THE ROBBER is one of the films going  public screening among the projects of SIFF’s China Film Pitch and Catch. It is Yang’s second feature film after his maiden work THE COLD FLAME.

Since its debut in CFPC of SIFF 2007, THE ROBBER has been considered as market promising and won CFPC’s award for Most Promising Project to Invest. It was well evaluated by investors and received collaboration intentions from international distributors including AVIX of Japan when it started to shoot.

In addition to THE ROBBER, other CFPC’s projects such as ONCE UPON A TIME IN TIBET by DAI Wei and THE LAST RAINSTORM by Leste Chen are now almost finished and scheduled for theatrical release the coming year.

SIFF’s CFPC serves as a bridge for the connection between film projects and investors, the place in which the young film makes can benefit from the concept of investors as well as their insight to the market. This helps young film makers better understand the market and enlarge the possibility for their project’s success.

The China Film Pitch and Catch is one of SIFF’s efforts to explore, support and promote the young. During the past few years, SIFF integrated its resource to be an effective system consisting of pitching, co-production and competition. The China’s annual leading festival hopes these efforts could encourage directors’ brave innovation and practice in arts while at the same time provide them the chance for their development worldwide. Wanma Caidan, SIFF’s best director of Asian New Talent Award 2006 for his THE SILENT HOLY STONES, brought his project ON THE ROAD TO LHASA to CFPC. His latest THE SEARCH competed for the grand Jin Jue Award of SIFF and is selected by the jury panel head by Danny Boyle as the winner of Jury Grand Prix. It’s now going for the theatrical screening in France by the end this year.

Either Yang Shupeng or Wanma Caidan, or THE ROBBER or THE SEARCH, it’s just a start. The young generation of China’s Film Industry grows fast and shows their talent to the world. The Shanghai International Film Festival will continue to set up a international stage for them.

The 13th Shanghai International Film Festival is due to start on June 12, 2010.

Original Story On Screendaily

Hong Kong Filmart is launching a three-day documentary event at this year’s edition.

Hong Kong Filmart is launching a documentary event, Asian Side of the Doc (ASD), at this year’s edition of the film, TV and digital entertainment market (March 22-25).

Sponsored by Europe’s MEDIA programme and following the model of French event Sunny Side of the DOC, ASD is expected to attract more than 150 film, TV and new media executives from Asia, Europe and North America.

In addition to the buying and selling of documentaries, the three-day event will also include workshops, screenings, pitching sessions and networking events.

For the sixth year running, Filmart will take place under the umbrella of Entertainment Expo 2010, which this year encompasses nine events between March 22 and April 18, including the Hong Kong Asia Film Financing Forum (HAF), the Hong Kong International Film Festival and the Hong Kong Film Awards (see details below).

Filmart organisers, the Hong Kong Trade Development Council (HKTDC), also said that more than 500 exhibitors from over 20 countries and regions have signed up for this year’s market. Highlights also include two conferences: Europe/Asia: A New Era For TV And Film Cooperation; and Computer-Generated Animation In A World After Avatar.

In addition, the Association of Motion Picture Post Production Professionals is organising a series of programmes, seminars and workshops on 3D film.

Full list of Entertainment Expo events:

Filmart (March 22-25)

Hong Kong Asia Film Financing Forum (March 22-24)

Hong Kong International Film Festival (March 21-April 6)

Asian Film Awards (March 22)

Hong Kong Film Awards (April 18)

Hong Kong Independent Short Film and Video Awards (March 12-21)

Hong Kong Music Fair (March 20-22)

IFPI Hong Kong Top Sales Music Award (April 7)

Digital Entertainment Leadership Forum (March 23)

Here is a link of the submission page:

http://www.hkiff.org.hk/en/news20100125.html

Also worth reading here:

The price of festivals

Bright Shadow Films might show up in the festival as well, We will meet you there!

Here is a few things came from Screendaily:

Chow Yun-fat is the main attraction in Confucius, a ponderous and weakly-imagined attempt at repackaging the ancient sage for the blockbuster era. Hu Mei’s (For All Eternity) film includes both battle sequences and an attempted seduction of the legendary philosopher in hopes of drawing mainstream audiences, but a lack of narrative development results in a film that is neither entertaining nor enlightening.

From what you can see in the trailer actually the film images looks alright, although the main complain from the audience are focus on “story”, but it’s still worth most people and their pop-corn.

Approval of co-production project

Application memorandum prepared by the Chinese party, stating among others Chinese and English names of the parties to the co-production, contact details of the parties, film title, brief description of the film, brief introduction to the main cast, production schedule and filming location;

Certificate of Incorporation (photocopy) and bank reference letter of the foreign party (original);

Introduction to the foreign party’s business activities and history in film production, as appropriate;

• Synopsis in Chinese;
• 5 sets of the screenplay in Chinese;
• Letter of intent or co-production agreement between the parties (photocopy);
• Name, citizenship, brief resume and role of the principal cast;\
• Name, citizenship and brief resume of principal crew, namely director, screenwriter, director of photography and art director.

Approval of completed film

• Completed film embodied in tapes or discs;
• Confirmation letter stating the actual investment made by the respective parties (not required for assisted production);
• 6 stills in electronic, discs or printed form.

A Sino-foreign co-production, simply put, is a contractual arrangement between a foreign party and a Chinese party to conduct filming in China. There may be multiple parties on each side, provided that the Chinese party/parties must be production entity/entities accredited by the State Administration of Radio, Film and Television (SARFT) (for details, see “Structuring a Sino-foreign co-production”). For purposes of Sino-foreign co-production, investors or producers from the Hong Kong and Macao Special Administration Regions and the territory of Taiwan are considered as overseas parties.

Relationship of the parties.

The parties to a Sino-foreign co-production organize and conduct affairs of the co-production, including division of rights and obligations, in accordance with the co-production agreement entered into between them. The parties do not set up a separate entity for purposes of the co-production.

Approval.

All Sino-foreign co-productions must obtain the approval granted by the SARFT before any filming activity commences, and when the film is completed (that is, the censorship approval). Every co-production project can only be directed at producing and shooting one film, and a separate application is required for each project. The approvals are granted on a case-by-case basis depending on the relevant authority’s review of, among other things, the screenplay and the completed film. The regulatory regime captures all film genres and all formats in which filming will be conducted.

Governing authority.

The governing authority for Sino-foreign co-production is the SARFT, in particular, the Film Bureau of the SARFT. Nevertheless, the SARFT has appointed China Film Co-production Corporation (CFCC) as its sole agent to assist in managing and coordinating the applications, conducting preliminary review of the screenplay and completed film, and other logistical matters relating to Sino-foreign co-productions.

Photographers are heading to China in droves right now, whether for the coming Olympics in Beijing (August 8-24), to cover the aftermath of the tragic May 12 earthquake in Sichuan province — or just to shoot stock: China’s ferocious growth and rapidly changing economy have made it a perennially hot news property.

“It’s an unusual time of openness in China, which is traditionally a xenophobic country, thanks to the Olympics and the earthquake, ” says Jeff Greenwald, executive director of Ethical Traveler , a project of the Earth Island Institute. “That openness is a two-way street. People traveling to China, particularly Americans, can try to counteract some of the negative images that China has of us from its media.”

But this is a very politically sensitive country. Attempting to shoot certain subjects—anything to do with say, Tibet, religion, state executions, and disease—can get you in trouble with the authorities. Along with Greenwald, PDNOnline talked to ten photographers who have shot in mainland China to get their tips for those new to the country. Several living in or frequently working in China spoke on the condition of anonymity. Those who spoke to us on the record are:

Monte Isom, a commercial photographer who specializes in portraits of athletes
Catherine Karnow, photographer behind National Geographic Traveler: Beijing
Wayne Liu, a Taiwan-born fine-arts shooter
Mads Nissen, a freelance photojournalist based in Shanghai
Sara Remington, a food and travel photographer
James Whitlow Delano, a Tokyo-based photographer with Redux Pictures and author of Empire: Impressions from China

BEFORE YOU GO

Vaccines: Many photographers recommended getting the Hepatitis B vaccine.
The Centers for Disease Control has a Web site for China with a full health briefing.

Visas: Note that your passport has to be valid for at least six more months. The visa situation has changed several times in the past few months. Check the Chinese Embassy’s Web site for the most up-to-date requirements.

Everyone had an opinion on getting a tourist or business visa versus an official journalist visa:

“We went in on a tourist visa to shoot a wedding and pick up stock. The photographer I went with and I had four camera bodies and 10 lenses. But she and I purposefully made ourselves look younger and separated ourselves.”—Remington

“When I was freelancing, I was on a business visa because I wanted to stay completely off the radar. Now, I am staff and on a J-1 (resident journalist) visa, as it is required by my company. There are benefits to being unregistered and registered. Unregistered allows more freedom to move and work on sensitive stories, but you run the risk of being deported, arrested, or having your contacts get arrested. Being registered allows you to do official events and work openly, but it is restricted. Registered journalists are not allowed to visit Tibet unless invited, and the invitation is difficult to obtain.”—Photojournalist based in China

“It depends on how much you have to lose. If you were going to come and shoot a big production with a lot of lights and models, you kind of need to get a proper visa. The police can close your operation down in a second.”—Beijing-based documentary photographer

“The business visa situation was changing constantly this year. Even my local Chinese producer couldn’t get it all put together. We needed a letter of invitation from the company hiring me, proof the airfare was confirmed and booked, hotel confirmed and booked, two passport photos, a letter from me to my assistants saying I was hiring them and they needed a visa, and an official invitation from the correct department. And that’s for one month. For a multiple-entry visa you need to prove why you need to come in and out.”–Isom

SHOOTING

Street/stock photography:

“The first thing to remember about China is that it’s not just one ethnic group. You can’t make assumptions about how people will feel about having their photo taken, or the courtesies involved. People in Beijing on the street might be OK with you shooting without asking, but Muslim Chinese people in the southern regions might react every differently.”— Greenwald

“As a woman, you just look a lot less threatening. Sometimes I wear little open-toed sandal with a pedicure. I wanted to shoot this massive demolition scene from above. There was a hotel nearby overlooking it, but there is no way in China you can just go up to the manager and explain you’re shooting for a National Geographic guidebook and get permission. I pretended I was checking in, looked at several rooms, and then I ended up sneaking in through the kitchen and shooting from the fire escape. I stuck my camera in my nice big Coach purse.”—Karnow

Photojournalism and sensitive topics

“Sometimes the political situation is dominant (anti-NATO riots 1999, the annual party congress), and sometimes it fades. But during the Olympics you can be sure it will be forefront. It’s not like there are cops everywhere telling you not to shoot, but subjects might get touchy about mildest things during times of political stress. Be subtle and act innocent. —Documentary photographer

“There is a saying in China that it is easier to ask forgiveness than for permission (read: access). Act first, and chances are if you are mild mannered, good natured, and wear a smile, even authorities will forgive a photograph of a bridge, soldier, or some other moderately sensitive subject in this often loosely controlled one-party state.”—Whitlow Delano

Commercial photography

“Chinese clients typically do not pay the agency and have them pay you. If they did, it would cost them about 12-15 percent more because of invoice taxes etc. So the client pays you directly—except the client does not want to pay anyone outside of China because that incurs a 15 percent tax; there is a loophole in Hong Kong. So the best way to go about doing a job there is to find a local production, hire them to produce your job, and then they pay you. They will charge a premium, but it makes the Chinese company more willing to hire you. Also, negotiating with Chinese clients is much different than in the United States. They want a deal. Doesn’t matter where the starting price was, they want it to be lower. “—Isom

LOGISTICS

“Skype is great for calling back home. With an unlocked cell phone, you can get a local SIM card, put $50 on it, and SMS back and forth to your local clients and back to the States. People in China text a lot and won’t like paying international fees to text you while you’re just across the city.”—Isom

“For those of us who are accustomed to uploading and downloading via FTP, you will realize as soon as you get to China that FTP speeds are nowhere near where it once was.”—from Nissen’s handy posting on
Lightstalkers.org for using the Internet in China

“It’s easy to find cheap hostels; I used Lonely Planet. Don’t pay until you see the rooms. They might be sketchy, dirty, rat infested. I felt safe leaving my film and extra camera equipment in the hostels I stayed in.”—Liu

“The bathroom situation is interesting for women. Pack your own toilet paper —and hand sanitizer is good, too.”—Remington

FOOD

“I basically eat what the locals eat. But if I’m doing a pollution story on, for example, in a ‘cancer-village,’ I’ll bring my own food or eat instant noodles, though it can be pretty boring for a whole week. “—Nissen

“I always have antibiotics on hand because my experiences is that one gets sick at 2 a.m. not 2 p.m.”—Delano

“The person I was traveling with was allergic to gluten, which was impossible to explain to people. So if you have food sensitivities, bring plenty of protein bars, almonds, etc.”—Remington

PEOPLE

“If you don’t speak Chinese, find a hip and friendly bilingual local assistant. It’s pretty easy to chat young people up, but older folks feel more comfortable with a local person talking to them. Avoid the scams where English-speaking ‘art students’ try to show you ‘their works’ that you buy because they are so friendly, or take you to a tea shop where each cup is practically $50.”—Documentary photographer

“A good guide, a good ‘fixer,’ is absolutely critical. Smart, tireless, their English has to be good but not necessarily great. When I am shooting portraits, for me to be able to coax the expressions and gestures out of people, I need almost simultaneous translation.”—Karnow

ETHICS

“Be aware that your actions when uncovering sensitive issues may bring heavy consequences upon people who can not leave the country. Do not post names, photograph faces of people who are quoted commenting on sensitive topics that are contrary to government policy. The story is not worth ruining a good person’s life. Period.”—Delano

“If I were covering a sensitive story I would hire a translator who is not a Chinese national—who has a foreign passport, but who speaks Chinese fluently. I would try not to use a minority, like a Tibetan, to work on these issues. Because they’re already in a politically sensitive situation. As the photographer I do what I can do to protect the people I work with and who I photograph, but in the end it’s a really messed-up situation.”—Beijing-based documentary photographer

Freelance writer Bonnie Azab Powell lives in Oakland with her husband, portrait photographer Bart Nagel . She would like to go to China someday — but maybe after the Olympics.

Arricam 35mm film cameras (3 perf) and accessories
Description

Arricam Studio (ST) 35mm silent motion picture camera with 3 perforation movement.
Camera noise level less than 20dB. 24V power. 35mm / Super 35mm. Forwards and backwards filming, 1-60fps. 11.2 to 180 degree continuous shutter. Temperature regime from -10 to +40 degrees. Weighs only 12 kg in hand-held / steadicam modes. Camera supports LDS technology. The world’s most advanced silent motion picture camera!
Basic camera set includes: Ground Glass (to choice – see list) Studio Viewfinder, Studio Integrated Video System (IVS) PAL, Video Only Top, Frame Glow Module, Frame Glow Masks (to choice – see list), Heated Eyecup, Eye Cushions, Zoom Viewfinder Extension, 6 inch on-board monitor, Magazine Back Load Adapter, Power Bridge Plate BP-3 with all 19mm rods, Lens Data Box, Speed Control Box, and Lens Data Display for Focus-Puller.

Arricam Lite (LT) 35mm silent motion picture camera with 3 perforation movement.
24V power. 35mm / Super 35mm. Noise level less than 24dB. Forwards and backwards filming, 1-40fps. 11.2 to 180 degree continuous shutter. Temperature regime from -10 to +40 degrees. Total weight in hand-held / steadicam modes only 10kg. Camera supports LDS technology. An incredibly mobile and adaptable silent motion picture camera!
Basic camera set includes: Ground Glass (to choice – see list), Lite Viewfinder 2, Lite Integrated Video System (IVS) PAL, Video Only Top, Frame Glow Module, Frame Glow Mask (to choice – see list), Heated Eyecup, Eye Cushions, Medium Viewfinder Extension, 6 inch on-board monitor, Studio Magazine to Lite Camera Adapter,  Power Bridge Plate BP-3 with all 19mm rods, Lens Data Box and Lens Data Display for Focus-Puller.

Ground Glasses and Frameglow Masks

Ground Glass Standard 35mm – 3P 1:1.33
Ground Glass Standard 35mm – 3P 1:1.66
Ground Glass Standard 35mm – 1:1.85
Ground Glass ANSI Super 35mm – 3P 1:1.78 / 1:1.33
Ground Glass ANSI Super 35mm – 1:1.85
Ground Glass ANSI Super 35mm – 1:2.35
Ground Glass ANSI Super 35mm – 1:2.35 / 1:1.85 shared top (for Lite only!)

Frameglow Mask Standard 35mm – 3P 1:1.33
Frameglow Mask Standard 35mm – 3P 1:1.66
Frameglow Mask Standard 35mm – 1:1.85
Frameglow Mask ANSI Super 35mm – 3P 1:1.78 / 1:1.33
Frameglow Mask ANSI Super 35mm – 1:1.85
Frameglow Mask ANSI Super 35mm – 1:2.35
Frameglow Mask ANSI Super 35mm – 1:2.35 / 1:1.85 shared top (for Lite only!)

Magazines

Studio Magazine 300m / 1000ft.
Studio Magazine 120m / 400ft.
Lite Steadicam Magazine 120m / 400 ft.
Lite Shoulder Magazine 120m / 400 ft.
(n.b. Studio magazines fit on Lite camera (with included adapter); Lite magazines DO NOT fit on Studio camera!)

Electronic Accessories (see also LDS Remote Control System)

Pick-Up Box – for in-frame synchronisation with TV monitors
Timing Shift Box – for adjustment of mirror shutter and movement to create variety of streaking effects
Manual Control Box – allows control of camera speed and iris / shutter ramps by hand
Remote Control Station (with cables) – for remote control of camera by cable. Accepts Speed Control Box, Manual Control Box, Pick-Up Box, Timing Shift Box and Lens Data Display

Mechanical Accessories

Shoulder Set (for handheld operation)
Camera Handgrip Right (for handheld operation)
Universal Low Mode Set (for hanging camera close to ground)

Power Supply

26V Mains Power Supply
24V / 7 Ah NC battery (switchable to 12V); needs charger
Battery Charger
Battery Belt (24V / 8Ah) with charger
24V / 13 Ah NC battery (switchable to 12V), inbuilt charger

Other Items

Scubacam raincover for Arricam
Arriflex 435 Xtreme 35mm film camera (3 perf)
Description

Arri 435 Xtreme 35mm motion picture camera (MOS) with 3 perf movement
1-150 fps, 24V power, MOS (non-sound!), tolerant of extreme temperature variations; the ideal workhorse for all non-sync sound work. Camera supports all LDS functions.
Our camera set includes camera body, viewfinder extension FE-5, heated eyecup, integrated colour video, frameglow module, 6 inch on-board camera monitor, handgrip, FEM-2 expansion module, URM-3 receiver, CHS-2 module (for high speed work), and bridgeplate.

Ground Glasses and Frameglow Masks:

Ground Glass Super 35mm ANSI 3P-TV (1:1.33/1:1.78)
Ground Glass Super 35mm ANSI 1:1.85
Ground Glass Super 35mm ANSI 1:2.35
Frameglow Mask Super 35mm ANSI 3P-TV (1:1.33/1.78)
Frameglow Mask Super 35mm ANSI 1:1.85
Frameglow Mask Super 35mm ANSI 1:2.35

Magazines

120m Arri 435 magazine
120m Arri 435 Steadicam magazine
300m Arri 435 magazine

Mechanical Accessories

Video Top / Low Mode Set
Shoulder Set (for handheld work)
Camera Handgrip Right (for handheld work)

Power Supply

26V Mains Power Supply
24V / 7 Ah NC battery (switchable to 12V); needs charger
Battery Charger for 24V / 7Ah batteries
Battery Belt (24V / 8Ah) with charger
24V / 13 Ah NC battery (switchable to 12V), inbuilt charger

Underwater / near water filming

Scubacam Splash Bag for Arri 435; for use on and near water surface and underwater up to depths of 4m /12 feet
Hydroflex Underwater Box for Arri 435, for use underwater up to 40m depth

Other Items

Scubacam Rain Cover for Arri 435
Arriflex 235 35mm film camera (3 perf)
Description

Arriflex 235 35mm motion picture camera (MOS) with 3 perf movement
1-60 fps, 24V power, MOS (loud!); Our camera set includes camera body, viewfinder extension MEE-1, heated eyecup, integrated video system, frame glow module, 6 inch on-board camera monitor, handgrip, side bracket and bridgeplate. Please order all other accessories separately!

Ground Glasses and Frameglow Masks:

Ground Glass Super 35mm ANSI 3P-TV (1:1.33/1:1.78)
Ground Glass Super 35mm ANSI 1:1.85
Ground Glass Super 35mm ANSI 1:2.35
Frameglow Mask Super 35mm ANSI 3P-TV (1:1.33/1.78)
Frameglow Mask Super 35mm ANSI 1:1.85
Frameglow Mask Super 35mm ANSI 1:2.35

Magazines

120m Arri 235 magazine
120m Arri 235 Steadicam magazine
120m Arri 235 shoulder magazine

Mechanical Accessories

Low Mode Support (LMS-1)
Riser Plate

Power Supply

26V Mains Power Supply
On-board battery
On-board battery charger
Accessory Power Box (APB)

Other Items

Scubacam Rain Cover for Arri 235
35mm spherical lenses
Description

Prime Lens Sets

Arri-Zeiss LDS Ultra-Primes lens set – 12mm, 14mm, 16mm, 20mm, 24mm, 28mm, 32mm, 40mm, 50mm, 65mm, 85mm, 100mm, 135mm, 180mm

Arri-Zeiss LDS Master Primes lens set – 16mm, 18mm, 21mm, 25mm, 27mm, 32mm, 35mm, 40mm, 50mm, 65mm, 75mm, 100mm PLUS Master Diopters +0.5, +1, +2

Arri-Zeiss High Speed Primes set – 18mm, 25mm, 35mm, 50mm, 65mm, 85mm (new 2005!)

Individual Prime Lenses

8mm Zeiss Ultra Prime lens
10mm Zeiss Ultra Prime lens
LDS 12mm Zeiss Ultra Prime lens
LDS 14mm Zeiss Ultra Prime lens
LDS 16mm Zeiss Ultra Prime lens
LDS 20mm Zeiss Ultra Prime lens
LDS 24mm Zeiss Ultra Prime lens
LDS 28mm Zeiss Ultra-Prime lens
LDS 32mm Zeiss Ultra Prime lens
LDS 40mm Zeiss Ultra Prime lens
LDS 50mm Zeiss Ultra Prime lens
LDS 65mm Zeiss Ultra Prime lens
LDS 85mm Zeiss Ultra Prime lens
LDS 100mm Zeiss Ultra Prime lens
LDS 135mm Zeiss Ultra Prime lens
LDS 180mm Zeiss Ultra-Prime lens

18mm Zeiss High Speed lens
25mm Zeiss High Speed lens
35mm Zeiss High Speed lens
50mm Zeiss High Speed lens
65mm Zeiss High Speed lens
85mm Zeiss High Speed lens

Zoom Lenses

24mm – 290mm Angenieux Optimo zoom lens + 2x extender
17-102mm Angenieux HR zoom lens
25-250mm Angenieux HR zoom lens
Cooke Mk 2 25-250mm zoom lens
28-80mm Opton zoom lens, t3.2 (lightweight! – ideal for handheld work)

Servo Motor ZMU-3 for zoom lenses

Macro and Close-Focus Lenses

40mm Arri-Macro T 2.1 lens
60mm Arri-Macro T2.1 lens
100mm Arri-Macro T 2.8 lens

Please call if anamorphic lenses are required!

LDS Remote Control System
Description

(n.b. Lens Data Display for Focus-Puller (LDD-FP) already included in all ArtLite LDS camera packages!)

Arri LDS Radio Control System (complete set)
This LDS system automatically calibrates all LDS Ultra-Prime and Cooke S4i lenses and controls all functions of the camera from up to 100 metres. The system calculates depth of field, allows for up to 8 electronic focus marks, displays on screen information from CineTape ultrasonic measuign system, and displays and records full data on operation of camera. Camera functions fully-remote controlled included focus, iris, zoom, on/off, speed, ramps and more!
System comprises Wireless Main Unit, Wireless Battery Units, Wireless Focus / Iris Unit, Wireless Zoom Unit WZU-3; Remote Speed Control Box; Cine Tape Measuring System (ultrasonic focus rangefinder); and three remote controlled lens / iris / zoom motors.

Arri LDS Radio Control System (limited set)
This LDS system automatically calibrates all LDS Ultra-Prime and Cooke S4i lenses and controls most functions of the camera from up to 100 metres. The system calculates depth of field, allows for up to 8 electronic focus marks, and displays and records full data on operation of camera. Camera functions fully-remote controlled included focus, iris, on/off, speed, ramps and more!
System comprises Wireless Main Unit, Wireless Battery Units, Wireless Focus / Iris Unit, Remote Speed Control Box, and two remote controlled lens / iris / zoom motors.

Camera Accessories
Description

Matte-Boxes

Lightweight Matte Box Set LMB-5 (4″ x 4″ filters)
Matte Box Set MB-14 (6.6″ x 6.6″ + 4″ x 4″ filters)
Matte Box Set MB-16 (4″ x 4″ filters)

Follow-Focus

Lightweight Follow Focus Set FF1 + flexible shaft
Follow Focus Set FF3 + flexible shaft
Denz Follow-Focus (simplified FF-3)

Rain Deflection System

Rain Deflection System

Director’s Viewfinder

Arri Director’s Viewfinder (PL mount, with 1:1.33, 1:1.85 and 1:2.35 ground glasses)
Denz Director’s Viewfinder (PL mount)

Automatic Focus Systems
CineTape Measuring System (ultrasonic focus rangefinder)

Light Meters

Minolta SpotMeter F
Minolta Exposure Meter IV F
Minolta Colour Temperature Meter

Slates (Clapper-Boards)

Ambient Radio Timecode Master Film Slate
Film Slates (White)
Film Slate (Black)

Small Accessories

Radios
Harrison Film Changing Tents
Gecko-Cam Large Film Changing Bag
Grey and Colour Control Cards
Magliner style kit trolley
Easy-Up Tent – 2m x 3m x 1.8m
Director’s Chairs

Tiffen Glass Filters
Description

4 inch x 4 inch filters (for MB-14, MB-16, and LMB-5 matte-boxes)

Clear Glass (Protective)
Sky 1A
Haze 2A
Linear Polariser
ND 0.3
ND 0.6
ND 0.9
ND 1.2
85
85 ND 0.3
85 ND 0.6
85 ND 0.9
Grad Soft Edge – Clear / ND 0.3
Grad Soft Edge – Clear / ND 0.6
Grad Soft Edge – Clear / ND 0.9
Grad Soft Edge – Clear / Skyfire 2
Grad Soft Edge – Clear / Sunset 1
Grad Soft Edge – Clear / Blue 2
Enhancer
Pro-Mist 1/2
Black ProMist 1
Warm Pro-Mist 1
812
Ultra-Contrast
Fog 1
Cool Day for Night
Coral 1
Tobacco 1
FL-B (to balance flourescent lights)

6.6 inch x 6.6 inch filters (for MB-14 and LMB-4 matte-boxes)

Clear Glass (Protective)
Sky 1A
Linear Polariser
Warm Polariser
ND 0.3
ND 0.6
ND 0.9
85
85 ND 0.3
85 ND 0.6
85 ND 0.9
Grad Soft Edge – Clear / ND 0.3
Grad Soft Edge – Clear / ND 0.6
Grad Soft Edge – Clear / ND 0.9
Grad Hard Edge – Clear / ND 0.6
Grad Hard Edge – Clear / ND 0.9
Cool Day for Night
Tobacco 1
Coral 1/2

SPECIAL OFFER: Every fifth filter ordered is FREE!!!
Heads, Tripods, Camera Support Systems
Description

Heads and Tripod Sets

O’Connor Fluid Head 2575C-3F + 155 tripod + 155 Baby tripod + High Hat
Ronford “Atlas” Fluid Head + Long + Short Legs
Sachtler “Cine 75″ fluid head + long legs, medium legs + short legs
Sachtler “Studio 9+9″ fluid head + medium/long legs + short legs
Arrihead 2 (geared pan and tilt tripod head with legs)

Other Camera Support Systems

Ronford Low Angle Tripod Set – includes High-Hat, drill plates, suction cup mounts, lazy leg, low-profile ball mount, and much more!
Ronford Series 7 Mk IV 3-axis head (all three axis rotate 360 degrees, camera can also be underhung within 2 cm of ground; many more options than a simple Dutch head!)
Mini-Skater mini-dolly system – slides camera across flat surfaces at very low angles!
Denz Swinghead (for simple “Dutch” camera angles)
GFM Tilt Plate (tilts camera when mounted on head up to 104 degrees (i.e. past vertical))
Large “Cinesaddle” saddle bag (for 35mm cameras)

See also Camera Grip and Rigging section

Playback and On-Set Editing Systems
Description

Lightweight Portable Playback Systems

Panther complete mobile playback system with video transmitter and combined video receiver / Sony DV watchman unit. Ideal for Steadicam and handheld filming.
Transvideo Titan professional video sender and receiver system  (range 300m – goes through walls!); 2.4 to 2.5GHz frequency (legal in all countries), 5 available channels, 9V-36V power, 200g unit weight. Requires monitors and recorder!

Rack-based Playback Systems

Doremi V1×2 professional digital video recorder playback system – records video from 2 cameras at same time with 4 channels of sound, logs “takes”, and allows instant access to all material. This high-end playback system features high-low speed camera simulation, variable compression rates, over 34 hours of storage space, and output of material to VHS, DVD or computer. Complete with system monitor, 1 x 17″ professional monitor, 2 x 14″ professional monitors, and Transvideo Titan sender / receiver .
Hard disc / DVD recorder playback system with over 20 hours of hard disc storage space, VHS recorder, and 1 x 14″ professional monitor

On-Set Edit / Playback System

On-set editing system – Apple Mac G5 2 x 2.5 GHz 2GB RAM 240 GB memory computer with Deck-Link Extreme video card (no compression!). Software includes Final Cut Pro and After FX Pro.
Frozen Moments Still Photo-Camera Array
Description

Frozen Moments photo camera array – 100 professional camera system with equipped with 28mm-80mm lenses, plus digital control. Can be fired sequentially or simultaneously, in a circle or various other configurations. The only limit is your imagination!

We are currently working on the audition, finalize the big roles in the film, it’s going quite well and we are hoping to finish everything soon, but we are also searching for the small role cast, if you have a Chinese face with fluent English, feel free to send us your bio with previous work, we would love to send you some info regarding the audition.

Crew: Same as the casting, we are finalize the main crew member these days, if you willing to join the production, here are the available position:

Intern: For both pre-prod and prod

Assistant for different department: Art, Location, Equipment, Logistic, Talent Management, etc

prdthemovie@brightshadowfilms.com

Pic From here

Local film production company Bright Shadow Films is preparing to start filming on their debut feature-length film, The People’s Republic of Desire, an adaptation of Annie Wang’s 2006 novel. The shoot is scheduled for the middle of next month.

The novel has been dubbed a “Sex in the City for Chinese women” – centering on four female friends, just as in the TV show. “It’s about single women and love, but that’s not the only thing,” says Lucy Brydon, who co-wrote the script with Jenny Hammond. “It’s not quite so directly about romance – the book has a lot to offer in terms of Chinese culture as well.”

Although the original story is set in modern day Beijing, the film adaptation will be set in Shanghai. “Shanghai’s just a sexier city, no offense to Beijing,” Brydon says with a laugh. Author Wang was on hand during the adaptation process, and has given her approval of the treatment. “[Wang] kept tabs, but she didn’t have any strict guidelines. She’s a ball of energy – very smart, very cool,” says Brydon, also mentioning the challenge of adapting the book, which was originally comprised of columns, into a cohesive film narrative. “We basically started by taking all the dialogue and went from there,” she says.

Bright Shadow’s managing director Charlie Moretti, who will also act as the film’s producer, reveals – without giving too much away – that the film will be shot on location, all over the city, including scenes at “the Hyatt, 1933, Chinatown – all the famous landmarks that Shanghai residents will recognize.” The shoot will last six weeks, he says, beginning at the end of September and lasting through the fall.

Already attached to the project is UK actor Andrew Lincoln, who has previously appeared in 2003’s Love, Actually (which Moretti likens to PRD), Scenes of a Sexual Nature and numerous British TV shows. “It’s an ensemble piece – but Andrew is our male lead,” says Moretti, highlighting that the production will involve over 30 crew members. Also confirmed for the project is director Alexei Berteig and director of photography Mark Pugh. Bright Shadow is currently working to confirm several additional actors, including the film’s four female leads, who will be of Chinese descent.

The film will be shot in English, although Moretti confirms that there will be dubbing for a domestic Chinese release. Bright Shadow has big hopes for the film, with a multi-million RMB budget and plans for an international release. “We’re aiming for April 2010,” says Moretti. “[Coinciding with the Expo] is part of the point, but realistically, we always knew it would be in the second quarter April, and we want to release it as early as possible to get as many viewers as possible.”