Heute gibt es aus besonderem Anlass, nach den hier vorgestellten Überschriften, eine Vollversion des Newsletters der Digital Cinema Society, DCS, auch an dieser Stelle vorzustellen: 2018 wird es die DCS seit 15 Jahren geben!
Vorab ein Video, in dem aus Anlass des 12jährigen Bestehens über die Geschichte, den Sinn und Zweck der DCS die Rede ist:
In this short presentation, Cinematographer and DCS President James Mathers offers a few details on the history and activities of the nonprofit educational cooperative known as the Digital Cinema Society.
Big changes are in the wind for the Digital Cinema Society. 2018 will mark our 15th year as an organization and we are looking to up our game with major new initiatives. Besides our famous coverage of NAB, we’ll be multiplying convention coverage by starting next year to also conduct extensive interviews for streaming at Cine Gear Expo. We’ve managed to produce quarterly editions of The Digital Cinema Show, our web series covering the art, science, and business aspects of motion picture production and post. In 2018, we hope to produce this informative series on a monthly basis.
We will also be working throughout the year to mount an awards event for the Digital Cinema Society to be known as "DCS Honors". There are already many sister organizations giving awards in specific creative technology categories like the ASC for Best Cinematography, the ACE for Best Editing, or the VES for Best Visual Effects, so we will be doing something a little different. Since our membership is so diverse, crossing many of these same disciplines, and in order to celebrate the collaborative nature of making movies, we will give an award for the “Best Collaborative Use Of Creative Technology”.
Another aspect of the awards will honor the fine companies that provide us the means to create our content honoring innovation and technical achievement. We want to get it right, so we are not rushing; the DCS Honors awards program will not take place until early 2019.
Meanwhile, we’ll continue our traditional annual activities like the Lighting, Post, and Camera Support & Accessories Expos, as well as our highly regarded Lens panel at Cine Gear Expo...and more.
In order to finance these new actives, we’ll be requesting higher support levels from our Friends of DCS corporate supporters starting in January. And for the second time in 15 years, we will be raising our membership dues. Annual memberships will increase to $50 and Lifetime memberships will raise to $300, (still some of the lowest in the industry). We’re also considering establishing an invitation only premiere level of membership. So, if you’ve been putting off renewing your membership, or upgrading to Lifetime, you may want to consider acting in December before the dues increase; (links follow in this newsletter).
James Mathers reviews Avid’s Louis Hernandez, Jr.’s new book, The Storyteller’s Dilemma: Overcoming the Challenges in the Digital Media Age. However, with the time required to create the aforementioned new initiatives for DCS and edit the coverage of our 2017 DCS Post Expo, (now streaming), James had no time to write an essay this month. Instead, we bring you an enlightening content contribution written by Stephen Follows and Bruce Nash, entitled, "What Types of Low Budget Films Break Out?". As the name implies, it is a detailed analysis of which Indie movies have been successful and what elements they have in common.
We’ve also got lots of member news following and a comprehensive listing of upcoming events and holiday celebrations can be found in our DCS Calendar of Events.
Please note that it has become increasingly difficult for us to create one e-mail format that works properly on the large variety of browsers now existing. Therefore, we highly recommend you visit the DCS website for both the full web version of the eNewsletter as well as the Calendar of Events in which we provide a detailed breakdown by region of related happenings all over the world. Please visit: http://www.digitalcinemasociety.org/dcs-newsletter click here
Coverage from the 2017 Digital Cinema Society Post Expo is now streaming. This event took place at the Raleigh Studios, Chaplin Theater on Sunday, November 12, 2017. The coverage was recorded in 4K with two Panasonic VariCams and features presentations and interviews with special guests including Dan Lebental, ACE discussing his career as an Editor on such major motion pictures as Iron Man (One and Two), Spider-Man Homecoming, and Ant-Man, plus VFX expert Jeff Olm giving an overview on the state of VR Post.
Featured companies include, (in alphabetical order):
ACES/AMPAS - Adobe - Advantage Video Systems - Avid - Blackmagic Design - DigitalFilm Tree - Lenovo - Lumberjack - OWC - Quantum - WPC Media Services
Special thanks to our volunteer crew including David Mahlmann and Samantha Gilbert for Production and Stage Managing — Sean Murray and Rob Frazier for Operating Camera — Cameron Cannon for Cinematography and Engineering — Christopher Scott Knell for minding the Sound and Data Management.
We would also like to thank Nic LaRue and Raleigh Studios for the use of the Chaplin Theater at Raleigh Studios — OWC and MacSales along with Advantage Video Systems for the refreshments and contributing toward additional expenses — Panasonic for the use of VariCam cameras — Fujinon for the use of Cabrio and Premiere Zoom Lenses.
See it on Vimeo here: https://vimeopro.com/digitalcinemasociety/2017-digital-cinema-society-post-expo click here
Avid’s Louis Hernandez, Jr. Explores: The Storyteller’s Dilemma: Overcoming the Challenges in the Digital Media Age As Artists and Content Creators, we all sometimes need to be reminded of the old adage, “There’s a reason they call it Show u>Business” lest we forget that our Industry lives at the intersection of Art and Commerce. When that relationship is out of kilter, both interests may suffer. In this insightful book, the CEO of Avid Technologies, Louis Hernandez, Jr., gives a macro economic analysis of the forces that are currently making it so difficult for Art and Business to thrive.
Although Mr. Hernandez is the CEO of Avid, make no mistake by thinking that this book is designed to promote his company. His position does, however, give him a unique perspective since Avid touches so many facets of the Entertainment Industry, from motion picture post production, and broadcast operations, to music creation. Hernandez does draw on this experience as a technology executive, and also from his background as an author on the subject of economics and finance. His previous works include, Too Small to Fail: How the Financial Industry Crisis Changed the World’s Perceptions and Saving the American Dream: Main Street’s Last Stand.
In this book, Hernandez distills the many types of Artists and Content Creators into the broad category of “Storyteller”. Whether musician, filmmaker, actor, or painter, we all endeavor to communicate a story through our work, and he makes the point that such a need for expression is likely a part of our DNA going back even before our ancestors were drawing on the walls of their cave dwellings.
I can tell you first hand as an Indie Filmmaker that it has become extremely difficult to earn a living as a Storyteller, and that is the heart of the dilemma referred to in the book’s title. Hernandez makes the case that the ever increasing pace of technological change has disrupted the models that have long served as the foundation where business redeems value by distributing the work of Artists, which in turn supports their work to keep the wheels of content creation churning.
We probably saw this first in the digitization of the music business, where the sale of physical media, once the bedrock of the recording industry, has quickly been eclipsed by digital delivery. As this industry struggles with piracy and trying to find new methods of monetization and delivery via such means as streaming, it has become much less profitable.
Hernandez points out that this is the case in pretty much all areas of content creation: “Because of instant low-cost (or no-cost) access, each individual work whether it’s a song, a film, a broadcast or a book, has low perceived value….There’s also an expectation of “free,” which makes it harder to convince people to part with their money or willingly make the traditional tradeoff between exposure to advertising and the content they want.” I would add that the democratization of storytelling tools has led to a glut of content, further lessening the perceived value of the product.
When corporations are squeezed for profits, they draw back from investing in, and developing, new talent. Motion picture studios, for example, feel compelled to invest in remakes and sequels with only proven “bankable” talent in an attempt to reduce their risk. They tend to devote scarce resources to marketing rather than to creating original material potentially leading to a dangerous downward spiral.
Further pulling resources from what might otherwise be invested in creative pursuits, businesses are forced to spend considerable sums in an effort to keep up with new technologies. Infrastructure upgrades are frequent and costly, and a lack of Industry standards leads to a lot of needless duplication. An example he gives is the ridiculous number of various deliverables necessary to currently deliver a television program by way of the many incompatible delivery channels such as broadcast, cable, the web, and recorded media.
Although Hernandez presents an alarming scenario, this book is not all gloom and doom. The last section of the book is entitled “The Time To Act Is Now,” where the author presents a number of actionable suggestions such as adopting standards and sharing technology services via the web. According to Hernandez: “The future can be bright, the industry can be profitable, and the storytellers who are so much a part of our lives can be properly rewarded for the wonderful contributions they make.”
Reviewed by James Mathers, Cinematographer and Founder of the Digital Cinema Society
by: Stephen Follows and Bruce Nash
What Types of Low Budget Films Break Out?
A look at the patterns behind low-budget breakout movies budgeted below $3 millionMany filmmakers and film professionals spend their careers chasing the elusive “low-budget breakout” movie., i.e. A film made for pennies that rakes in mega-bucks and in so doing transforms the careers, companies and cars driven by those involved.
This kind of success is often written off as a random event. However, this is far from the case. While nobody can provide a surefire formula for success, there are patterns we see time and again among the highest performing low-budget movies.
To reveal these patterns, we began with a list of over 3,000 films from The Numbers’ financial database, investigating full financial details, including North American (i.e. “domestic”) and international box office, video sales and rentals, TV and ancillary revenue. We narrowed our focus to study the 100 most profitable feature films released between 2007 and 2016, budgeted under $3 million, using a standard distribution model where the distributor charges a 30% fee.
We looked for common themes and found (with a small number of exceptions) that the breakout hits divided naturally into four types:
Model One: Extreme, Clear-Concept Horror Films It will come as no surprise to producers that horror films feature prominently on the list of low-budget breakout successes.
• Most Profitable Films:Paranormal Activity, Insidious, Paranormal Activity 2, Sinister, [REC].
• MPAA Rating:75% are rated ‘R’, 15% PG-13 and 10% not rated.
• Running Time:Relatively short, with an average of 95 minutes and no film running over two hours.
• Critical Reviews:Average to poor. The highest rated film in this category is It Follows, which has an impressive Metascore of 83 out of 100 but it is the outlier. The average Metascore across the dataset is just 53 out of 100.
• Audience Reviews:More supportive than the critics, but still not above average for most films, at an average of 6.1 out of 10 on IMDb.
• Release Patterns:Two very distinct release patterns – half played in fewer than 100 theatres and made most of their money on video, while the other half played in over 1,500 theatres.
• Income Streams:25% from theatrical, 64% from home video and 11% from TV and other ancillary income.
• Income Location:36% of income was from the US & Canada and 64% international.
Model Two: Documentaries with Built-In Audiences and/or Powerful Stories The second group of films that stood out were documentaries.
• Most Profitable Films: Exit Through the Gift Shop, Man on Wire, Shine a Light, Senna, The September Issue.
• MPAA Rating: A healthy spread across all ratings, with the most common being PG-13.
• Running Time: Average of 99, although a wide range from 80 minutes up to 144 minutes.
• Critical Reviews: Very high, with a Metascore average of 78 out of 100.
• Audience Reviews: Very high, an average IMDb rating of 7.8 out of 10.
• Release Patterns: Small number of theatres, with most playing in under 250 theatres and the widest release being An Inconvenient Truth in 587 theatres.
• Income Streams: 14% from theatrical, 74% from home video and 12% from TV and other ancillary income.
• Income Location: 57% international and 43% domestic.
Critical reviews seem vital for this type of film to break out and it’s interesting that the documentaries with the lowest scoring critical ratings (The September Issue at 69 and Religulous at 56) both had strong inbuilt audiences (‘Vogue / fashion’ and ‘Bill Maher / religious scepticism’).
In fact, only a handful of the documentaries on the list don’t have an obvious audience: Man on Wire, Anvil: The Story of Anvil, and Searching for Sugar Man are the only ones that needed to find a crowd. The others were either about someone who was already very famous (Marley, Tyson, Senna, Amy… note the one-name titles!) or played directly to a receptive audience (Inside Job, Blackfish, An Inconvenient Truth, etc).
Model Three: Validating, Feel-Good Religious Films Speaking of receptive audiences, the third group of films we found were faith-based films.
Most Profitable Films: War Room, God’s Not Dead, Fireproof, Courageous, Facing the Giants.
MPAA Rating:Two-thirds are rated PG and the remaining third are PG-13.
Running Time:Fairly long, all are over 110 minutes and the average is two hours.
Critical Reviews:Incredibly poor, with an average Metascore of just 30 out of 100.
Audience Reviews:Similar to the horror pool, with an average IMDb rating of 6.4 out of 10.
Type of Release:Nationwide, but carefully targeted. The films played in an average of 1,273 theatres with the widest being War Room at 1,945 theatres.
Income Streams:23% from theatrical, 63% from home video and 15% from TV and other ancillary income.
Income Location:98% of income came from North American sources with just 2% coming from outside the US and Canada.
Model Four: Very High-Quality Dramas
At the other end of the spectrum (at least in the eyes of professional film reviewers) are very high-quality dramas. Almost half of these films were American productions, with the rest coming from a wide variety of countries including Germany, Argentina, Mexico, the UK, France and Poland.
• Most Profitable US Dramas:• Waitress, Moonlight, Winter’s Bone, Half Nelson, Fruitvale Station.• Most Profitable Foreign Dramas:The Lives of Others, This is England, I’ve Loved You So Long, Bronson, Ida.
• MPAA Rating:Over half are R-rated, with a quarter not rated and the rest PG-13.
• Running Time:A wide range, from 81 minutes up to 154 minutes long.
• Critical Reviews:Extremely high, with an average Metascore of 82 out of 100.
• Audience Reviews:Similarly high, with an average IMDb rating of 7.3 out of 10.
• Type of Release:Small release, with all but four playing in fewer than 300 theatres.
• Income Streams:20% from theatrical, 69% from home video and 11% from TV and other ancillary income.
• Income Location:66% of income for US dramas came from the US and Canada, whereas the reverse was true with non-US dramas, with 64% of income coming from international sources.
The lowest-rated film in this category received a Metascore of 71 out of 100, which was higher than all but three of the films within the Horror breakout success category.
A common thread among these films is awards attention. While they may not all be big enough to win main category Oscars, at the very least, these films have picked up a bunch of Independent Spirit Awards, Best Foreign Language Film at the Academy Awards, and got some screenwriting and/or acting Oscar nominations.
The 2016 version of this article focused on movies costing between $500k and $3 million with an estimated Producers Net Profit of over $10 million, released 2000-15. In this updated version, we have expanded the criteria for inclusion (to all movies budgeted under $3 million), included more movies (from 63 to 100) and narrowed the time-frame (2007-16).
The previous criteria resulted in no action movies, no thrillers, no musicals and almost no comedies or movies directed at children. Our expanded list is slightly more diverse, with one musical, a few thrillers and comedies.
Aside from the missing genres, the other notable absence is major star involvement. Of course, this is largely a function of the budget—it’s hard to get Tom Cruise for a $3 million film—but it’s remarkable how few of these films attracted anybody who would even be called a B-list star at the time the film was made.
The 2017 expanded list led to the inclusion of a few films starring familiar names: Kevin Bacon in Cop Car, Kirsten Dunst in Bachelorette, Kurt Russell in Bone Tomahawk, and Kristen Wiig in Girl Most Likely, for example. So we’re not completely ready to drop the “don’t worry about named talent” observation – getting a well-known actor or actress into a leading role can clearly help.
One trend that we noticed in this 2017 redux was that there seem to be slightly fewer breakout hits in recent years.
The only films from 2016 that make the list are Oscar-winner Moonlight and New Zealand indie Hunt for the Wilderpeople. That may be because we are missing some recent films that haven’t yet earned enough on video to crack the top of the chart, but it also might reflect the fact that independent films are increasingly picked up by the likes of Netflix and Amazon for fixed fees.
That’s generally good business for all involved: the film-makers get their money back early, probably making a decent profit, and the streamer increases their library of exclusive films. But those films also don’t get the chance to break box office records, or earn a small fortune on video. The risk is reduced, but so is the potential reward.
An interesting finding from this research is that quality is only relevant for certain types of films.
• Religious films received extremely low ratings from critics and had mixed ratings from audiences.
• Horror films showed a range: some were disliked by both audiences and critics (such as The Devil Inside), while others had middling support from both camps (such as Monsters) and then there were films which audiences enjoyed but critics were lukewarm towards (such as Dead Man’s Shoes).
• Documentaries and Dramas were all popular with audiences and the vast majority also received extremely high ratings from critics.
Lessons for Filmmakers and Producers from this Research We think there are a few lessons for independent filmmakers who are hoping to make breakout hits:
• Some “niche” audiences are large enough to make for a very profitable market, if you can reach them. The “faith-based” film audience stands out, but there are also receptive audiences for certain types of documentaries. Having a very clear idea of your audience is the first step to making a financially successful film.
• If you’re aiming for a more general audience, quality matters. A lot. Honing your screenplay to perfection and then having it ripped apart at a workshop may be hard work, but it’s almost certainly what it takes to get a dramatic film to connect with audiences, and to make back its investment.
• Look for good actors, not big stars, and do the same with all of the technical crew on a film. Fun fact: Affonso Goncalves, who edited list member Beasts of the Southern Wild also edited fellow list member Winter’s Bone and 2016 Oscar nominee Carol. Finding a good editor, cinematographer, production designer and other key members of the crew is more important for a low-budget film than blowing a big chunk of your budget on a famous (or, just as likely, previously-famous) actor or actress.
• A theatrical release isn’t the only path to success. Bachelorette, for example, earned only $446,770 at the domestic box office, but over $8 million on VOD platforms. That’s the kind of performance we will see more and more in years to come.
• In order to conduct this study, we began with a list of over 3,000 films from The Numbers’ financial database, investigating full financial details, including North American (i.e. “domestic”) and international box office, video sales and rentals, TV and ancillary revenue. We narrowed our focus to study feature films released between 2007 and 2016 and budgeted below $3 million. Finally, we calculated the likely profit margin for the producers, after all revenue and expenses were taken into account.
• The home video numbers include DVD retail sales, Blu-ray retail sales, Physical disc rental (e.g., Redbox), Transactional VOD, Electronic Sell-Through, Subscription VOD and Ad-supported VOD.
• For the other categories, TV licensing includes premium cable, basic cable, and free TV. Ancillary revenue is other IP licensing (e.g., posters, soundtrack royalties) and licensing for in-flight entertainment.
• The financial figures come from a variety of sources, including people directly connected to the films, verified third-party data and computation models based on partial data and industry norms. Some of the individual figures will be different to our estimates though, en masse, we are confident of the larger picture.
About the Authors: Stephen Follows is a writer, producer and film industry analyst. His research has been featured in the New York Times, The Guardian, The Daily Mail and IndieWire. In addition to film analytics, Stephen is an award-winning writer-producer and runs a production company based in Ealing Studios, London. (For more on Stephen visit: https://stephenfollows.com).
Bruce Nash is the founder and President of Nash Information Services, LLC, the provider of movie industry data and research services and operator of The Numbers, (http://www.the-numbers.com), a website that provides box office and video sales tracking, and daily industry news. Mr. Nash provides regular commentary and analysis for media outlets, including the New York Times, Variety, the Wall Street Journal and CBS News.
All comments are welcome; please write or leave a comment on our DCS Facebook page: http://www.facebook.com/DigitalCinemaSociety
Paul Chapman Exits FotoKem for Sim
After more than 21 years at FotoKem, Paul Chapman has made a move to Sim International as their VP of Engineering and Post Technology. A native of Great Britain and graduate of the University of Kent with a degree in Computers and Cybernetics, Paul is well known in the post production community. Besides being a Founding Member of the DCS, he has been very active in a number of other groups including the SMPTE, where he is a Fellow and past Chair of the Hollywood Section.
OWC President, Jen Soulé Recognized at 14th Annual Stevie Awards DCS congratulates OWC President Jen Soulé who received a Silver Stevie Award for the category Female Executive of the Year – Consumer Products at the 14th annual Stevie® Awards for Women in Business. Award winners were announced during a gala event at the Marriott Marquis Hotel in New York on Friday, November 17. Soulé started as an OWC Sales Rep in 1997, moving on to manage the sales team before leading product development, and eventually becoming the company’s first President in 2014 allowing Founder/ CEO Larry O’Connor to expand on strategizing the future direction of the organization.
Nancy Schreiber, ASC to Receive the Susan B. Anthony Award The High Falls Film Festival has awarded their 2017 Susan B. Anthony “Failure Is Impossible” Award to Nancy Schreiber, ASC in recognition of her outstanding contributions to the art of filmmaking as one of the few female cinematographers in the film and television industry. This award honors a woman in the film industry who has persevered in her career and triumphed over difficulties. Based in both New York and Los Angeles she was only the fourth woman ever voted into membership into the American Society of Cinematographers and was recently the recipient of the President’s Award from the ASC, the first woman ever to receive this award.
Schreiber is a Detroit native who, after receiving her psychology degree at the University of Michigan, moved to New York, working her way up from production assistant to gaffer to Director of Photography. She has compiled over 130 credits, an eclectic list of narrative film and television credits as well as music videos, commercials and documentaries.
Justin Chin is an award winning creative leader with an extensive background in both filmmaking, video game design, and 360 video/Virtual Reality. He is recognized as a team leader that can work creatively as well as develop workflow strategy for small and large scale projects. His company, Infinite Machine specializes in telling engaging stories with evocative imagery allowing him to bring his extensive background in traditional Cinematography to new storytelling formats.
Cinematographer Dave Perry has worked in video and film production since 2003 creating content for broadcast, corporate, and Indie film. In the Spring of 2013, he launched his own production company, Dave Perry Cinematographer LLC, a full service production and post facility in Southwestern Virginia. Dave’s roles in addition to camera work have included Grip, Gaffer, Post-Production Supervisor, Senior Editor, and Project Manager. A recent expansion with the addition of staff including an Editor has allowed him to focus on his first love, Cinematography and work as a Director of Photography on a wide variety of projects.
Renewing Your DCS Membership
We count on your dues and contributions to continue our mission and maintain our services to members, and as previously mentioned, dues are set to go up at the beginning of the year. So, if your membership has expired, or will soon, please take a few minutes to renew your membership at the $30 annual level or $100.00 for a Lifetime Membership. You can follow the convenient PayPal links, (using any major credit card, and you don’t need to be signed up for PayPal,) or you can send payment to our offices at P.O. Box 1973 Studio City, CA 91614, USA.
PayPal Annual Renewal Link - $30.00US:
https://paypal.me/digitalcinemasociety/30 click here
Paypal Lifetime Renewal Link - $100.00US:
https://paypal.me/digitalcinemasociety/100 click here
Checks should be sent to: The Digital Cinema Society, P.O. Box 1973, Studio City, CA 91614, USA. Check payments must be in US dollars. Please note that if you are a student, or otherwise cannot afford the dues, just send a note and we will be happy to extend your membership. ** Student and Complimentary memberships do not include a membership card.
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:
AATON-Digital - AbelCine - ACES - Acromove - Adobe - Adorama - Advantage Video Systems - AJA - Angénieux - Anton/Bauer - ARRI - Avid - BB&S Lighting - Band Pro - Benro - Bertone Visuals - Birns & Sawyer - Blackmagic Design - Canon - Cartoni - Cineo Lighting - Codex - Cooke Optics - Dadco/Filmlight - dedolight - De Sisti Lighting - DigitalFilm Tree - Digital Sputnik - DoP Choice - Fiilex LED - Fujinon - Hot Rod Cameras - K 5600 - Kino Flo - Leica/CW Sonderoptic - Light & Motion - Litepanels - Luminys - MacSales - MACCAM - Manfrotto - Manios Digital - Mole-Richardson - MYT Works - Nila - NVIDIA - OConnor - OWC - Panasonic - Panasonic Lumix - Panavision - Power Gems - Quantum - Redrock Micro - Red Scorpion LEDs - Rosco - Sachtler - SIGMA - SIM Digital - SmallHD - Sony - Sound Devices - Tenba - Teradek - Terra LED - The Rag Place - The Studio-B&H - Tiffen - Transvideo - VER - Vision Research - WCP - Wooden Camera - Zeiss - ZGC - Zylight
Remember Your DCS Member Discounts
This month we are featuring web services company, NIGHTSKY Hosting. They offer personal web hosting services starting as low as $4.95 and business plans starting at $19.95 per month for DCS members using this link: http://www.nightskyhosting.com
DCS members in good standing can also receive significant discounts on products and services from companies including: Raleigh Studios Screening Services - BMW/Mini - LensProToGo - Final Draft - Wooden Camera - SimpleDCP - Zacuto - IMDBpro - Manios Digital - DECKHAND Camera Rental - Tek Media Electronic Repair - AbelCine - BBS Lighting - Kit & Kaboodle Craft Service - Birns & Sawyer - NightSky Web Hosting - American Cinematheque - ProductionHub - Advantage Video Systems.
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:
Calendar of Upcoming Industry Events
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: http://www.digitalcinemasociety.org/events/dcs-calendar-of-industry-events click here
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"It is not the strongest of the species that survive, nor the most intelligent, but the most responsive to change.” Charles Darwin