January, after so many new products have come out in the last year, it seems important to assess where we stand before the onslaught of many more innovations that are sure to be coming our way at NAB.

Although there were important advancements in applying AI technology to post, some new battery technology, and a steady advancement in LED color rendition and form factor, the main thing I want to look at this year is the growing trend toward larger sensors and the lenses that have been created to cover them.  The subject has been on my mind lately, since we are producing a documentary to objectively look at large sensor cinematography.

We plan to look at the benefits, the aesthetic and technical differences, as well as the challenges of shooting these new larger format sensors as compared to S35.  In our quest to be brand agnostic, we are trying to involve all the major manufacturers of new larger sensor cameras, (ARRI, Sony, Canon, Panavision/RED), and we are shooting with the VariCam, so Panasonic won't feel left out.

The format will be a series of interviews with notable Cinematographers and industry experts along with sample shots that demonstrate some of the points being made by comparing various angles of view, focal lengths, apertures, and sensor sizes.  We’ve already begun shooting and collecting interviews including Steve Yedlin, ASC, (Knives Out, Star Wars: Episode VIII – The Last Jedi, Looper), Nancy Schreiber, ASC, (The Nines, Your Friends and Neighbors, The Comeback), Matthew Duclos, of Duclos Lenses, and Lewis Rothenberg, a prominent DIT and President of the ICG, IATSE Local 600.  Many more interviews are planned, but we hope to have it complete by NAB, where a DCS presentation on the subject has been proposed.

AlexaLF FamilyLooking back at 2019, there were quite a few product releases related to large sensor cinematography.  Let's start with ARRI’s latest large sensor offering, the ALEXA Mini LF, which premiered in March of last year, just prior to NAB.  The Mini LF combines the compact size and low weight of the popular ALEXA Mini with the same 4.5K large sensor in the ALEXA LF, which was released the previous year.  This sensor is twice the size and offers twice the resolution of ALEXA cameras in 35 format, slightly bigger than full frame at 4448 x 3096.  This helps to improve the colorimetry and low noise abilities for better High Dynamic Range (HDR) and a wider color gamut.  The Mini LF was ideal for the highly regarded 1917, where Roger Deakins, ASC, needed a smaller camera to be operated on a plethora of mobile rigs in order to appear as one continuous shot throughout the movie, but also one with the color depth and resolution necessary for the visual effects to blend the shots together.

CanonC500 MkII PreIBC2019Just as ARRI released a smaller form factor camera with a large sensor in the Mini LF, so did Canon and Sony, who also each have large sensor full frame cinema cameras. Their flagship cameras, the Canon C700FF and the Sony Venice, have both now been complimented by smaller, (and significantly lower priced models).  Canon’s new C500 Mark II features a 5.9K Full Frame CMOS sensor, user-changeable lens mounts, electronic image stabilization, and internal cinema RAW light recording.  The camera is able to shoot up to 60p, 5.9K and 4K (2K recording at 120p), and is said to achieve 15 stops of dynamic range.  Cinema Raw Light, first introduced in the EOS C200, helps to cut data size to about one-third to one-fifth of a Cinema RAW file, purportedly without losing grading flexibility.

Sony FX9 AnnounceMeanwhile, Sony’s new FX9 is their first small form factor camera to feature a 6K full-frame sensor and Fast Hybrid Auto Focus (AF) system.  Sony has recently combined their professional camera divisions handling higher end Cine Alta Digital Cinema cameras such as the Venice, with the group handling the more budget sensitive, small form factor models such as the FS7, along with their professional mirrorless cameras like the A7 line.  This new camera seems to benefit from mixing some of this DNA.  It combines the high mobility of the FS7, with an advanced AF system you might expect to see on a stills camera, along with a sensor size, color science, and Dual Base ISO inherited from the VENICE.

Panasonic, Sigma, Fujifilm, and Leica all have interesting new large sensor cameras, and although they all shoot at least 4K video, I hesitate to call them cinema cameras.  They are all of the mirrorless variety, and the form factors are closer to what I think of as stills cameras.  The Fujifilm GFX 100 is actually a Medium Format Mirrorless Camera with a 44x33mm, 102 mega pixel sensor.  The extra large sensor allows for up to 5.5 stops of image stabilization.  The Leica SL2 uses Full Frame to achieve 47.3 megapixel and can shoot up to 5K.

SigmaMirrorlessFPThe Sigma fp is advertised as “the world's smallest, lightest mirrorless digital camera with a full-frame sensor”.  The 24.6-megapixel camera has a 35mm full-frame Bayer sensor, and it weighs just 370g (less than a pound without the battery and memory card.)  Sigma is calling the fp a "pocketable full-frame" camera, and at 4.4 x 2.75 x 1.8 inches, it can fit in the palm of your hand. Meanwhile, the Panasonic Lumix S1H camera features a full-frame image sensor capable of recording at 6K/24p, 10-bit video.  The 24.2MP CMOS sensor is said to capture up to 14-stops of dynamic range, with sensitivity from ISO 100-51200.  The S1H also offers Dual Native ISO settings that prioritize either low noise or low sensitivity, Variable Frame Rate (VFR) recording, and V-Log with Hybrid Log Gamma.

BMD Pocket6KWhile not yet reaching into Full Frame territory, Blackmagic Design continues to grow the resolution and sensor size of their cameras.  The URSA Mini Pro G2 now packs a 4.6K S35 sensor, and the Pocket cameras, which started out just a few years ago with a 2.5K 16mm sensor.  The latest version of the Pocket camera now sports a S35 size 6K sensor.

Increasing the size of the sensor can offer significant benefits allowing for increased resolution without giving up dynamic range or color depth, but it can also present some cinematographic challenges.  For one thing, depth of field.  Given the same focal length and f-stop, the angle of view will be wider with the large sensor and the depth of field will be reduced.  While this can be a desired effect, and shallow depth of field is currently a popular trend, it can be a double edged sword, and is not right for every scenario.  I pity the poor focus pullers who must try to hold critical elements in sharp focus with razor thin depth of field.  Luckily, some of the aforementioned large sensor cameras are starting to integrate very sophisticated focus assist features which give them a fighting chance.  The Canon C500 Mk II and the Sony FX9 have both borrowed heavily from their stills lens technology to offer these features, but it means the lenses must be outfitted for electronic operation which most traditional cine lenses are not.

Another benefit I have mixed feelings about is the ability to crop and reframe.  While this can be helpful for stabilization and to fix image problems, as a cinematographer, I hate to think of my shots being randomly reframed during post.  Framing is a critical tool we use for visual expression and should not be manipulated after the fact without the cinematographer's input.

Larger sensors create the need for lenses to cover a greater image area.  With 35mm as the industry standard for over a century, most of the cinematography lenses built over the years conformed to this standard.  Now, unable to fully cover the image area of these new larger sensors results in vignetting.  This is seen as darkness creeping into the edges of the frame, which can be quite severe on wider angle lenses leading to an effect as if you are looking through a port hole.

While these new cameras have the ability to “window down” and use a smaller area of the sensor, most users want to take advantage of the full size of the sensor which has created a great demand for new lenses.  While it is a very good time to be a cine lens manufacturer, it has been a challenging time for the owners of traditional lenses.  Many, like myself, seeing how quickly digital cameras were becoming obsolete, invested heavily in lenses as a safe harbor.  While still performing well on many popular cameras, their value has been diminished with the trend toward larger sensors.

Tokina PL PL 600xThe physics of lens construction generally requires lenses that cover a larger image area to be slower with smaller maximum apertures.  They also tend to be physically larger, especially the zooms.  Many manufacturers have stepped up in the last year to meet the demand.  After the Mini LF, ARRI’s Signature Prime lenses were probably their most important product release of 2019, (although the Orbiter LED also deserves a lot of attention).  There are 16 lenses ranging from 12 mm to 280 mm sharing a common T-Stop of T1.8.  They also created the new LPL lens mount and a PL-to-LPL adapter in order to allow the use of legacy lenses.

Zeiss has actually been making most of their lenses capable of covering larger sensors for quite some time.  Three generations of their CP, (for Compact Prime,) lenses have been delivering high quality at affordable prices.  The CP.2 and CP.3 generations offered advanced lens metadata capabilities as an added feature.  They have also had an even higher end of Full-Frame and Metadata capable lenses known as the Supreme Primes.  The set consists of 13 primes from 15mm to 200mm all at T2.1.

ZeissSupremeRadianceLensesLate last year, they released yet another line, the Supreme Prime Radiance lenses with even more capabilities.  This set of seven high-end cinematography lenses is based on the high-speed ZEISS Supreme Prime lens family with the benefit of the new T blue coating.  This special coating is said to offer a distinctive look with consistent flares across all focal lengths.  The Supreme Radiance Primes are available as a set of seven focal lengths of between 21 and 100 millimeters, all with a maximum aperture of T1.5.  They feature a common front diameter of 95 millimeters and weigh in at only a little over 3 lbs. on average.

Canon is another company that came out with new large sensor primes that has been making full frame lenses for quite some time, and not just for stills.  They are much sought after today even though they are no longer in production.  Known as K-35 lenses, they covered full frame and date back to the 1970’s.  They even won an Academy Award in 1976, and have been used on such films as Aliens (1986) and American Hustle (2013).  At NAB 2019 Canon introduced a new set of seven cinema prime PL-Mount lenses named Sumire, (pronounced  “Soo-mee-ray,”.)   They cover full frame and are designed to create an artistically pleasing optical quality that increases as the lens aperture approaches its maximum setting, (wide open).  The 7 lens set from 14mm to 135mm features an 11-bladed iris and interchangeable lens mount for either EF or PL with stops ranging from T1.3 to 3.1.

Cooke s7i GroupShotSeveral other companies have also been releasing full frame capable prime lenses at a variety of price points.  Sigma and Tokina each hit a nice balance between price and quality and have been regularly adding to their portfolios over the last couple of years.  Cooke Optics also keeps adding to its S7/i Full Frame Plus series with 13 lenses from 16mm to180mm, all with T2.0 aperture coverage for Full Frame, (and slightly beyond, which accounts for the "Plus" added to the name).  Leitz has likewise been adding to its Summicron and Thalia lines of prime lenses, but their bigger news last year was the introduction of two new zooms, a wide 25-75mm and a 55-125mm with a T2.8 aperture and no ramping.

FujinonPremistaZoomsOne of the highlights of NAB 2019 was the release of Fujinon’s two new full frame zooms known as Premista, a 28-100mmT2.9 and a Premista 80-250mm T2.9-3.5.  Both lenses cover a 46.3mm image circle, which handles all the large format digital cinema cameras available for purchase.  The engineering necessary to maintain high quality and cover a large image circle at a stop that starts at T2.9 is complicated and I was figuring these new lenses would be extremely pricey, but Fujinon has managed to keep them in the same sub-$40K price range of the original Cabrios.

Optimo Prime 10 SetSince Primes are easier to make, most companies start there and move into zooms later, but Angenieux went the other way around.  They have been longtime manufacturers of high quality zooms, and came up with a unique system for changing the rear elements of some of them to allow coverage all the way up to a 46.3 image circle.  As with expander systems there is some loss of exposure converting to full frame coverage, but it is a good way to give lens owners versatility to use their gear on a wider range of cameras.  Last year, however, they introduced a set of Optimo Primes.  The 12-lens set spans 18mm to 200mm, most with a T1.8 stop and full frame coverage; (the 18mm is T2.0 and the 200mm is T2.2.).  The lens mounts are interchangeable between LPL, XPL, PL, Canon EF, Nikon F and Panavision XL; again a nice option for versatility.  What is really unique is an exchangeable iris assembly, allowing the cinematographer to choose a 3, 6 or 9-bladed iris for a variety of bokehs of different shapes, colors, and sizes.

MasterAna 500x282Lastly, I want to talk about Anamorphic lenses, which to me is one of the best reasons to shoot with a full frame sensor.  Traditional anamorphic lenses were designed to squeeze a 2:40 aspect ratio image onto a 35mm size 4:3 sensor, (actually a film gate).  However, 35mm digital cameras, (with the exception of the ARRI ALEXA Open Gate), were closer to a 16:9 aspect ratio sensor.  Using this kind of lens on a S35 16:9 sensor causes a great deal of loss to the available sensor area on the sides of the frame.  However, using that same lens on a full frame, 4:3 sensor allows the full coverage of the lens to be captured.  There is still some loss of pixel area, but you are using much more of the sensor than you could on a S35 size digital sensor because the aspect ratio is similar.  Remember that the sensor is also much larger, enough to capture 4K in anamorphic.  This has become a popular method to get a 2:1 squeeze and maintain 4K for a release that is approved by Netflix.

Now Cooke has taken it further, at least with their primes.  They have created a line of Anamorphic primes allowing a 1.8 squeeze to take advantage of as much of the full frame sensor as possible.  They range in focal lengths from 32mm to 180mm with a common T2.3 stop and all cover a full frame 36mm x 24mm sensor.

Evo set CroppedP + S Technik’s TECHNOVISION Classic 1.5X series also covers Full Frame format (36 x 24mm) with a 43mm image circle.  With a 1.5X squeeze it will not give you the maximum anamorphic effect, but it can be a good choice if you desire the anamorphic look and want to maximize the whole use of the camera sensor.  I personally had a good experience shooting with these lenses, allowing a more subtle anamorphic look that I find quite pleasing.

As you can see, there is a lot of new gear to assess in the realm of large sensor cinematography and new avenues for visual storytelling are opening up.  That, of course, is a good thing, but not every project needs, or would benefit by employing, these tools.  Like any new cinematic technique, it will probably be a bit overused until the thrill wears off.  We’re bound to see more soft focus as we did when the ability to shoot movies on DSLRs emerged.  We saw the kind of cycle decades ago when the zoom lens first hit the market, and to some extent again when narrow shutters and shaky-cam were the fashion of the day for covering action scenes.

Let's try to let the story drive our choice of the tools and techniques we use, rather than rush to new technology just to follow a latest trend. In any case, I’ll continue to report on cinematic innovation, but not without offering some critical analysis.  Just because you can use a new tool or technique doesn’t always mean that you should.

Spotlight On Lifetime Members

RenEgawaRen Egawa is the Chief Executive Officer of Rexcel Group, a Philadelphia-based video and IoT technology strategy and engineering firm founded in 2005. Rexcel’s specialties are two-fold: (a) propose and plan cutting-edge technologies for Rexcel’s clients to commercialize innovative products and services, (b) manage global software development, engineering and manufacturing team to reach commercialization timely. Rexcel is widely considered as an Innovation Driver among its clients which include major international telecommunication providers, broadcasters and electronics brands.

Renewing Your Membership and Supporting DCS

We count on your dues and contributions to continue our mission and maintain our services to members. So, if your membership has expired, or you simply want to show your support of our effects, please take a few minutes to send a donation. Membership is available at the $50 annual level or $300.00 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 – $50.00US:  https://paypal.me/digitalcinemasociety/50 Paypal Lifetime Renewal Link – $300.00US: https://paypal.me/digitalcinemasociety/300 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. ** Student and Complimentary memberships do not include a membership card.

Spotlight on "Friends of DCS"

DCS Welcomes Lectrosonics as a New Friend of DCS

LectroCroppedLectrosonics is a U.S. manufacturer located in the city of Rio Rancho in the heart of New Mexico. With a continued focus on quality and innovation since 1971, Lectrosonics is well respected within the film, broadcast, music, and theater technical communities. The company has a strong history of delivering products that satisfy the most stringent requirements for quality wireless technology with excellent customer support and service. In 2017, Lectrosonics received an Academy Scientific and Technical Award for the Digital Hybrid Wireless® technology used in the production of most major motion pictures. For more information visit: https://www.lectrosonics.com/


As always, we want to send out a big thanks to all "Friends of 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: AbelCine – ACES – Adobe – Adorama – AJA – Angénieux – Anton/Bauer – ARRI – Avid – BB&S Lighting – Band Pro – Birns and Sawyer – Blackmagic Design – BlockBattery – Canon – Cineo Lighting – Cinnafilm – Codex – Cooke Optics – Core SWX – Dadco/SunRay – Dedolight California – DigitalFilm Tree –  Fiilex – FLUOTEC – FootageBank – Fujinon –  J.L. Fisher – K 5600 – Kino Flo – Lectrosonics – Leitz Cine Wetzlar – Light & Motion – LiteGear – Litepanels – Luminys – MacSales – MACCAM – Mole-Richardson – Nila – OConnor – OWC – Panasonic – Panasonic Lumix – Panavision – P+S Technik – Rosco – Sachtler – Schneider Optics – SIGMA – SIM Digital – SmallHD – Sony – Teradek – Quasar Science – The Rag Place – The Studio-B&H – Tiffen – Tokina Cinema – Vision Research – Westcott – Zeiss – ZGC – Zylight



Trade/Craft – New Entertainment Trade School Offers DCS Member Discount

TradeCraftLogoTrade/Craft offers select courses in highly specialized disciplines taught by industry leaders in intensive 6 or 8 week programs. Instead of a generalized film school approach, students will be given the tools they need to advance their careers and be prepared to step into in-demand entertainment industry jobs. Planned courses include: Post-Production • Visual Effects Producing • On-Set Visual Effects Supervision •  Assistant Editing • Episodic Picture Editing • Visual Effects Editor • Sound Editing • Colorist.

Trade/Craft is currently offering a $500 tuition discount for DCS members. For more information and to register, visit:   https://tradecraftschool.com/

DCS members in good standing can also receive significant discounts on products and services from companies including: The Camera Division Design Lab - Raleigh Studios Screening Services - LensProToGo – Final Draft – Wooden Camera – SimpleDCP – Zacuto – IMDBpro – DECKHAND Camera Rental – Tek Media Electronic Repair – AbelCine – BB&S Lighting – Kit & Kaboodle Craft Service – Birns & Sawyer – NightSky Web Hosting – American Cinematheque – ProductionHub. And if your company would like to offer your fellow members meaningful discounts on products or services, let us know and we’ll consider adding your offer to the page. Visit the DCS Member Discount page for all the details: www.digitalcinemasociety.org/member-discounts



The large number of listings and hyperlinks in our full Calendar of Events causes many e-mail servers to reject our eNewsletter. So, for a complete calendar of upcoming industry event listings for both the U.S. and International, please visit the Events Calendar on the DCS Homepage at:  www.digitalcinemasociety.org/events-calendar
Follow DCS on Facebook, Twitter and Instagram. 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 On Instagram at: digitalcinemasociety


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