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Welcome to the Colorado Film & Video Association

The Colorado Film and Video Association (CFVA) serves Colorado’s visual media industry in order to further local industry development and livelihood.

Current News

Roshambo Films new reel

New reel from Roshambo Films and local film director Jim Elkins.

"I love filming in Colorado and try to keep the work here as much as possible. The crews in Colorado are amazing and some of the most talented people in the country live here. I just feel blessed to be a part of the film community."
- Jim Elkins

Roshambo Films Demo Reel from Roshambo Films on Vimeo.

Colorado Film Office Adds Deputy Commissioner

by Nelson Goforth

The Colorado Film Commission (Colorado Office of Film Television and Media) has bolstered their marketing outreach by adding a new Deputy Film Commissioner, Lauren Grimshaw.  Commissioner Donald Zuckerman brought in Ms. Grimshaw because of her similar background in production and in piecing together film financing.  She, too, knows from producer’s perspective why a production goes to particular state and how to put together money for a film.  As Deputy Commissioner, she will be using her extensive set of contacts to help market the state to productions.  “I’m used to applying for incentives, and I know what producers are looking for,” she said. “Donald wants me to get exposure for the state. We’ve ushered in this great incentive program – we just have to get the word out.”

Originally from Chicago, and a graduate of Pennsylvania State University, Ms. Grimshaw was most recently a production executive for Red Crown Productions in NYC, serving as an Associate Producer for their recent films Goats and What Maisie Knew (both 2012).  Seeking a change, earlier this year Ms. Grimshaw started casting about for a career change, and lifestyle choices led her to Colorado.  She met with Mr. Zuckerman over the summer, and when the current position opened up, felt it was time to make her move.

The CFVA Holiday Party:

Enthusiasm, optimism, and standing room only
By Richard J. Schneider

The Caboose at the back of the Chop House has become an institution. It is a fine place to meet up for beers, burgers, and brats before a Rockies game in the summer. In the winter, it stands ready for special gatherings, like the Colorado Film and Video Association's annual holiday blast.

This year, there was something added to the atmosphere during the event, something hopeful, something positive. Cautiously positive, but positive nonetheless.

There were the old faces. I am one of those. And there were the new faces.

Among the old faces, there was very little talk of Ye Days of Olde when the late Raymond Burr filmed Perry Mason in Colorado on a sound stage and around the state. Or when Father Dowling prowled the dark corners of Denver's underbelly. Or when Dick Van Dyke made the occasional appearance. No, there was very little talk of the days when Viacom ruled the streets of Denver.

Among the gray and graying hairs of the old faces, there was talk of the future. Jobs are still “spotty” as one audio type said. But they are there, or here – here in Colorado. Less travel to the airport to board a flight to who knows where to get work. There was talk of freezing fingers as scripts were monitored for the companies shooting national spots in Colorado. A lighting director told me he is working steadily. At least one person logged the best year ever. Another seasoned vet revealed much work on location scouting and production management.

Mostly the talk was of commercials, but as Colorado moves back onto the production radar screens, national spot production is once again becoming the bread and butter for the local industry.

CINEMA - January 2013 Update

Thanks to the support of members of our industry, and to the generous contributions of CFVA, our work is paying off right now. The state incentivized more than three times the amount of production in the last third of 2012 than in all of 2011.

GoPro Hero 3 Review:

By James Drake

Below are frame grabs from the video for a closer look.

State of Our Industry January 2013

BM Cinema Camera By Heath Firestone

I was recently asked what the difference was between something like Black Magic Design’s Cinema Camera verses something like Red’s Epic Camera.  While these are both large image sensor cameras, there are a lot of important distinctions and differences in capabilities, which account for the widely different prices.

What is a Cinema Camera?

For a camera to be considered a cinema camera, it must primarily have a large image sensor, and the ability to handle cinema style lenses.  The BMD camera, however doesn't handle PL mount glass natively, so it fails in this category, it does however handle standard Canon EF mount lenses, so it can handle some great lenses, and since many of the high end cinema lenses are now available in Canon mounts, it no longer means you can’t use a professional cinema lens on the camera.  The same is true for DSLR rigs.  I believe the reason BMD refers to this as a cinema camera, has more to do with the fact that its real competition is the DSLR market, and it doesn't have many of the limitations of the DSLR cameras, because it isn't a still camera with video capabilities, but rather a digital cinema camera from the start, with higher capacity storage, higher resolution video, better quality codecs, more professional audio inputs, and RAW data capture capabilities.  These are significant and overcome many of the frustrating elements of dealing with DSLR cameras for cinema projects.

Hey! The incentive thing is working.

Donal Zuckerman
By Richard J. Schneider

Anyway you cut it, the state’s new and expanded production incentive is working.

Have soundstages popped up on every corner? Is Brad Pitt moving to Denver to set up shop for his next four films? Is the statehouse being renamed Sony Pictures Capitol Building at Mile High?

Well, no.

Are there more hurdles to jump, challenges to overcome?

Well, yes.

But there are solid signs that Colorado lawmakers made the right decision last year when they finally voted to double its incentive for producing film, television, commercials, video games, and still shoots – or, can we just say media production? Lawmakers bumped the financial incentive from 10 per cent to 20 per cent of budgets spent in Colorado.

According to film commissioner Donald Zuckerman, there are several key indicators that Colorado is on the right track: