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CALEB DESCHANEL TO RECEIVE ASC LIFETIME ACHIVIEMENT AWARD

LOS ANGELES, November 2, 2009 -

Caleb Deschanel, ASC will receive the American Society of Cinematographers (ASC) Lifetime Achievement Award. He will be feted by his peers at the 24th Annual ASC Outstanding Achievement Awards celebration here on February 27, 2010, at the Hyatt Regency Century Plaza Hotel.

"Caleb Deschanel is an extraordinarily talented cinematographer who has played an influential role in cinema history, and driven artistic excellence in contemporary filmmaking," says ASC President Michael Goi. "For him to receive this honor while still at the top of his field shows the profound influence and respect he has among his peers. His innovative cinematography is inspiring. We look forward to seeing what is yet to come in his work."

Deschanel earned Oscar® nominations for The Right Stuff in 1984, The Natural in 1985, Fly Away Home in 1997, The Patriot in 2001, and The Passion of the Christ in 2005. His body of work includes such memorable films as The Black Stallion, Being There, The Spiderwick Chronicles and My Sister's Keeper. Deschanel has also earned an array of credits as a director of motion pictures and television programs.

"Caleb is still on the cutting edge of his remarkable career," says Richard Crudo, ASC, who chairs the organization's Awards Committee. "He has shot and directed documentaries and many commercials in addition to wonderful narrative films. Every one of his endeavors has been an exercise in exploring a new frontier."

Deschanel joins a cast of legendary cinematographers who were previous recipients of this recognition, including George Folsey, ASC, Joseph Biroc, ASC, Stanley Cortez, ASC, Charles Lang, Jr. ASC, Phil Lathrop, ASC, Haskell Wexler, ASC, Conrad L. Hall, ASC, Gordon Willis, ASC, Sven Nykvist, ASC, Owen Roizman, ASC, Victor Kemper, ASC, Vilmos Zsigmond, ASC, William A. Fraker, ASC, BSC, Vittorio Storaro, AC, AIC, Laszlo Kovacs, ASC, Bill Butler, ASC, Michael Chapman, ASC, Fred Koenenkamp, ASC, Richard Kline, ASC, Allen Daviau, ASC, Stephen Burum, ASC and Jack Green, ASC.

Deschanel blazed a non-traditional career path. He was born in Philadelphia. His family moved to Annapolis, Maryland, when he was 11 years old. Deschanel began experimenting with picture-taking when he received a Brownie Hawkeye camera as a birthday gift that year. He was a photographer for the school newspaper, and yearbook at Johns Hopkins University. During the summer following his freshman year, Deschanel took still photographs for record album covers and catalogs.

His interest in motion pictures was sparked by a French New Wave film festival organized by one of his instructors at Johns Hopkins. Fellow students encouraged Deschanel to enroll in the film studies program at the University of Southern California (USC) in 1967. By then, he was shooting 16 mm educational films. After graduation, Deschanel earned a fellowship at the American Film Institute (AFI).

He sought out mentors who weren't on the faculty, including Wexler, who encouraged him to experiment with shooting black-and-white film, and Willis, with whom he apprenticed for six weeks in New York. After graduation, Deschanel was living in Venice, California, making a living shooting educational films. One of his neighbors, Carroll Ballard, was directing films for the same company.

Deschanel collaborated with Ballard on the production of The Black Stallion, which was released to cinemas in 1979. Francis Ford Coppola was the executive producer. Deschanel took his first turn at the helm on a feature length film when he directed The Escape Artist, a 1982 release, produced by Coppola, Fred Roos and Doug Claybourne.

"One of the lessons I have learned is that the magic happens when a cinematographer develops and executes a visual style that compliments the director's vision for the story," Deschanel says. "I am learning every time I shoot a frame of film. When I'm not learning, I will know it's time to quit. I didn't get involved in filmmaking just as entertainment. Movies can inspire us to be better human beings."

Filmmaking is a family affair. His wife Mary Jo Deschane l and daughters Emily and Zooey Deschanel are successful actresses.

The ASC was chartered in January 1919. There are more than 300 active members of ASC, and 150-plus associate members from sectors of the industry that support the art and craft of filmmaking. Membership and associate membership is by invitation based on contributions that individuals have made to advance the art of visual storytelling.

