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)

• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• In need of cash, Hollywood looks to India, China
• The Insider’s Guide to Shooting in China
• What is a Sino-foreign co-production?
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Application materials for a Sino-foreign co-production
• Showreel

It’s a year of tiger and it’s also a year for Chinese film, with more and more money coming into Chinese film industry, 2010 is going to be a huge year for Chinese cinema, if you are up for a peek in Chinese film market, you should really join 34th HK Film festival 2010, meet more people in the same industry.

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!

• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• In need of cash, Hollywood looks to India, China
• The Insider’s Guide to Shooting in China
• What is a Sino-foreign co-production?
• Hong Kong Filmart launches documentary market
• Confucius (Kong ze)
• Application materials for a Sino-foreign co-production
• Showreel

The following application materials are required for all modes of Sino-foreign co-production except stated otherwise.

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.

• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• In need of cash, Hollywood looks to India, China
• The Insider’s Guide to Shooting in China
• What is a Sino-foreign co-production?
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

This article is originally from here

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.

• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• In need of cash, Hollywood looks to India, China
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

Award for Best Feature Film
ORIGINAL directed by Antonio Tublén / Alexander Brøndsted
Jury Comments: Using this title for a film is dangerous, almost suicidal. But the film more than met the challenge the title lays down. A light, touching and subversive study of mental illness that is compassionate and never sentimental. From the opening image of a fish tank being peeled open to the Mexican wrestlers tumbling in the heroes’ mind we know we had found the best film …… ORGINAL!
Jury Grand Prix
THE SEARCH directed by Pema Tseden
Jury Comments: The most challenging film we saw, almost a meditation in patience as well as an exercise in it for the viewer, uncompromising but funny and humane too. We look forward to many more films from Tibet.
Jury Award
EMPIRE OF SILVER directed by Christina Yao
Jury Comments: To the director and her cast and crew for the detail and craft on such an epic scale and in such extraordinary locations. And for reminding us, especially at this time that bankers should be kind and righteous.
Award for Best Director (continue reading…)

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

This Post Originally from here.

Yu Nan, one of the jury members for the Asian New Talent Award during the 12th Shanghai International Film Festival, had an exclusive interview with correspondent from Daily News yesterday. As a jury member, Yu Nan expressed her excitement to see so many spirited works, and she hoped these fresh film directors could stick to their own style, not to be distracted by material gain. Besides work, for the first time, Yu Nan replied to questions related to love in her real life and confessed that she was hoping for true love.

Yu Nan has already had some experience of being a jury member on International Film Festival overseas ahead of the 12th Shanghai International Film Festival (continue reading…)

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

Fifth straight year of growth for Chinese exhibitors

By Jonathan Landreth and Frank Segers

June 2, 2009, 08:56 AM ET

You can find the original link here.

BEIJING — Moviegoing is getting to be a habit with the Chinese — and Hollywood is clearly taking a closer look.

China produced 406 feature films in 2008 and saw its boxoffice jump 30%, the fifth consecutive year of more than 25% growth.

In its annual report on the nation’s media industry progress, the State Administration of Radio Film and Television said overall 2008 boxoffice receipts reached 4.3 billion yuan ($635 million), led by such companies as the state-run China Film Group, Huayi Brothers Pictures, the Shanghai Film Group and the New Picture Co.

Hollywood too is becoming more bullish about prospects in that country of 1.5 billion potential moviegoers — despite still stringent regs and many restrictions on rentals.

“It’s a fantastic market full of people who love movies,” said Mark Zucker, president of Sony Pictures Releasing International.

He pointed to the optimism his studio feels toward the June 9 China opening of action title “Terminator Salvation” on 1,200 screens and the release later this summer of director Tony Scott’s “The Taking of Pelham 1 2 3″ with Denzel Washington and John Travolta.

