NEWSLETTER

DCS UPDATE

DCS is back to firing on all cylinders as we prepare for the 2024 DCS Cinema Lighting Expo, our biggest event of the year.  We return to the Grip’s Local 80 stage in Burbank for a full day of lighting immersion on Saturday, February 10th.  Then later this month, James will once again travel out to the California desert near Palm Springs to attend and report on the HPA Tech Retreat.  It’s a very high level gathering of motion picture technologists who share with each other their challenges, solutions, and innovations in production and post.

There has been a lot of news to report this last month and this eNewsletter details several product releases from ZEISS, ARRI, SmallHD, AJA, OWC, and Adobe.  We also wanted to share a nice tutorial on the ZEISS CinCraft Scenario system.  We’ve listed the nominees for the ASC Awards and we’ve also got some sad news to share with the passing of legendary motion picture film specialist and negative cutter, Mo Henry.  For his essay this month, James Mathers reports on the Beta launch event of Strada, the revolutionary A.I.-enabled cloud platform start-up being developed by the Cioni Brothers.

DCS Event Notice

Register Now: DCS 2024 Cinema Lighting Expo – Saturday, February 10th in Burbank, CA

Join 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 10th.  We’ve been holding this event annually for 15 years now, and it gets bigger and better each year. Attendees will have the opportunity to get hands-on with the latest gear and learn from practical lighting demos by renowned cinematographers and lighting experts.

This year’s recipient of the Dibie Award, given to honor exemplary service to the community, will be Nancy Schreiber, ASC, who is not only a master in the field of cinematography, but has also worked tirelessly to advance equality in our industry.  Other special guests include Cinematographer Roberto Schaefer, ASC.

 

 
Companies expected to participate include, (in alphabetical order):
Anton/Bauer • ARRI • Blackmagic Design • Core SWX • Dedolight California • FilmCraft/Women in Media • G-Force Grips • Godox • Jagoteq • Kino Flo • Lightstar • Litepanels • Luminys • Nanlite • Nanlux • Quasar Science • RatPac Controls • Rosco Lighting & Rosco Digital Imaging Solutions • TRP / The Rag Place
 
Saturday, February 10, 2024
Doors open at 9:30 am with presentations starting at 10 am and ending at 5:00 pm
IATSE Local 80 Stage, Burbank, CA
 
Note: All are welcome, but please give your first and last name, as no one without a confirmed RSVP will be admitted. If you want to bring a guest, feel free to share the link, but we’ll need their name and a separate email address in order to confirm the RSVP. We will stop accepting RSVPs at 4:00 pm on Friday, February 9th.
 
Register:

Industry News

ZEISS introduces the Nano Prime family of high-speed cine lenses for mirrorless full frame cameras

ZEISS has announced a new family of high-speed cine prime lenses, (T1.5 throughout,) made specifically for mirrorless full frame cameras . The new Nano Primes are designed to be compact, lightweight, and offer a pleasing, versatile look that is adaptable for a wide range of shooting situations. Available in six focal lengths (18mm, 24mm, 35mm, 50mm, 75mm, 100mm), the matched set conveniently covers wide-angle to telephoto. The optical design of the Nano Primes is specifically for mirrorless full frame cameras. Their close focusing capability and high speed enable images with an extremely shallow depth of field, even in the wide-angle range. The universally applicable look can also be combined with the higher-end ZEISS lenses, such as the Supreme Prime family.

Consistent positioning of the focus and iris rings across all focal lengths ensures quick and uncomplicated lens changes. The calibrated focus scales are easy to read and a long 280° focus rotation aids precise focus pulling. In addition, the iris ring features 90° rotation and a non-linear scale to enable fine aperture adjustment. Thanks to the integrated electronic interface, metadata such as focal length, focus distance and aperture value are transmitted to the camera in real time. Additional lens data for distortion and vignetting is available in the ZEISS CinCraft ecosystem and thus for post-production (CinCraft Mapper) as well as in the recently introduced CinCraft Scenario camera tracking system. Although initially available only in Sony E-mount, Nano Primes are ready for the simple exchange of additional mounts thanks to the ZEISS IMS (Interchangeable Mount System).

The ZEISS Nano Primes can be ordered immediately. The six focal lengths – 18mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.5, 75mm T1.5 and 100mm T1.5 – for E-mount cameras are available individually or as a complete set including a lens case at a set price of $25,950US with deliveries starting in May 2024. Further information can be found at www.zeiss.com/cine/nanoprime

 

SmallHD Introduces the ULTRA 7, a 4K UHD On-Camera Touchscreen Monitor

SmallHD has introduced a new 7″ ultra-bright 4K UHD on-camera monitor capable of controlling several popular cameras via touchscreen. The Ultra 7 features a bright 2300 cd/m² display, a 1920 x 1080 touchscreen LCD, HDMI and 6G-SDI inputs/outputs that support up to 4K, camera control options, tactile buttons, and 10-bit 4:2:2 Rec. 709 color processing. Onboard button controls offer additional ways to toggle between image functions. All the functionality of the monitor is available via PageOS 5, which provides advanced functionality with a simple and efficient graphical user interface. The unit allows upload of 3D LUTs via the SD card slot and the IP53 rating ensures the monitor remains dust and water resistant.

Display tools include:
  • Pixel zoom: 2x and 4x with pinch-zoom
  • Aspect ratios: Preset and customizable
  • DSLR scale: Canon 5D Mk II and Canon 7D
  • Custom scale: Underscan only
  • Anamorphic de-squeeze: 1.33x, 1.5x, 1.66x, 2.0x
  • Image flip: Auto and manual
  • Image rotation: Auto and manual
  • Cross conversion: HDMI to SDI, SDI to HDMI
  • Color focus assist: Adjustable style and intensity
  • Peaking: Adjustable intensity
  • False color: Spectrum, ARRI-style, and customizable
  • Zebra: Dual, customizable
  • Waveform: Luma and RGB, customizable with region-of-interest highlighting
  • Vectorscope
  • RGB parade, customizable
  • Histogram: Luma and RGB
  • Image capture, with a dedicated button and image gallery
  • Custom LUTs: Load as looks on pages or as system-wide calibration via the settings menu
  • LUT import: Via SD card or USB storage device
  • Image overlay: Opacity slider and blink setting
  • Image capture
  • Audio meters: Up to eight channels

The SmallHD Ultra 7 is available now at an MSRP of $2,999US.  For more details visit: https://smallhd.com/pages/ultra-7?

 

ARRI announces the 360 EVO Stabilized Remote Head with 360-degree Rotation on the Roll Axis

ARRI has announced its new top-of-the-line stabilized remote head, the 360 EVO featuring 360-degrees of rotation on the roll axis as well as the pan axis. It also includes improved remote system integration with a new GUI and multiple accessories which can be shared with the TRINITY 2. The 360-degree rotation on the roll axis revolving around the optical center of the lens is designed to open up new shot possibilities allowing more dynamic roll-axis shots that can be mounted to a variety of camera platforms such as a crane or a cable cam above a live broadcast event.

The 360 EVO runs on the same software platform as TRINITY 2 allowing use of the touchscreen remote control panel. The two products also share cables, brackets, and SAM plates for mounting different cameras, and can be controlled by the same tools, such as ARRI’s Digital Remote Wheels DRW-1 and new Digital Encoder Head DEH-2. LBUS connectivity enables efficient digital and metadata workflows, while the new software and GUI are focused on long-term Unreal Engine integration to facilitate virtual production. Plug-and-play control of the 360 EVO over the internet will be possible in the future when using an authorized repeater cloud service, providing flexibility of control options, and helping to future proof the hardware. The first customer shipments of the 360 EVO, as well as upgrades for SRH‑360 owners, will begin in Q1 2024. To learn more visit: arri.com/360-evo

 

OWC Introduces ThunderBlade Portable SSD Storage Line With Ultra-fast RAID 5 Performance and Expanded Capacity

OWC has announced a new model of ThunderBlade, which they are claiming as the fastest available shuttle and edit RAID SSD for creative professionals. Boasting speeds up to 2949MB/s with up to 16% higher capacity and efficiency in RAID 5 ThunderBlade has been purpose built to seamlessly handle data-intensive tasks for media production and post in fast-paced environments where time is money, ThunderBlade navigates through uncompressed, high-bandwidth content streams with unmatched speed and reliability. Extremely mobile and featuring an integrated fin-designed cooling system, ThunderBlade is well suited for work on set, in the edit suite, or safely traveling between shoots in its ballistic hard-shell case.

ThunderBlade Highlights include:

  • Speeds up to 2949MB/s 
  • Capacity of up to eight NVMe M.2 SSDs for up to 32TB
  • Up to 4TB (16.7%) higher capacity in RAID 4/5 with new X8 model
  • Over 16% higher performance in RAID 4/5 redundant configurations with Apple Silicon (all M1 and later including Pro / Max / Ultra) machines​ with X8
  • Easy RAID: robust software for creating, monitoring, and managing advanced RAID sets
  • Versatile: daisy-chain up to five additional Thunderbolt devices or connect a USB-C device or display via the second Thunderbolt port
  • Reliable: heat dissipating fanless aluminum chassis keep you working silently at top speed
  • Informative: confirm use status instantly via integrated LED
  • Mobile: compact footprint and custom-fit ballistic hard-shell case make this the perfect shuttle drive
  • Certified: meets Intel Thunderbolt and OWC operating certifications for assured performance and reliability
  • Includes 3 Year OWC Limited Warranty

Pricing and Availability:  ThunderBlade is available in 8TB, 16TB, or 32TB capacities and available for pre-order today at macsales.com starting at $1,749.99.

 

DCS Mourns The Loss of Renowned Negative Cutter and Producer Mo Henry

Longtime DCS member and veteran negative cutter Maureen “Mo” Henry passed away on January 14th at the age of 67 due to complications of liver disease. During her long and legendary career, she cut the negative for hundreds of films including The Big Lebowski, Licorice Pizza, Jaws, Million Dollar Baby, Harry Potter and the Chamber of Secrets and several features in The Matrix, Dark Knight, Shrek and Spider-Man franchises among many more. 13 of the films for which she cut negative were nominated for Academy Awards as Best Picture.

Cutting Negative was a family business for Mo, growing up in Hollywood with her parents, uncles, and cousins all working as negative cutters. She cut her teeth splicing together the negative on Jaws. Her expertise and vast experience later came to bear on the re-cut and expansion of Apocalypse Now, to create Apocalypse Now: Redux.  An even more challenging piece was gathering all the fragmented pieces together to finally assemble Orson Welles’ long-lost The Other Side of the Wind for release in 2018. A behind the scenes documentary on the project, A Final Cut for Orson: 40 Years in the Making features an interview with Mo. It can be seen at about nine minutes into the program which is accessible via the Netflix webpage: https://www.netflix.com/title/80085566

 

 

 

ZEISS Has Published an Online Tutorial to Teach the Basics of How to Setup and Operate their CinCraft Scenario system

Although the ZEISS CinCraft Scenario system simplifies and speeds up the process of camera tracking, it is still a fairly complex system. This has prompted ZEISS to create a series of online tutorials to teach the basics of how to setup and operate it, breaking the whole process down into digestible pieces. Product Specialist Abel Thornton starts by giving an overview of all the ZEISS CinCraft Scenario hardware. Viewers can get to know all the major components and learn how the system tracks, how to optimize tracking performance in difficult lighting conditions and about lens encoders for every camera and lens combination. The first episode has now been published to YouTube with more coming in the weeks ahead; you can watch it here:

https://www.youtube.com/watch?v=TGNnQbJkZIo

 

AJA Announces Firmware Update v1.1 with Major Enhancements for Dante AV 4K-T and 4KR

AJA has announced the release of Dante AV 4K v1.1, the first update for its Dante AV 4K-T and 4K-R transmitter/receiver converters.  These units enable the transport and control of ultra-low latency, 4K/UltraHD/2K/HD/VESA Dante video and audio to/from 12G-SDI or HDMI 2.0 devices over a 1 GigE Dante AV network. Now available as a free download, the update extends the capabilities of both devices with user-inspired improvements that answer modern workflow demands and provide more flexibility in the field as they integrate high-quality, visually lossless video into a diverse range of AV-over-IP environments.  There is improved support for HDR, ensuring HDR signals pass through the devices seamlessly and that users can easily change the HDR metadata on outputs received. The release also introduces AJA Dante AV 4K-R support for Ref In, so that a device like the AJA GEN 10 HD/SD sync generator may be used to lock the output of the 4K-R when the signal must be combined with other baseband device outputs and sources. Furthermore, AJA Dante AV 4K v1.1 activates a second locking ethernet port (Eth2) on the device, allowing users to connect a second device to their Dante AV switch, without a second ethernet cable needing to be connected directly to the switch.

New cropping and scale resizing capabilities for 4K-R, available via the update, let users easily scale 4K to UHD and downscale UHD to HD, with the ability to select between Auto, Native, and Crop 4K to UHD/Scale UHD to HD. AJA Dante AV 4K v1.1 also validates select 4K and 8K 4×4 workflows where AJA 4K-T signals can be sent to four 4K-Rs and all four outputs are confirmed to be in time and in sync, which is essential in live production settings where all four outputs must be perfectly timed. 3G Level B 4:2:2 10-bit high frame rate is now supported as well. The update is available from AJA’s support page as a free download and the AJA Dante AV 4K-T and 4K-R can be purchased through AJA’s  resellers for $2495 US MSRP each. For more information, visitwww.aja.com/dante-av-ultra.

 

Adobe Introduces Major New Audio Updates in Premiere Pro

Adobe has announced the beta release of their latest intuitive audio workflow designed for faster and easier editing and mixing of sound directly in Adobe Premiere Pro so editors can focus on storytelling — and get to a final sound mix with fewer clicks.

The audio workflow changes now available in the Premiere Pro (beta) include:

    • Interactive Fade Handles: Click and drag from the edge of a clip to create a variety of custom audio fades in the timeline or drag across two clips to create a crossfade.
    • AI-powered Audio Category Tagging: When dragging clips into the sequence, they’ll automatically be identified and labeled with new icons for dialogue, music, sound effects, or ambience. A single click on the icon provides access to the most relevant tools for that audio type in the Essential Sound panel — such as Loudness Matching or Auto Ducking.
    • Redesigned FX Clip Badges: An updated badge makes it easier to see which clips have effects added to them. New effects can be added by right clicking the badge, and a single click opens the Effect Control panel for more adjustment without changing the workspace or searching for the panel.
    • Modern, Intelligent Waveforms and Clips: Waveforms now dynamically resize when you change the track height and improved clip colors make it easier for you to see and work with audio on the timeline.

For more detail and a streaming demo check out his Abobe Pre-Sundance blog post: https://blog.adobe.com/en/publish/2024/01/16/adobe-introduces-major-new-audio-updates-premiere-pro-ahead-2024-sundance-film-festival

 

ARRI Announces TRINITY Live, a Broadcast-Optimized Upgrade of the First-Generation TRINITY Stabilizer

ARRI has launched TRINITY Live, a broadcast focused upgrade option for TRINITY Gen.1, the first generation of ARRI’s flagship, body- mounted camera stabilizer system. Comprising new hardware, wiring, and connectivity, the upgrade kit optimizes the TRINITY Live system for live productions and improves its functionality within the ARRI Multicam System and third-party broadcast camera applications.

Highlights include:

  • Improved TRINITY Gen.1 camera stabilizer performance for live broadcasts
  • Optimal integration with the ARRI Multicam System and third-party broadcast applications
  • Extends the life of TRINITY Gen.1 and allows operators to expand into new markets
  • Repositioned wireless video link to off-camera lightens the entire system by up to 4 kg / 8.8 lb and provides a more stable signal
  • Further upgrades, like the 24 V camera power and Master Grip TRINITY are available for the TRINITY Live system

Enhanced connectivity is at the heart of the TRINITY Live upgrade, with four new 4G video lines and a 10 Gbit shielded Ethernet line facilitating the new wireless video link position. The connectors for these new video lines necessitate a completely new center post, post connection, top stage junction box, and wiring loom, all of which are included in the upgrade kit. ARRI announced its Camera Control Panel CCP Live and Tally System Gen.2 at NAB 2023, which expand the broadcast capabilities of existing ARRI cameras and camera stabilizer systems. The new TRINITY Live complements both of these products and is designed to seamlessly integrate stabilized ARRI cameras into live, multi-camera broadcast environments.

TRINITY Live allows the wireless video link that is required for broadcast work to be mounted at the bottom of the system instead of being attached to the camera as is normally the case. Positioning a wireless video link such as the Vislink system at the bottom of the center post allows it to be used as a counterweight when balancing the rig, reducing its weight by up to 4 kg / 8.8 lb. The new position also results in a more stable wireless signal because the antenna rotates within a smaller radius and fluctuates in height less than it does when attached to the back of the camera. In total, TRINITY Live offers five 4G video lines. The four new lines feed the wireless video link with up to four quad link signals (4 x 3G), or with two video lines when Dual SDI (2 x 6G) is needed. The fifth video line serves as a playback line, allowing the operator to see the program image on a second monitor, transmitted wirelessly from the OB van to the TRINITY Live. Meanwhile, the additional internal 10 Gbit Ethernet line provides the OB van with full camera control and communication. For more information, please visit www.arri.com.

 

ASC Announces 2024 Awards Nominees with a Link to Watch a Live Stream of the Ceremony on Sunday, March 3rd

Following is a complete list of this year’s nominees for the 38th annual ASC awards, (including our very own M. David Mullen, ASC.)  The awards for outstanding achievement in cinematography will be presented on March 3, 2024, at The Beverly Hilton in Beverly Hills, Calif. The event will be live streamed worldwide at theasc.com.

THEATRICAL FEATURE FILM NOMINEES

Edward Lachman, ASC for El Conde (Netflix)
Matthew Libatique, ASC, LPS for Maestro (Netflix)
Rodrigo Prieto, ASC, AMC for Killers of the Flower Moon (Apple TV+)
Robbie Ryan, ISC for Poor Things (Searchlight)
Hoyte van Hoytema, ASC, FSF, NSC for Oppenheimer (Universal Pictures)

SPOTLIGHT AWARD

Eric Branco for Story Ave. (Kino Lorber)
Krum Rodriguez for Citizen Saint
Warwick Thornton for The New Boy

EPISODE OF A ONE-HOUR REGULAR SERIES

Ricardo Diaz for Winning Time: The Rise of the Lakers Dynasty, “The Second Coming” (Max)
Rob C. Givens for Gotham Knights, “Daddy Issues” (CW)
M. David Mullen, ASC for The Marvelous Mrs. Maisel, “Four Minutes” (Prime Video)
Cathal Watters, ASC, ISC for Foundation, “In Seldon’s Shadow” (Apple TV+)
Glen Keenan for Star Trek: Strange New Worlds, “Hegemony” (Paramount+)

LIMITED OR ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TV

Dan Atherton for Great Expectations, “The Three Keys” (FX)
Sam Chiplin for The Lost Flowers of Alice Hart, “Part 1: Black Fire Orchid” (Prime Video)
Ben Kutchins, ASC for Boston Strangler (Hulu)
Igor Martinovic for George and Tammy, “Stand by Your Man” (Showtime)
Jason Oldak for Lessons in Chemistry, “Book of Calvin” (Apple TV+)
Tobias Schliessler, ASC for All the Light We Cannot See, “Episode 2” (Netflix)

EPISODE OF A HALF-HOUR SERIES

Julian Court, BSC for The Diplomat, “The James Bond Clause” (Netflix)
Carl Herse for Barry, “Tricky Legacies” (Max)
Jon Joffin, ASC for Schmigadoon, “Something Real” (Apple TV+)
Blake McClure, ASC for Minx, “I Thought the Bed was Gonna Fly” (Starz)
Andrew Wehde for The Bear, “The Bear” (Hulu)

DOCUMENTARY AWARD

Jeff Hutchens for Murder in Big Horn, “Episode 1” (Showtime)
Curren Sheldon for King Coal 
D. Smith for Kokomo City (Magnolia Pictures)

 

One DP’s Perspective

The Cioni Brothers Launch Strada, A.I.-enabled Cloud Platform for Creative Workflows

JM Headshot2014Med

by James Mathers
Cinematographer and Founder of the Digital Cinema Society

 

 

They are not easy to keep up with, but as the self-appointed President of the Cioni Brothers Fan Club, I’ve been trying now for many years.I first met Michael Cioni in my very early days as a RED camera user where he was pioneering digital post production at the boutique Hollywood facility known as Plaster City.He was one of the few in town who had a good handle on RED camera workflows.After a few years working there, Michael was joined by his brother, Peter, who had been working as a Wall Street Investment Banker, and together with a small group of colleagues, they formed Light Iron Digital, where I continued to steer projects I shot knowing they would make me look good.

When Light Iron was acquired by Panavision, Peter remained in management there, while Michael moved over to the parent company serving as product director for Panavision’s Millennium DXL 8K camera ecosystem.He then moved on to help pioneer camera-to-cloud workflows at the startup company Frame.io which was soon acquired by Adobe.Meanwhile, Peter moved on to become an executive at Netflix and in mid-2023, just as the industry was starting to be roiled by labor unrest, the brothers decided to quit their jobs to co-found their own start up, Strada.

Strada is a cloud-based platform designed to leverage A.I. to remove the complexities and inefficiencies faced by professional content creators. Strada automates tedious manual tasks, simplifies workflows, and reduces delivery times, allowing the creator to focus on creative storytelling. Users can design custom workflows for their unique postproduction needs, with features such as multi-cloud syncing, multicam playback, automatic transcription and translation, transcoding, and A.I. tagging and analysis, all controlled from a single intuitive interface.

I had a chance to see this new A.I.-enabled media workflow platform at an invitation-only launch event in Burbank, CA on January 29th, (a link follows to stream the recorded event.)I’ve previously participated in Michael’s live technology demos and as he says, he likes to fly without a net.This one was no different as a full two-camera crew, shooting double system with Panavision Millennium DXLs, captured three short narrative scenes in different languages as a live demonstration.The material was instantly uploaded from the cameras via Teradek cubes to Frame.io while the audio was uploaded to DropBox.Having the media housed in completely different cloud infrastructures allowed the Strada team to show one of the significant attributes of their platform.Practically before the crew could re-set for an alternate take, the material had been synced and the multicam coverage with text for subtitles was playing back for the assembled audience.

Michael and Strada’s Lead Engineer, Austin Case, explained the beauty of Strada being able to act as the connective tissue between these different cloud systems.They were able to access, combine, and work with the media without taking the time to download it to a single central storage destination making what could have normally taken hours to prepare, available for playback in only a few moments.

The second take featured a French speaker and demonstrated an additional capability of the system.As quickly as the first take, this scene was ready for multicam playback through the Strada interface, but this time a text translation in English was also available.The third and final scene featured a character in a large dinosaur costume and demonstrated Strada’s ability to visually recognize and tag the costume.

The demos were designed to show Strada’s ability to help deal with the time consuming challenges faced by content creators, what Strada refers to as the 4 T’s: Transfer, Transcribe, Transcode, and Tag/Analyze (dubbed: Tanalyze).

 

 

 

The 4 T’s of Strada:

  • Transfer: Out of the box, Strada is compatible with Dropbox, Google Drive, Frame.io, and Lightroom, allowing users to see their media within a single GUI, as well as transfer between destinations.
  • Transcribe: Automatically create searchable captions in more than 100 languages.
  • Tanalyze: Automatically tag objects, people, locations, and emotions for advanced search.
  • Transcode: Export metadata-rich files for editing and distribution.

A finished mini-documentary and a high-end commercial that employed Strada were also shown along with behind-the-scenes interviews with the filmmakers discussing how they interfaced with the platform.  The event concluded with Peter, Michael, and Austin taking questions from the audience and hinting at some of their plans for the future. All-in-all, it was an outstanding demo, but the team emphasized that Strada is in its infancy, and they have many more features and capabilities in the pipeline, as well as integrations with more services and NLEs.  The Italian word “Strada” translated to English means “road,’ and was chosen because the platform serves to connect many different technologies.  I suggest that if you want to see where the road to content creation technology is headed, you keep an eye on the Cioni Brothers; they will no doubt be leading the charge.

You can see the launch presentation in its entirety on YouTube here: https://www.youtube.com/watch?v=4Dy2lgIYyJY

To find out more about Strada visit: https://strada.tech/

You can also see an interview I did with the Cioni Brothers a few months back here:https://vimeo.com/875433718

 

Welcome to New Friends of DCS Godox and Jagoteq:

Founded in 1993 as a high-tech manufacturing facility specializing in lighting and audio equipment, Godox has now become a lighting equipment expert and innovator of gears for photographers, videographers, filmmakers and more. Driven by the mission of offering great lighting and audio solutions, Godox has been always pushing the boundaries of technology, and constantly bringing professional products to the industries. Godox has been committed to providing consumers with professional and high quality lighting solutions in photography, enabling more people to enjoy the fun of light shaping. By the vision of becoming a leading manufacturer with a world renowned brand, they hope to continuously contribute to the development of the lighting industry. At Godox, they have never stopped expanding their lineup to meet the different needs, and now they are branching out to include audio. Godox has become a solid name in the photography market and they expect the same for audio. https://godox.com/

 

Founded in 2021, Jagoteq is an innovator, designer, and manufacturer of laser-based lighting equipment for motion picture, broadcast, live event, architectural, theme parks and other permanent and portable installations. Jagoteq is based in Burbank, CA near studios and entertainment focused rental centers. Product design, engineering, and assembly are all done in California. While the company was formed in 2022, its founders each have a long and successful history in the entertainment industry. www.jagoteq.com

 

 

 

 

Welcome to New DCS Lifetime Members:

Jeffrey Akers is a New York based Director of Photography with 25 plus years of experience in photography and cinematography. After years of learning professional lighting techniques working with still photographers, Jeffrey decided cinematography was the passion he would pursue. A wide ranging variety of music videos, documentaries, dramatic films, and commercials have kept him well-rounded and brought multiple awards along the way.

 

 

 

JC Cummings has 40+ years of experience producing and directing along with production logistics and equipment expertise for film, television and theme park productions. Career highlights include producing a nationally syndicated children’s series and independent projects as well as partnering in two cable satellite networks. After building numerous stages and assisting in the development of the Disney Studios-Orlando, he founded the Motion Picture Company, Inc. supporting Disney, Universal, Panavision and other production companies, becoming the largest camera support supplier in the south east. Cummings continues work with the studios in various capacities. His latest activities include ownership and development of Entertainment Streamers, LLC (www.entstreamers.com), an advanced OTT platform.

 

DCS Member Discounts

See all the Professional Industry Offers Available to Current Members along with Access to FunEx for Exclusive Member Discounts on Theme Parks, Movie Tickets, Hotels, Gym Memberships, and Much More on the DCS Member Discount Page: https://dcsonline.org/member-discounts/

How to Claim Your DCS Member Discounts on FunEx for THEME PARKS, MOVIE TICKETS, HOTELS, GYM MEMBERSHIPS, and More

The Digital Cinema Society has partnered with FunEx to offer an amazing discount platform for our U.S. members. Once registered on Join It current DCS members will receive access to 100,000+ discounted offers at up to 55% off. Save on theme parks, movie tickets, hotels, gym memberships, retail and dining nationwide. Check out the daily deals on everything from apparel, electronics, mental wellness, pet insurance, and much more today on your DCS FunEx member portal.  Current US based members can visit the DCS page on Join It to register:  https://app.joinit.com/o/digital-cinema-society/members.  If you are not currently a member, you can apply to join DCS here: https://dcsonline.org/apply-to-join-dcs/

 

SUPPORTING DCS

Although we have currently made member dues optional due to the financial stress felt by so many during the strike, we still are in need of your contributions to continue our mission and maintain our services to members. So if you can afford it, please take a few minutes to visit the self-service membership portal where you can make a donation, check your membership status, and even download a membership card to show for special events, discounts, and award consideration screenings, (which we expect to be starting up again soon).
Instructions:
  1. visit: https://app.joinit.com/o/digital-cinema-society/members
  2. Enter your email address
  3. If you haven’t already chosen a password, Join It will send you a link to create a password.
  4. Once your password is set, you will be redirected to your membership page.
Here, you will also be able to access your digital DCS membership card. (*We no longer mail physical membership cards).
Please note: If your email address is not recognized by the Join It system or if you believe that your membership status is incorrect, please contact us at: Charlene@DigitalCinemaSociety.org
DCS is a 501(c)3 nonprofit and donations  can likely be claimed as deduction on your US federal taxes.  If you prefer, you can simply follow the convenient PayPal link, (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.

Donate to DCS:  https://www.paypal.com/donate/?hosted_button_id=8GUYNUBCKR2HU

 

THANK YOU TO OUR SPONSORS

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 – Adobe – AJA – Angénieux – Anton/Bauer – ARRI – Avid – Band Pro – Blackmagic Design – Brokeh – Canon – Cartoni – Cineo – Cinnafilm – Codex – Cooke Optics – CORE SWX – Dadco/SunRay – Dedolight California – Fiilex – FootageBank – Frame.io – Fujinon – Godox – Infinity Photo-Optical – Jagoteq – K 5600 – Kino Flo – Leitz Cine Wetzlar – Litepanels – Luminys – Mole-Richardson – Nanlite – Nanlux – OWC – Panasonic Lumix – Panavision – Quasar Science – RatPac Controls – Rebel Marketing – Rosco – SIGMA – SmallHD – SUMOLIGHT – Teradek – The Studio-B&H – TRP Worldwide – Wooden Camera – ZEISS

 

CALENDAR OF INDUSTRY EVENTS

Follow DCS on Facebook, X, 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 X you can follow us @DCSCharlene

On Instagram at: digitalcinemasociety

Our Home, The Digital Cinema Society:

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