FRANCIS FORD COPPOLA INTRODUCES "TETRO"

THE SOCIETY OF CAMERA OPERATORS

The principal purpose of the SOC is to recognize and nurture excellence in the field of camera operation and, secondarily, in the allied camera crafts, and to encourage development of both technology and production methods which will help our members achieve that excellence. The Society sponsors an annual Lifetime Achievement Awards banquet honoring outstanding camera personages and their accomplishments in, and contributions to, the cinematic media. Also given are Technical Achievement Awards which are presented to the Corporate Community for technological advancements, honoring innovations benefiting the art and craft of camera operating. Because the members of the SOC make their living with their eyesight, they take pride in supporting the Vision Center at Childrens Hospital Los Angeles with annual donations which helps underwrite contact lenses for infants with serious sight problems. Active Membership in the Society is open to Camera Operators. Associate Membership is open to Directors of Photography, Camera Assistants and Still Photographers. Corporate Affilliate Membership is extended to participating corporations. Membership is open to qualified persons of any nationality.

THE AMERICAN SOCIETY OF CINEMATOGRAPHERS

The American Society of Cinematographers is a non-profit association dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography; it accomplishes this by publishing the internationally renowned magazine American Cinematographer and the venerable American Cinematographer Manual, through seminars at schools and industry events, and via one-on-one mentoring. ASC members volunteer their time for such activities.

INTERNATIONAL CINEMATOGRAPHERS GUILD

The International Cinematographers Guild represents the most talented camera professionals in the world. The technicians and artisans in our union are the creators of the visual images on the big screen, the television screen and - as we move into the 21st century - our computer screen. That's why we're so excited about offering this site to our members, everyone in our industry and to people everywhere who want to know more about what we do. International Cinematographers Guild members - Directors of Photography, Camera Operators and Assistants, Computer Graphics Specialists, Visual Effects Supervisors, Still Photographers and more - are part of the International Alliance of Theatrical Stage Employees. The IATSE is comprised of highly skilled technicians working in film, television, live entertainment, animation, special effects and new media.

THE BRITISH SOCIETY OF CINEMATOGRAPHY

THE BSC VISITED HOLLYWOOD

The BSC and ASC got together for a weekend and presented two great panels at CINEGEAR Expo 2009.

Members of the British Society of Cinematographers discussed a comprehensive evaluation comparing images produced with 18 different digital cameras and film stocks in Super 16 and Super 35 formats. This project is an update of a previous evaluation produced by BSC members in 2007.

The purpose of this ambitious endeavor was to provide objective visual references and factual information to help guide decisions about the choice of media for the production of narrative motion picture and television programs.

The evaluation included day and night, interior and exterior scenes and close-up shots that were produced at Pinewood Studios in February. The images are in the process of being taken through a state of the art postproduction workflow for projection in both film and digital formats. The BSC will show and discuss results of the evaluation at the British Film Institute on July 8th .

Panelists:
Sue Gibson, BSC President
Joe Dunton BSC
John Daly BSC
Martin Hammond,Producer
Curtis Clark ASC
Steven Poster ASC
Richard Crudo ASC
Nic Morris, BSC Board of Governors

Moderated by Bob Fisher

Dialogue with ASC and BSC Cinematographers

This year marked the 90th and the 60th respective anniversaries of the American Society of Cinematographers and the British Society of Cinematographers. On this historic occasion, members of both organizations engaged in a dialogue about the past and present and share their visions for the future of the art form.

ASC was founded in 1919 during the dawn of the motion picture industry when black and white film was hand cranked through cameras. There was no sound for another 10 years. The 15 charter members literally invented a new language for telling stories with moving images.

BSC was founded by 55 charter members in 1949 when television was offering the public a tempting stay-at-home alternative to the cinema. BSC members were on the cutting edge of re-inventing the movie-going experience.

The discussion explored the lessons of the past, and the role cinematographers must play in defining the future of the art form.

Moderated by George Spiro Dibie, ASC and Sue Gibson, BSC President.

Panelists include:
Owen Roizman, ASC
John Daly, BSC
Daryn Okada, ASC President
Richard Crudo, ASC
Oliver Curtis, BSC
Dick Pope, BSC
Allen Daviau, ASC
Joe Dunton, BSC
Michael Goi, ASC
Phil Meheux, BSC
Nancy Schreiber, ASC
Nic Morris, BSC
(Panelists subject to availability)

ACADEMY OF MOTION PICTURE ARTS AND SCIENCE PRESENTS: The Astronaut as Filmmaker

The Academy’s Science and Technology Council presents “Astronaut as Filmmaker.” Hosted by Caleb Deschanel and John Dykstra, featuring Shuttle Commander Scott Altman and the STS-125 Shuttle Crew. Hosted by Oscar®-nominated cinematographer Caleb Deschanel (“The Right Stuff”) and Oscar-winning visual effects supervisor John Dykstra (“Star Wars”), “Astronaut as Filmmaker” explores the close-knit relationship between NASA and motion pictures. The presentation will feature astronauts, including Commander Scott Altman, who recently returned from the STS-125 shuttle mission to the Hubble Space Telescope. They will talk about the challenges and revelations of filming in outer space. The shuttle’s crew was trained at NASA’s Johnson Space Center in Houston to operate the digital and IMAX 3D cameras used to film the historic Hubble servicing mission, considered by many to be some of the most challenging work ever undertaken in space. The evening will include clips and conversation with the astronauts, along with other special guests.

Kodak Will Retire Kodachrome, Its Oldest Color Film Stock

The Eastman Kodak Company announced Monday it would retire Kodachrome, its oldest film stock, because of declining customer demand in a digital age. It was the world’s first commercially successful color film, immortalized in Mr. Simon’s song in 1973: “They give us those nice bright colors. They give us the greens of summers. Makes you think all the world’s a sunny day. ... So, Mama, don’t take my Kodachrome away.” It enjoyed its heyday in the 1950s and ’60s, but in recent years sales have dropped to just a fraction of 1 percent of the company’s total sales of still-picture films. “It really has become kind of an icon,” said Mary Jane Hellyar, the departing president of Kodak’s Film, Photofinishing and Entertainment Group. The company, which is based in Rochester, now gets about 70 percent of its revenue from its digital business, but plans to stay in the film business “as far into the future as possible,” Ms. Hellyar said. Kodak has seven new professional still films and several new motion picture films introduced in the last few years. Kodachrome was favored by still and movie photographers for its rich but realistic tones, vibrant colors and durability. It was the basis not only for countless family slide shows but also for world-renowned images, including Abraham Zapruder’s 8-millimeter reel of President John F. Kennedy’s assassination on Nov. 22, 1963. The widely recognized portrait of an Afghan refugee girl that appeared on the cover of National Geographic in 1985, taken by Steve McCurry, was shot on Kodachrome. At Kodak’s request, Mr. McCurry will shoot one of the last rolls of Kodachrome film and donate the images to the George Eastman House museum in Rochester, which honors the company’s founder. Unlike any other color film, Kodachrome, introduced 74 years ago, is purely black and white when exposed. The three primary colors that mix to form the spectrum are added in three development steps rather than built into its layers. Because of the complexity, only Dwayne’s Photo, in Parsons, Kan., still processes Kodachrome film. The lab has agreed to continue through 2010, Kodak said.

SOC FEATURE FILM NOMINEES

Will Arnot, SOC (Milk)
Stephen Campanelli, SOC
(The Changeling)
Robert Gorelick, SOC
Camera Operator of Year Award
(The Dark Knight)
Kim Marks
(The Curious Case Of B. Button)
Martin Schaer
(Eagle Eye)
These five camera operators are the finalists in the feature film category of the 23rd Annual Society of Camera Operators (SOC) Lifetime Achievement Awards Camera Operator of the Year competition.
The winner will be decided by voting from the active members of the SOC. The recipient will be named during the awards celebration at the Leonard Goldenson Theater of the
Academy of Television Arts and Sciences on February 21, 2009.
“The Camera Operator of the Year award enables our peers and the industry to recognize the importance of the Camera Operator to the success of a film,” says SOC Past President and Awards Event Producer David Frederick, SOC. “Camera Operators have long been a quiet force behind the lens and make critical contributions to the D.P and the Director.”
The Curious Case of B. Button and The Dark Knight are also nominated this year for Cinematography Achievement awards by the ASC for their Directors of Photography.
Read about the winners below and check out the video. Click ON DEMAND for playlist

Ang Lee's film Taking Woodstock, a big-screen adaptation of the memoir of Elliot Tiber, who played a role in helping the historic 1969 music fest unfold on his neighbor's farm, will make its world debut in competition at this year's Cannes Film Festival in May, before officially opening in the United States on August 14. Click ON-DEMAND and reminisce the free spirited Summer of Love. Release the hippie inside of you watching original Woodstock 69' footage. Stills, Nash & Young. Santana. Canned Heat. Peace Bro!

DO NOT MISS IT! WEDNESDAY, SEPT 30 2009 at 7:00PM

Cinema Innovation Nights (Cinners), Wednesday, Sept 30 2009 at 7:00pm foster and support ideas to advance innovation in the film and video production industry. Cinema Innovation Nights are for inventors and innovators in the various cinema arts and sciences, who are looking to explore, share, and advance their innovative ideas into tomorrow’s business successes. Cinners nights provide opportunities for inventors to present their ideas to their peers and industry leaders in an informal and supportive environment. Tell Tom you learned about CINNERS reading FILMCASTLive!

TRICKS OF THE TRADE FROM THE AMERICAN SOCIETY OF CINEMATOGRAPHERS

Roger Deakins, BSC, ASC

'Gag' lights form an ever increasing part of the package which follows me from film to film. At least one new variation is added on each production and The Big Lebowski was no exception.

Imagine a scene between three characters in a large darkened room where one character sits in a wheelchair facing the only source of light--a small fire in an equally small fireplace. All the coverage of this character would include the fire.

For a sense of naturalism, I needed to hide my own lighting units within a very small space to one side or another of the real fire, depending on the camera position. I needed a physically flat light source which would also project its light into the room. Even a Tota light was too big and unwieldy.

My new gags (I made three of these) consist of six double end 2K bulbs mounted on an 8" x 14" piece of aluminum--simply blonde bulbs and holders which together with the cabling have a depth of less than 2".

The units were hidden next to the real fire, flush against the side of the chimney. Each pair of bulbs were patched through a flicker generator and dimmed down to about 50 volts to simulate the correct color of firelight.

The new gags will stay on the truck from now on--ready for the next small fireplace. But I am sure they could well be brought out to solve some other, very different, problem.

TRICKS OF THE TRADE FROM THE AMERICAN SOCIETY OF CINEMATOGRAPHERS

Russell Carpenter, ASC

On the production of Titanic, there were several sequences which took place in narrow corridors representing the bowels of the ship. The action was frenetic and the camera was often on the move, a steadicam which followed or preceded the actors at quite close quarters. These corridors were lit with practicals, but often the action would stop quite quickly and it was important that the actors, especially Kate Winslet, be modeled well.

Our solution was to mount a 4' single kinoflo (without it's harness) onto a lightweight pole (like a soundman's boom pole or a plastic mop handle) with the ballast taped to the opposite end to counterbalance the weight. An agile electrician would then follow or precede the camera and when the actors stopped he would finesse the light into position. The broad source at fairly close proximity created a very beautiful modeling and more than adequate eyelight . We would tape off one side of the 4' kino completely so that the light didn't play on the wall where it shouldn't. We even taped out portions of the light which faced the actor to get the appropriate wrap to the face or balance to the rest of the scene.

If we needed an additional 'mobile' eyelight or edge light we could sometimes maneuver a handheld Xenon flashlight with a miniature cardboard snoot on it which we diffused with 216 or some other material.

KODAK CINEMATOGRAPHER'S FIELD GUIDE (pdf)

Wratten-Conversion Filters for Color Films

These filters are intended for use
whenever significant changes in
the color temperature of the
illumination are required (for
example, daylight to artificial light).
The filter may be positioned
between the light source and other
elements of the system or over the
camera lens.
*These values are approximate.
Check critical work accurately,
especially ifyou use more than
one filter.

WRATTEN FILTER
Filter Exposure Increase Conversion
Color Number In Stops in Degrees K
80A 2 3200 to 5500
Blue
80B 1 2/3 3400 to 5500
80C 1 3800 to 5500
80D 1/3 4200 to 5500
85C 1/3 5500 to 3800
85 2/3 5500 to 3400
85N3 1 2/3 5500 to 3400
Amber
85N6 2 2/3 5500 to 3400
85N9 3 2/3 5500 to 3400
85B 2/3 5500 to 3200
85BN3 1 2/3 5500 to 3200
85BN6 2 2/3 5500 to 3200

ESTIMATING LUMINANCE AND ILLUMINANCE WITH AN 18% GRAY CARD

Strictly speaking, "light" is the name given to electromagnetic radiation that can evoke a human visual response. Meters that measure the brightness of a surface (luminance) or the amount of light incident on a test area (illuminance) are designed to match as nearly as possible the spectral response of the average human eye.

Photographic exposure meters also respond to light, but the spectral response of such meters never matches the spectral sensitivity of any photographic film or the spectral response to the human eye. In fact, an imperfect spectral match with representative films can actually increase the probability of making correct exposure determinations.

As a matter of convenience, exposure meters are calibrated during manufacture in photometric (i.e., visual) terms with light of a particular color temperature. Other test conditions and calibration constants are selected to optimize exposure determinations for a variety of film types and a wide range of photographic situations. Unless such meters are fitted with an accessory converter (offered by some meter manufacturers), they will generally provide an accurate indication of luminance or illuminance only when the actual conditions are close to those used during calibration.

In the absence of a properly designed and carefully calibrated light meter or an adapter intended to convert an exposure meter into a light meter, you can estimate luminance or illuminance values with a reflection type exposure meter and an 18% neutral test card; such as a Kodak Gray Card.

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LIGHTING MASTER CLASS with GEORGE SPIRO DIBIE, ASC @ DIGITAL VIDEO EXPO, WED. SEPT 23 2009, 11AM.

As a leading director of photography working in network television productions, George Spiro Dibie broke all the rules. In doing so, he earned five Emmy Awards and seven additional nominations for multi-camera, episodic television series between 1985 and 1998. His award-winning programs were Mr. Belvedere (1985), Growing Pains (1987 and 1991), Just the Ten of Us (1990) and Sister, Sister (1995). The other nominations were for Night Court (1986 and 1988), Growing Pains (1992), Dudley (1993) and Sister, Sister (1996, 1997, and 1998). Dibie also worked on six television series that broke the magic 100-episode barrier, beginning with Barney Miller (1975-83). He also shot every Warner Bros. pilot for multi-camera series over a 10-year span, including My Sister Sam, Head of the Class, Murphy Brown, Driving Miss Daisy and The Trouble With Larry. Over his career, Dibie compiled between nearly 2,000 hours of situation-comedy credits on primetime television. He also shot more than 60 TV movies. The former president of International Cinematographers Guild Local 600, Dibie is currently the chairman of the American Society of Cinematographers' Education Committee. The Master Classes In Lighting sessions will be led by veteran director of photography George Spiro Dibie, ASC. Each will feature different top cinematographers, who will show clips from favorite projects and then discuss how the lighting was accomplished. They will then take questions from the audience at hand. Dibie will serve as the host and moderator for all four sessions. The classes will be FREE to all Expo attendees and take place in the DVE Center Stage. This year, for Digital Video Expo 2009, Dibie has plotted out an entirely new program of ASC speakers to discuss the art of lighting, including: Daniel Pearl, Johnny E. Jensen, Isidore Mankofsky, Don M. Morgan, David Darbey, Denis Lenoir, Roberto Schaefer and Anthony R. Palmieri, and Michael Goi, who is the current President of the ASC.*

CREATEASPHERE & HD EXPO EVENTS

Upcoming Events:
SAVE THE DATE: HD EXPO Los Angeles
November 4-5, 2009
Burbank Marriott, Burbank, CA

Jeffrey Silver, "Tron Legacy" Producer To Keynote 3D Day at HD EXPO - Createasphere
Sponsored by The Science and Entertainment Industry Exchange.

Jeffrey Silver, one of the industry's most respected and prolific producers, will Keynote HD EXPO - Createasphere on November 5, 2009 in Burbank, California. Mr. Silver is currently at work on "Tron Legacy," the highly anticipated 3D release slated for 2010. He has produced over 30 feature films, including "Terminator Salvation," "300," and "Training Day," and is a founding partner of Outlaw Productions and Biscayne Pictures. Mr. Silver is a DGA and Emmy Award winning producer for his work on "Wonder Years."

CALLING ALL GEAR-HEADS! We heard your request for a place to view the newest in cranes, dollies, rigs, lighting and more. So we created Gear Alley - an extension of HD EXPO - Createasphere 2009 where you can learn about the equipment you need to get that critical shot. Located outside of the Burbank Marriott Convention Center, Gear Alley allows you to roll your sleeves up with hands-on demonstrations of the latest in broadcast equipment.

VENEZIA 66

The four Surprise films are directed by Hana Makhmalbaf, Joe Dante, Peter Greenaway and Angela Ismailos.
The titles of the two world premiere Surprise Films, at the 66th Venice International Film Festival (September 2-12 2009), which had been announced for the Out of Competition and Orizzonti sections, can now be revealed.

The Surprise Film screened in world premiere in the Out of Competition section is Ruzhaye Sabz (Green Days), the newest film by Hana Makhmalbaf – the youngest member (21 years old) of the famous Iranian family of directors – who made her debut in 2003 in Venice at the young age of 15 with her first film Joy of Madness (Lezate Divanegi). Ruzhaye Sabz (Green Days) alternates documentary parts (“on the scene” documentaries of the development of the social uprising), with fictional parts on the condition of women in Iran. A “sociological” film in which the “camera works like a mirror to show you Iranian society undergoing a revolution with all its hopes and doubts” (Hana Makhmalbaf).

In the Orizzonti section, the Surprise Film (international premiere) is The Movie Orgy-Ultimate Version by Joe Dante, the new 280’ version of the “cult” compilation film – a passionate tribute to the B-movies of the 1950s and 1960s – made by the director in 1968 when he was a college student, with film clips, trailers and footage from TV programs (it originally lasted 7 hours).

The program of the 66th Venice International Film Festival is enriched by two new films, also in their world premiere screenings: The Marriage by Peter Greenaway (Orizzonti Eventi) dedicated to Veronese’s paintings “The Wedding at Cana”, recently explored by the director in the performance “The Wedding at Cana. A Vision by Peter Greenaway”; and Great Directors (Orizzonti Eventi), the debut film by the director of Greek descent (who lives and works in New York) Angela Ismailos, dedicated to the protagonists of modern and contemporary cinema Bernardo Bertolucci, Catherine Breillat, Liliana Cavani, Stephen Frears, Todd Haynes, Richard Linklater, Ken Loach, David Lynch, John Sayles and Agnès Varda. The film will be accompanied in Venice by Todd Haynes, Richard Linklater and John Sayles.

VENEZIA 66
International competition of feature films, presented as world premieres
FATIH AKIN - SOUL KITCHEN Germany, 99'
Adam Bousdoukos, Moritz Bleibtreu, Birol Uenel
GIUSEPPE CAPOTONDI - LA DOPPIA ORA Italy, 95'
Ksenia Rappoport, Filippo Timi, Giorgio Colangeli
POU-SOI CHEANG - YI NGOI (ACCIDENT)
China - Hong Kong, 89'
Louis Koo, Richie Jen, Michelle Ye
PATRICE CHÉREAU - PERSÉCUTION France, 100'
Romain Duris, Charlotte Gainsbourg, Jean Hugues Anglade, Alex Descas
FRANCESCA COMENCINI - LO SPAZIO BIANCO Italy, 96'
Margherita Buy, Guido Caprino, Salvatore Cantalupo
CLAIRE DENIS - WHITE MATERIAL France, 100'
Isabelle Huppert, Nicolas Duvauchelle, Isaach De Bankolé
JACO VAN DORMAEL - MR. NOBODY France, 148'
Jared Leto, Diane Kruger, Sarah Polley
TOM FORD - A SINGLE MAN USA, 99'
Colin Firth, Julianne Moore, Matthew Goode
JESSICA HAUSNER - LOURDES Austria, 99'
Sylvie Testud, Léa Seydoux, Bruno Todeschini
WERNER HERZOG - BAD LIEUTENANT:
PORT OF CALL NEW ORLEANS USA, 121'
Nicolas Cage, Eva Mendes, Val Kilmer, Michael Shannon

REDucation COMMUNITY DAY on December 7th in Los Angeles

Bookending REDucation's RED Tech and RED Post workshops is RED Community Day, an event for everything and everyone RED. A key part of education is interfacing with others in the industry to learn real world practices and methodology. Community Day is a major component to REDucation, and makes the learning experience available to everyone for the day.

December 7, 2009 | LA Center Studios | Los Angeles
REGISTER HERE FOR FREE
More Information about Community Day

35 sponsor booths, 6 thirty-minute presentations, 1 post production panel, lunch, and an opportunity to network with hundreds of RED users.

REDucation is the only RED-approved and RED-sanctioned educational program for learning the RED camera, RED workflow, RED data management, and RED post production techniques.

Upcoming REDucation Workshop Dates
Currently, REDucation offers two separate trainings, 3 days of RED Tech or 3 days RED Post, or a complete 7 day training package including Community Day:

December 4 - 10, 2009 - Los Angeles, CA - Register Now

RED TECH - December 4-6, 2009
This three day, fully hands-on training is designed for learning on set practices with RED. Crafted for the Camera Assistants, DIT, Data Wrangler Roles and DP's that want to learn more about the art and science of RAW digital cinematography as it applies to their craft with a focus on the technical support roles that allow the DP to do his best work.

RED POST - December 8-10, 2009
Three days of in-depth post training with RED technology. This training is designed for professionals working with Red in post production. You will learn the tools and practices from those working in Post Production on RED projects on a regular basis. File prep for dallies and editorial, color grading and finishing on multiple platforms will be explored and recommended practices will be taught in a fully hands on, "Learn with the tools" concept. The RED post classes will be taught in the real world environments where RED post production moves through all the stages of prepping files for post, editing, color grading and finishing.

FILMCAST Live!

LIST OF CONTENTS

FILMCAST Live! NEWS

VILMOS ZSIGMOND,ASC. THE BLACK DAhLIA

CALEB DESCHANEL TO RECEIVE ASC LIFETIME ACHIVIEMENT AWARD

FRANCIS FORD COPPOLA INTRODUCES "TETRO"

BOB DYLAN'S - BEYOND HERE LIES NOTHING

THE SOCIETY OF CAMERA OPERATORS

SOC CAMERA OPERATOR MAGAZINE

THE AMERICAN SOCIETY OF CINEMATOGRAPHERS

INTERNATIONAL CINEMATOGRAPHERS GUILD

THE BRITISH SOCIETY OF CINEMATOGRAPHY

BSC Film and Digital Image Evaluation 2009

THE BSC VISITED HOLLYWOOD

ACADEMY OF MOTION PICTURE ARTS AND SCIENCE PRESENTS: The Astronaut as Filmmaker

Kodak Will Retire Kodachrome, Its Oldest Color Film Stock

INSIDE SLUMDOG - BOYLE & DOD MANTLE

Sam Mendes & Kate Winslet

Benjamin Button Visual Effects

SOC FEATURE FILM NOMINEES

Cinematographer Style on iTunes

DO NOT MISS IT! WEDNESDAY, SEPT 30 2009 at 7:00PM

FILM INDEPENDENT'S SPIRIT AWARDS

CINEMATOGRAPHY NEWS!!

TAKING OF PELHAM 123. CINEMATOGRAPHY BY OWEN ROIZMAN, ASC

4K+ SYSTEMS-THEORY BASICS FOR MOTION PICTURE IMAGING

TRICKS OF THE TRADE FROM THE AMERICAN SOCIETY OF CINEMATOGRAPHERS

TRICKS OF THE TRADE FROM THE AMERICAN SOCIETY OF CINEMATOGRAPHERS

KODAK CINEMATOGRAPHER'S FIELD GUIDE (pdf)

CINEMATOGRAPHER'S RESOURCES

Wratten-Conversion Filters for Color Films

ESTIMATING LUMINANCE AND ILLUMINANCE WITH AN 18% GRAY CARD

CINEMATOGRAPHY LINKS

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LIGHTING MASTER CLASS with GEORGE SPIRO DIBIE, ASC @ DIGITAL VIDEO EXPO, WED. SEPT 23 2009, 11AM.

CREATEASPHERE & HD EXPO EVENTS

66Th VENICE FILM FESTIVAL

VENEZIA 66