Securing a play date in itself is something of a coup for a Hollywood major given the market’s strict import restrictions. Despite these, “China is a territory of increasing significance,” added David Kornblum, Disney vp international theatrical sales and distribution.

Five years ago, China was off the radar as a significant boxoffice revenue source for studio features. Now it ranks among the world’s top 25 largest boxoffice hauls for the big six — Warners, Disney, Paramount, Fox, Universal and Sony.

According to the MPA, the studios extracted from China $25 million in theatrical rentals out of boxoffice grosses of $194 million in 2007. In other words, the China market still has one of the lowest rations of rentals to grosses of any foreign territory — roughly 13 cents of each dollar spent for a ticket is returned to the U.S. distrbutor as rental revenue.

Still, five years earlier, the rental figure was just $7.9 million. In short, the market has more than tripled for Hollywood studio films.

As impressive is China’s enthusiastic embrace of digitalization. The market has the second largest number of 3-D screens overseas, after the U.K. — which is by far the largest international feature territory for the Hollywood studios.

China now has 209 3-D situations (the U.S. has about 1,560). This means that China is a growing source of studio boxoffice distributors of films in 3-D.

Kornblum noted that Disney’s “Bolt” last year generated $6.7 million in grosses exclusively from 3-D situations in China.

Although data shows that China’s newly built urban multiplex theaters filled faster than ever before, the final 2008 tally was lower than industry estimates of 4.6 billion yuan.

Leading the way was “If You Are the One,” director Feng Xiaogang’s comedy about a middle-aged man’s hunt for love, which raked in $47.6 million. Starring Ge You, the film beat out Hong Kong- and Hollywood-based John Woo’s war epic “Red Cliff,” which ranked second with $46.9 million.

SARFT said that despite the popularity of imported films like “Kung Fu Panda” and the Bond films (seen in a booming business for pirated DVDs and illegal downloads), domestic movies took the lion’s share of theatrical boxoffice sales. One reason is that SARFT limits screenings of imports to 20 a year — a practice that is a centerpiece of an ongoing U.S. lawsuit against China in the World Trade Organization.

Of the 10 highest-grossing films in China in 2008, seven were homegrown or made as co-productions with a Chinese partner.

After Feng’s and Woo’s films, the homegrown hits were “Painted Skin” ($34 million), Steven Chow’s “CJ7″ ($29 million) and the Jackie Chan-Jet Li starrer “The Forbidden Kingdom” ($27.5 million).

Imports “Kung Fu Panda” and “Quantum of Solace” followed, ranked sixth and seventh, respectively. They were followed by the domestic productions “Kung Fu Dunk” and “Forever Enthralled,” with the import “The Mummy: Tomb of the Dragon Emperor” rounding out the list.

On the exhibition side, China’s 36 theater chains, led by firms like Beijing-based Wanda Cinemas, built 118 multiplexes in 2008, raising the nationwide total to 1,545, up 8% year-over-year.

China has 4,097 screens, SARFT said, up 16% from 2007. The report acknowledged that moviegoing was slower in China’s second- and third-tier cities, which lag Shanghai, Guangzhou and Beijing, where the total boxoffice in 2008 hit $75 million in 2008, up 42% from 2007.

SARFT’s final 2008 boxoffice tally does not include discounted tickets sold in China’s ongoing government-subsidized program to screen films for rural communities and factory workers.

China remains the third most-prolific filmmaking nation in the world after India and the U.S., but SARFT data shows that revenue from all Chinese films sold overseas added up to just $378 million in 2008. By comparison, “Iron Man” alone grossed $318 million worldwide in 2008, and it was Hollywood’s second-highest-grossing film of the year after “The Dark Knight.”

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

We worked with 37 digital for this video, the video was made in 3D, we made all the sound in this video in 2 days, if you have a speaker, feel free to turn it louder and listen to the amazing work we have done, sametime you are welcome to visit Birght Shadow Films and watch this video with our German imported monitoring speaker.

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel