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Established 1995 serves and documents relentless the festivals community, offering 92.000 articles of news, free blog profiles and functions to enable festival matchmaking with filmmakers.


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Best Director at Lake Tahoe/Reno to Formosa (How to Say No!)

Noah Kadner'directorial debut, Formosa (How to Say No!),) is now screening and winning accolades at US film festivals. and has just been honored with the Best Director Award at the Lake Tahoe/Reno International Film Festival for his directorial achievements on the film. Here's a link to the press release issued today over Business Wire which provides more details on the film and the award win.

The film also recently won Best Feature Comedy at the Garden State Film Festival and the feature category at the Reelheart Film Festival in Toronto. The film stars legendary actor Steve Gilborn (Ellen, Law & Order, Doctor Doolittle, The Wonder Years) -- one of those great character actors you normally see in supporting roles who shines as the film's central character.

At the upcoming Big Bear Lake Film Festival taking place September 16, 17, & 18 at Big Bear Lake, Calif., Steve Gilborn will be presented with the Acting Award of Excellence; "Formosa" will be screened in its entirety immediately following

Like most independent filmmakers, Kadner needed to keep the production costs of his film to a minimum. He was concerned that capturing a 1950's Hollywood style look for the period comedy would be cost prohibitive shooting in 35 mm - stock, processing, telecine, negative cutting, etc. Technically savvy, Kadner was intrigued with the prospect of shooting in digital video, but was missing the essential ingredient - a digital camera.

Realizing the only way to keep costs down yet achieve the cinematic look he desired, Kadner boldly set out to find a technology partner. Armed with equal parts 'chutzpah' and industry knowledge, Kadner outlined his vision, credentials and film production plan to the folks in charge of Panasonic's Broadcast Division. Surprising even to Kadner, he connected with a team there that believed in the project and his ability as a director. Panasonic provided Kadner with two of its state-of-the-art digital AJ- SDX900 DVCPRO CinemaT camcorders, which allowed him to shoot his film in the popular 24p HD format with a quality that is almost indistinguishable from 35mm, but available at a much lower cost.

The always challenging indie filmmaking economics has led to an unlikely partnership between creative professionals and technology providers that is proving a win-win for both. Kadner was able to realize his cinematic vision, while Panasonic has since been able to leverage his endorsement at industry trade shows and events where he demonstrates and evangelizes his use of the technology and how to achieve superior cinematic results on a modest budget.

Kadner's brazen approach contacting companies for professional technology cooperation also worked favorably earlier in his career while working on his USC graduate thesis, a 14-minute short film, entitled Today's Life (1999). Kadner needed extensive visual effects on the film. Without a budget and professional contacts, the young filmmaker knocked on the doors of several stalwart LA-based effects houses including Foundation Imaging whose artists spent three months providing nearly $300, 00 worth of effects shots; Cinesite which agreed to scan in original plates that required compositing work, and Digital Filmworks and POP Film which provided the recording of finished shots totaling 3,500 frames - all at no charge. The work paid off when the award-winning short screened at San Diego ComiCon, UCLA Shorttakes, USC First Look, Hollywood Shorts Film Festival, IFILM, AtomFilms and aired on the Sci-Fi Channel.

"I'll be the first to admit I get a little nervous trying to cold-call someone on the phone. But I know how to write letters in convincing and down-to-earth ways. With that approach I was able to get my foot in the door at places like Foundation and Cinesite by pitching them the whole story as an email and coming across with a good plan and a sound approach," outlines Kadner.

"I've also found that in general most of the companies who have been generous often find my situation worthy or interesting enough and they're looking for someone with some fire in their belly. It's really fun to get on board with people in this way because I find they are willing to push harder for me than they would for someone paying them their full rates. And vice versa, I'm much more likely to promote their businesses in ways that a salesman or commercial never could because it's sincere rather than some company line. You figure there is some hope to do good work and create art in this movie business and that can be clearer when it's not about the money so much as it is about the drive and the idea," he explains.

"Noah's film was one of the first and remains one of the finest SDX900 projects. The footage is simply gorgeous," said Jan Crittenden Livingston, Product Line Business Manager, DVPRO50/DVCPRO products, Panasonic Broadcast. "This project has shown off the camera to great advantage, given that it was alternatively shot on location in the desert and on a classic sound stage emulating the period setting--this in addition to the considerable green screen work, and all this accomplished within 20 days. It aptly demonstrates that you can be simultaneously highly theatrical and cost-effective if you have the right talent, crew and production equipment."

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