Tim Tyler

LOS ANGELES, (October 19, 2004) - Gilbert Cates will receive the American Society of Cinematographers (ASC) Board of Governors Award, which is presented annually to an individual who has made significant and enduring contributions to advancing the art of filmmaking. Cates will receive the tribute during the 19th Annual ASC Outstanding Achievement Awards ceremony on February 20, 2005, at the Century Plaza Hotel. "Gil Cates is a modern renaissance man," says ASC Vice President Owen Roizman, who chairs the organization's awards committee. "He has produced and directed many memorable movies, television films and stage plays. Gil was also a forward-thinking president of the Directors Guild of America (DGA), and a visionary educator who inspired and enabled countless young filmmakers to follow their dreams." Cates has compiled some 30 credits as a producer and director of cinema and television films. He has also produced 11 live Academy Award® programs that have earned 17 Emmy® Awards and 84 nominations. Cates also served as president of the DGA from 1983 to 1987, and dean of the UCLA School of Theatre, Film and Television from 1990 to 1998. He is artistic director of the Geffen Playhouse in Los Angeles, which offers a varied menu of classical and contemporary plays and also provides extensive educational and community outreach programs. His current project is a new stage adaptation of Lerner & Loewe's Paint Your Wagon that he is directing. Cates has also been a longtime member of the Board of Governors of the Academy of Motion Picture Arts and Sciences, and currently serves as second vice president. He will also produce the 77th Annual Academy Awards telecast. Cates joins a formidable list of filmmakers who have received the ASC Board of Governors award, including Gregory Peck, Charles Champlin, Sheldon Leonard, Fay Kanin, Steven Spielberg, Martin Scorsese, Jodie Foster, Robert Wise, Francis Ford Coppola, Robert Altman, Warren Beatty, Sally Field, Stanley Donen, Norman Jewison, and Irwin Winkler. "Gil Cates deserves to be in that distinguished group," says ASC President Richard Crudo. "Whether you are a cinematographer, director, actor, writer or a movie fan, chances are that you have a reason to thank Gil Cates. He has made a difference." Cates was born and raised in New York City. He earned undergraduate and master's degrees from Syracuse University. During the early 1950s, he worked as a guide at NBC Television Studios in New York City. It was his gateway to the future. Within a few years, Cates was producing and directing game shows for NBC. He produced and directed episodes of the television series Camouflage in 1961. By the end of the 1960s, Cates was producing Broadway plays while he was still in his early 30s. He produced and directed his first motion picture in 1970. I Never Sang for My Father was adapted from one of his hit Broadway plays. The film earned critical raves, and Melvyn Douglas and Gene Hackman received Oscar® nominations for their performances. His other feature credits include The Promise, One Summer Love, The Last Married Couple in America and Oh, God! Book II. In 1972, Cates produced and directed the Emmy winning telefilm To All My Friends on Shore. He received Emmy nominations for directing Absolute Strangers, Consenting Adult and Do You Know the Muffin Man? His other notable telefilm credits include The Affair, After the Fall, Johnny, We Hardly Knew Ye, The Kid From Nowhere, Country Gold, Hobson's Choice, Fatal Judgment, Call Me Anna, In My Daughter's Name and Netforce, and Faerie Tale Theater's Rapunzel and Goldilocks and the Three Bears. Cates also recently produced CBS at 75, a live television program celebrating the network's significant milestone. The ASC was founded in 1919 during the dawn of the motion picture industry. Movies were black-and-white, silent, and cameras were hand cranked. The 15 charter members were dedicated to advancing the emerging art form. There are currently some 275 active ASC members today with roots in many different countries, and 140 associate members who work in ancillary sectors of the industry that support the art and craft of cinematography. For information about ASC and the 19th Annual Outstanding Achievement Awards, visit www.theasc.com or call 323-969-4333.

Thanks!

LOS ANGELES, October 18 The Society of CameraOperators (SOC) will present its 2004 Governor's Award to Roger Corman at the 16th Annual SOC Lifetime Achievement Awards banquet on November 6 at the Hollywood Roosevelt Hotel. "Roger Corman has compiled an exceptional body of work that will stand the test of time," says SOC President David Diano. "His influence on independent filmmaking paved the way for a new generation of d filmmakers. Roger Corman created an important and enduring body of work. His artistry and perseverance are a constant source of inspiration for every aspiring filmmaker with an unrealized dream." Corman directed and produced a phenomenal number of ultra-low budget features during the 1950s and 1960s, including The Little Shop of Horrors, The Intruder, The Wild Angels, and The Trip. He went on to open his own independent production and distribution company called New World Pictures. His company became a major independent producer of movies for a young generation of moviegoers. His films included such cult classics as Death Race, Rock'n'Roll High School, Big Bad Mama, and Piranha. At the same time, Corman was producing foreign films with such legendary directors as Ingmar Bergman, Francois Truffaut, Frederico Fellini and Akira Kurosawa. In a 10 year period, his company won more Academy Awards® for Best Foreign Film than all other studios combined. After selling New World in 1983, Corman founded a new production / distribution company, Concorde New Horizons, which produced a "Roger Corman Presents" series of science fiction, horror and fantasy films for Showtime and the Black Scorpion series for the Sci Fi Channel. Corman has received an Honorary Doctorate from the American Film Institute, and lifetime achievement awards from the Los Angeles Film Critics, the American Cinema Editors, the Academy of Science Fiction and Fantasy, and the American Film Marketing Association. SOC will also present lifetime achievement, aka "Cammy", Awards to camera operator Ray de La Motte, SOC, camera technician John M. Walker, still photographer Stephen Vaughan, SMPSP, and mobile camera platform operator Clay Lacy. "These awards recognize talented individuals who are rarely in the limelight," says Diano. "Each of them has compiled a substantial body of work, and they have all consistently contributed to the success of many outstanding films. This recognition comes from their peers who are best able to appreciate their achievements." SOC Technical Achievement Awards will be presented to Arriflex and Doggicam Systems for significant contributions made by those companies to advancing the art and craft. Arriflex is being honored for the ARRICam System. The system includes the ARRICam Studio and ARRICam Lite 35 mm cameras, plus lenses and accessories. Both cameras incorporate advanced features, which provide camera operators with extraordinary creative flexibility. The modular design enables camera crews to choose the features they need on each project. Doggiecam Systems will be recognized for the Bodymount, which is being used to create intimate, close-up shots of characters. The Bodymount is a vest that enables operators to mount cameras on characters for up close and personal shots. The vest is hidden by the actor's wardrobe. SOC also pays an annual tribute to a camera operator who created a memorable shot that made a significant and enduring contribution to advancing the art of filmmaking. Larry McConkey, SOC will receive the 2004 Historical Shot honors for an extraordinary Steadicam shot in Goodfellas, an award-winning 1990 feature film directed by Martin Scorsese and photographed by Michael Ballhaus, ASC. The Steadicam shot follows Ray Liotta and Lorraine Bracco, portraying Henry and Karen Hill, as they enter the Copacabana through a back door. McConkey stays with the couple as they move through the kitchen with employees and patrons reaching out to greet Henry as the couple makes their way into the nightclub. The shot lasts several minutes until the Hills reach their destination at a table that has been set up for them next to the stage. The SOC Awards were founded in 1981 for the purpose of recognizing and inspiring the pursuit of excellence in the art and craft of operating film and video cameras. The organization sponsors many educational programs and other initiatives designed to provide information and inspiration for its members and to enhance an understanding and appreciation for their skill and artistry. Membership is by invitation based on the individual's body of work.

Kodak has invited me to to see their "Digital Cinema Solutions" demo at ShowEast but I can't make it. If you're a pro, and you are in Florida, and you want to check it out and report back here in the forum, email me off-forum and I'll forward the invite to you. SHOWEAST Orlando World Center Marriott Orlando, Florida October 25 - 28, 2004 http://www.showeast.com "... they are doing a sit-down, theatre-style demo outlining everything Kodak has done/is doing in digital cinema. The demo will be shown on a 16-foot screen via the Kodak CineServer hooked up to a 2K projector. The entire presentation is about 25 minutes long. Kodak will also have a booth (Booth #100) on the tradeshow floor. In one half of the booth, there will be interactive demos using the Kodak CineServer on a small screen. In the other half, a demo/discussion area focusing on the Kodak advertising/pre-show system and services."

Try this: http://www.posteffects.com/usersguide/tiffen/tiffen0.htm

Make a shock mount: http://www.volksmovie.com/tech/inventions/micshockmount.htm

I recall thinking that shot looked like an optical zoom (in post).

Thanks, Phil. I'll mess with it this weekend with that in mind.

Standard 24P 24PA (images courtesy http://www.adamwilt.com/24p/)

LOS ANGELES (October 14, 2004) - Eastman Kodak Company, Harkins Theatres, and Cinema Screen Media (CSM) announced today that CSM, the world's largest, independent provider of digital pre-show presentations, has made an additional purchase of more than 200 Kodak Digital Cinema systems. The company will use the systems to present the CSM digital pre-show entertainment program to audiences in the growing network of Harkins Theatres. Key to the Kodak sale is CSM's new multi-year agreement with Harkins Theatres, giving CSM the exclusive right to provide a revolutionary digital pre-show program on all 289 Harkins screens, circuit-wide. The program is designed to be both entertaining and informative for Harkins' guests. Harkins makes the third major chain with an exclusive partnership with CSM and Kodak. All Century and CinéArts theatres also are being equipped with Kodak digital pre-show systems. "This year is the seventy-first anniversary of the Harkins brand and we think this is a great way to celebrate and to show audiences they're committed to the future," said Don Vassel, CEO of Cinema Screen Media. "They're known for so many innovations in the cinema, so digital pre-show fits in well with what movie-goers have come to expect of them. And because of our custom design capabilities and our partnership with Kodak, we are able to provide a unique program that complements the Harkins experience." "This continues Harkins' tradition of always using the best technology in the most effective way to entertain audiences," said Tim Spain, Vice President for Harkins. "For our guests, their experience begins long before the movie starts and so everything we do and the way we do it - needs to contribute fully and uniquely to that. We like the fact that the Kodak system can deliver advertising to our cinema screens, and also to our lobby monitors, to create a coordinated and engaging experience." "Harkins is a company that really does its homework," said Drena Rogers, Strategic Accounts Director for Kodak Digital Cinema, "They understand where the industry is going; they have a clear vision for the future; and they know what works best with their brand. They have very high standards that fit well with our philosophy and approach to the business. We're really proud to be working with them." Since November 2003, Cinema Screen Media has purchased more than 1,300 Kodak digital cinema pre-show systems. They are currently being installed by Kodak and used by CSM to provide a market-leading digital pre-show entertainment program in the Arizona, California, Colorado, Illinois, Oklahoma, Oregon, and South Carolina markets. As part of the agreement, Kodak is providing CSM with all service and support necessary to prepare and deliver pre-show content to Harkins Theatres. When installation is complete, Kodak-prepared and delivered pre-show content will be seen by more than 1.5 million Harkins' movie-goers each month. The CSM-produced pre-show offers a unique mix of marketing messages and entertainment. But Don Vassel's vision extends far beyond today's pre-show. "We're building a digital entertainment network," Vassel said. "It's used primarily for advertising, but it can also support alternative programming and special events. Our network brings new capability to our exhibitor-partners, but it also enables us to offer advertisers a broader reach, a more entertaining context for their messages, and an ability to target exactly those audience demographics they need to reach in a very efficient and measurable way." "Kodak provides the systems and services CSM needs," Rogers added, "so they can concentrate on serving their clients and creating a differentiated pre-show. And, through Kodak relationships with the studios and our other industry connections, we can help CSM obtain unique movie-related entertainment that only they can bring to the cinema screen." "We like the CSM solution," said Spain, "because they're flexible enough to create different shows for our different locations and to deliver great-looking images to every screen from our smaller houses to our large 600-seat 'Cine Capri' auditoriums where we offer a spectacular experience. And their concept has the capability to evolve to include new elements and new ways of presenting entertainment." Since CSM first enabled their pre-show customers to 'go digital' almost a year ago, they've continued to build more entertainment into their shows, including several music videos and other features that have premiered on CSM-partners' screens. Over the past year, Kodak has introduced five major software releases, adding new features, capabilities, and efficiencies for CSM and their exhibitor partners and more enjoyment for movie audiences. Harkins continues on their growth curve, most recently opening a new 16-plex theatre in the mid-west, designed to set the standard for movie-goers in Oklahoma. "At Kodak, we are absolutely in sync with the vision that Harkins and CSM have of the future," said Rogers. "This is a long-term partnership that just makes so much sense for everyone, because it enables us to each do what we do best and together, to deliver the highly-valued Harkins entertainment experience."

Anybody have a chart they could upload here? The old links are broken.

Can't find those anywhere online now. The old link is dead.

I don't know. But I Googled around and discovered that others have experienced back focus anomalies with the DVX100 too. Basically - if you zoom in, focus, and zoom out, the wide is soft :( The camera I noticed it with had a filter-thread-mounted Chroziel matte box, so I'm wondering if maybe the added weight stresses the lens assembly.

How is the backfocus adjusted on the DVX100a? I just read that on the XL2 is software controlable by a service rep.

Here are a few: http://cinematography.com/shop/books.asp

HOLLYWOOD, October 7, 2004 Kodak is sponsoring "16. The Number That Works," a series of panels to be held October 19, 20 and 21, 2004, in Portland, Oregon; San Francisco, California, and Seattle, Washington, respectively. Leading local filmmakers will discuss the art and technology of Super 16 mm filmmaking, including breakthroughs in film technology that have made originating on film more advantageous and cost effective. The panel will include directors, cinematographers, producers, postproduction professionals and other filmmakers discussing real-life experiences. In addition to advances in Super 16 mm film, specific topics will include film's image quality, digital compatibility, archivability, and common myths about costs in today's postproduction world. Each of the "16. The Number That Works" panels will open with a comparative demo of film and digital formats. Following the panel, there will be an open Q&A session and a reception. Below are additional details about how to attend a FREE session "16. The Number That Works" session in your area: **PORTLAND - OCTOBER 19, 2004** Cine Rent West (2580 NW Upshur) 7:00 p.m. RSVP at http://www.kodak.com/go/portland16 Panelists include Downstream Master Colorist Bruce Bolden, Food Chain Executive Producer David Cress, cinematographer Eric Edwards, Food Chain Producer Brad Goldthwaite, @ Large Films Inc., Producer Juliana Lukasik, Cinematographer Joe Meade, Limbo Films Director-Cinematographer Gary Nolton, and Euro RSCG 4D Cinematographer Todd McClelland. **SAN FRANCISCO - OCTOBER 20, 2004** Dolby Laboratories, Inc. (100 Potrero Avenue) 7:00 p.m. RSVP at http://www.kodak.com/go/sanfran16 Panelists include Cinematographer Frazer Bradshaw, Retina Colorist Gary Coates, Director Stokes McIntyre, producer Frank Simeone, and Cinematographer Barry Stone. **SEATTLE - OCTOBER 21, 2004** Experience Music Project (325 5th Avenue North) 7:00 p.m. RSVP at http://www.kodak.com/go/seattle16 Panelists include Cinematographer Matt Clark, Modern Digital Colorist Tim Maffia, Cinematographer Paul Mailman, Digital Kitchen Producer-Director Paul Matthaeus, Pontecorvo Productions Cinematographer-Producer Joe Pontecorvo, and Flying Spot Colorist Jeff Tillotson. Kodak's Entertainment Imaging division is the world-class leader in providing film, digital and hybrid motion imaging products, services, and technology for the television, feature film, commercial, music video, and documentary industries. For more information, visit www.kodak.com/go.motion. (Note: Panelists attendance in subject to availability.)

Band Pro introduces the widest prime lens available for HD cinematography. The new Carl Zeiss DigiPrime® 3.9mm Superwide T1.9 is the latest addition to the company?s popular series of prime lenses and the widest member of the ZEISS DigiPrime family. The new Carl Zeiss DigiPrime® 3.9mm Superwide T1.9 offers an extremely wide field of vision with unprecedented image clarity. Unlike wide-angle zooms (which tend to exhibit a great deal of barrel distortion at their short end), the 3.9mm Superwide has been engineered to eliminate geometric distortion. In 4:3 format the lens? angle of view is 98.2 degrees horizontal, 81 degrees vertical, and 111.8 degrees diagonal. In 16:9 format the angle of view is 103.6 degrees horizontal, 70 degrees vertical, and 111.8 degrees diagonal. Color fringing is minimized as well, which means this lens can be used for CGI work with minimal correction in post production. The ZEISS 3.9mm Superwide is ideal for maintaining natural looking perspectives when working with miniatures. Weighing only 2Kg (4 lbs., 6 oz.), the ZEISS DigiPrime® 3.9mm Superwide has a front diameter of 117mm, and an overall length of 203mm. Like all DigiPrime lenses -- which include 5mm (T1.9), 7mm (T1.6), 10mm (T1.6), 14mm (T1.6), 20mm (T1.6), 28mm (T1.6), 40mm (T1.6) and 70mm (T1.6) Close Focus -- the new lens features carefully selected superior quality optical glass and Carl Zeiss proprietary T* multi-layer coatings for exceptional color characteristics. Zeiss has designed the new prime to accurately color match and seamlessly intercut images made with other lenses in the ZEISS DigiPrime family. The Carl Zeiss DigiPrime® 3.9mm Superwide T1.9 will be marketed worldwide exclusively by Band Pro Film and Digital. Estimated time of delivery is the end of 2005. For more information, contact Michael Bravin at Band Pro Film & Digital: 3403 West Pacific Avenue, Burbank, CA 91505, Phone: 818/841-9655, Fax: 818/841-7649, digiprime@bandpro.com, www.bandpro.com

Cinematography.com is proud to announce a new discussion forum for audio professionals in the film and video industry. ProductionSoundForum.com is a dynamic online community where sound recordists, boom ops, post production sound professionals, and audio equipment manufacturers can talk about sound. Modeled after the very popular Cinematography.com Forum (online since 1998) ProductionSoundForum.com is the latest ?spin-off? forum following the 2000 opening of SteadicamForum.com. All three forums are designed to provide motion picture industry artists and technicians with an online venue for efficiently communicating and sharing information. Unlike internet mailing lists and newsgroups, these forums won?t clutter your inbox and they retain information indefinitely. Posts can be easily searched, and even edited and updated later by the original writer. Members can subscribe to entire forums, categories, or even specific message threads and be notified by email when new messages are added. ProductionSoundForum.com offers members the ability to upload documents to the Library section, and to advertise gear for sale in the Classifieds section. Like the Cinematography and Steadicam Forums, 100% of ProductionSoundForum.com is free to members and there is no cost to register. Join ProductionSoundForum.com and become a part of this growing community! http://ProductionSoundForum.com/

LOS ANGELES, September 21 The American Cinematheque will screen a selection of award-winning short films from the Kodak Emerging Filmmaker Showcase, which premiered at the 2004 Cannes International Film Festival. The program is scheduled for September 28 at 7:30 p.m. at the Egyptian Theatre. "Several years ago it became obvious to us that the short film genre deserved a separate thematic showcase," says Andrew P. Crane, programmer for the American Cinematheque. "We believe it is important for the short form of artistic expression to be seen on the big screen in a public venue. Most people don't have access to this showcase unless they attend film festivals." The filmmakers represented in the Kodak Emerging Filmmaker Showcase won first place in prestigious student festivals and competitions during the past year. Participants are a diverse group, including writers, producers, directors, cinematographers and animators from film schools around the world. Many of the films were produced with the aid of Kodak product grants. The short films that will comprise the American Cinematheque's program include: PERPETUAL MOTION by producer-director-animator Kimberly Miner from the Rochester Institute of Technology (winner of an Academy of Motion Picture Arts & Sciences Student Academy Award) THE PROJECTS LUMIERE by producer-director Waleed Moursi from California Institute of the Arts (winner of an Academy of Motion Picture Arts and Sciences Student Academy Award) 9:30 by writer-director Mun Chee Yong from the University of Southern California (winner of a Directors Guild of America Student Film Award) THE MEXICAN DREAM by writer-director Gustavo Hernandez Perez from the American Film Institute (winner of a Directors Guild of America Student Film Award and the Ft. Lauderdale International Film Festival) SOUR MIX by writer-director Michelle Oznowicz from the American Film Institute (winner of a Directors Guild of America Student Film Award) ONE THOUSAND WORDS by producer-director Melba Williams from Stanford University (winner of the New York University International Student Film Festival) BEBE by writer-director-cinematographer-editor John Fiege from University of Texas at Austin (winner of an Eastman Scholarship) SMITTEN by writer-director-editor Karen Skloss from University of Texas at Austin (winner at the NextFrame Film Festival) LA CIUDAD DE LOS HOMBRES LACTANTES (THE CITY OF THE SUCKLING MEN) by cinematographers Pablo Gonzalez and Marcos Rostagno from Cordoba Nation University (winners of the 2003 Kodak Filmschool Competition) DRIZZLE by cinematographer Andrew Chan from Hong Kong Academy for the Performing Arts (winner of the 2003 Kodak Filmschool Competition) "This is an amazing opportunity for film school students to have their work showcased in a major metropolitan theatre," says John Mason, director of the Kodak Student Filmmaker Program. "All of the initiatives of our student program are designed to help talented, emerging filmmakers bridge the gap between the completion of their formal education and the realization of their dreams. We thank the American Cinematheque for showcasing these impressive films. The amazing talent displayed by these films bodes well for the future of our industry." The short films range from one to 26 minutes in length. Filmmakers who are present will participate in discussions following the screening of their films. "We have a longstanding relationship with Kodak, and responded enthusiastically to this concept when it was presented to us," adds Crane. Tickets will be available on the day of the screening, on a first-come, first-served basis. General admission is $9; Seniors (65+ years) and students with valid ID card is $8. American Cinematheque members will be admitted for free to this screening. For more information, visit www.americancinematheque.com or www.kodak.com/go/motion. About the Kodak Student Filmmaker Program The Kodak Student Filmmaker Program was launched in 1991. The Showcase at Cannes is one of many initiatives Kodak sponsors to help film schools and their students. Other initiatives include scholarships, educational and communications materials, product grants and discounts for film schools and their students. For more information about the Kodak Student Filmmaker Program, visit the Kodak website at www.kodak.com/go/student. About the American Cinematheque The American Cinematheque is a non-profit, viewer-supported cultural organization dedicated exclusively to the public presentation of the moving picture in all its forms. Since 1981, the Cinematheque presents the best of film and video, ranging from the classics to the outer frontiers of the art form. The Board of Directors, Board of Trustees and other American Cinematheque committees and support groups include some of the most prominent leaders in the entertainment and business communities.

LOS ANGELES, September 16, 2004 - Keun-Pyo Park of the University of Texas at Austin, Christopher Messina of Boston University, and Manijeh Fata of San Francisco State University are winners of the 2004 Eastman Scholarship competition for film students. The Kodak Faculty Scholar award goes to Eugene Martin of Temple University's Film & Media Arts Department. The contest is an annual initiative of the Kodak Student Filmmaker Program. Park won the grand prize of $2,500 for his film Wake. In addition to the cash award applicable toward tuition, Park will be invited to participate in the Kodak Emerging Filmmaker Showcase at the Cannes International Film Festival in 2005. First place honors were shared by Messina for Melo and Fata for Las Fruteras, earning each of them a scholarship award of $1,250. All three winners will also be invited to participate in a week-long mentorship program sponsored by the International Cinematographers Guild (ICG). "Past Eastman Scholarship winners have told us that the mentorship program provides invaluable insights and contacts with influential filmmakers," says John Mason, director of the Kodak Student Filmmaker Program. "It fits well with the overall goal of our student program to support the next generation of filmmakers." This year's competition drew submissions from 65 schools throughout the United States and Canada. The jury consisted of professional filmmakers and educators including Mildred Lewis of Chapman University; Cheryl Leader, an independent filmmaker and president of InDivision; Jacques Thelemaque, founder and president of Filmmakers Alliance; and cinematographer James Carter, ASC. Judging is based on a sample reel submitted by the students, recommendations from faculty and academic achievements. The sample reel is judged for how effectively the cinematography supports the filmmaker's story. Martin's faculty award consists of a $5,000 production grant for a 20-minute narrative film project, Angel Brothers, that he will produce using a student crew from Temple. Scenes from the project will also be used for class discussions and exercises. "One of my goals as a professor is to be ahead of my students by being an expert in my field. The undertaking of a creative film project such as this will enhance their skills and confidence as they undertake their own film projects," Martin notes. This is the third year that the Kodak Faculty Scholarship award has been presented to a faculty member who demonstrates a high level of production skills, creativity and teaching experience in production. As with the student competition, the blue-ribbon jury consisted of filmmakers and industry professionals who judged more than 20 entries. The Eastman Scholarship and Kodak Faculty Scholar Programs are provided through an endowment fund created by Kodak and administered by the University Film and Video Foundation (UFVF), a non-profit organization whose mission is to advance the study, practice, and preservation of motion picture and video production. Kodak inaugurated the Eastman Scholarship Program in 1991 for undergraduate and graduate students at universities offering degrees in film in the United States and Canada. Nearly a hundred young people have received scholarships since then. The scholarships augment film grants and discount programs provided by the Kodak Student Filmmaker Program to qualified film schools. Kodak also sponsors guest lecturers in addition to providing educational programs and materials.

LOS ANGELES, September 14, 2004 - Richard Moore, ASC will receive the Presidents Award from the American Society of Cinematographers (ASC). The annual award is reserved for an individual who has made exceptional contributions to advancing the art of filmmaking. The presentation will be made during the 19th Annual ASC Outstanding Achievement Awards at the Century Plaza Hotel on February 20, 2005. "Richard Moore exemplifies our credo of artistry, loyalty and progress," says ASC Vice President Owen Roizman, who chairs the organization's Awards Committee. "He has made vital contributions to advancing the science and craft of filmmaking as one of the founders of Panavision. Richard is also a talented cinematographer with admirable credits. He has made an enduring impression." Moore and Robert Gottschalk founded Panavision while they were working at the Campus Camera Shop in Westwood, California, during the 1950s. Moore, Gottschalk and Douglas Shearer received a Scientific and Engineering Award from the Academy of Motion Picture Arts and Sciences in 1960 for developing a camera and lenses used to produce motion pictures in 65 mm format. Moore subsequently compiled such memorable cinematography credits as The Reivers, Myra Breckinridge, The Life and Times of Judge Roy Bean, Sometimes a Great Notion and Annie. "Richard Moore enjoyed one of the most interesting and exciting careers I'm aware of," says ASC President Richard Crudo. "Not only did he do great work as a cinematographer, but he was also an inventor and innovator of the highest order. Knowing him as well as I do personally, I can attest that he remains a true inspiration, artist and scientist a genuine item." Moore joins a diverse group of former recipients, including actor Robert DuVall; visual effects pioneers Linwood Dunn, ASC, Hans Koenekamp, ASC, Douglas Trumbull and Howard Anderson, Jr., ASC; Steadicam inventor Garrett Brown; camera designers Tak Miyagishima and Albert Mayer, Jr.; documentary filmmaker Albert Maysles; archivist Kemp Niver, ASC; and cinematographers William Clothier, ASC, Charles Wheeler, ASC, Guy Green, BSC and Ralph Woolsey, ASC. Moore was born in Jacksonville, Illinois, in 1925, and spent his earliest years on a family farm. His family moved to Los Angeles during the early 1930s. Moore subsequently majored in naval science and minored in cinema at the University of Southern California (USC). He completed a tour of duty in the United States Navy in 1945, and returned to USC where he earned a degree in cinema with an emphasis on cinematography. "In those days, a college degree and a nickel bought you a cup of coffee in Hollywood," he recalls. "There were no jobs at the studios, and the Guilds weren't open to outsiders." While working at the camera shop with Gottschalk, Moore occasionally shot 16 mm documentaries and travelogues. His pay for a travel film he shot in 1951 for a producer from Denmark was a round trip ticket to Europe. Moore visited Munich, where he met Dr. August Arnold, the co-founder of Arriflex. He knew that Arriflex had invented a new type of motion picture camera with an integrated reflex viewing system. "We spoke through an interpreter," Moore recalls. "I exaggerated by telling Dr. Arnold that I was a Hollywood cameraman. That's how I became the West Coast distributor for Arriflex for a brief period. I set up Arriflex Imports with Conrad Hall (ASC) whom I got to know when we were both students at USC. We didn't sell a single camera. The heads of the studio camera departments thought they were too noisy, and couldn't conceive of using a handheld camera." Around that time, Gottschalk met the person who had the American dealership for the Aqualung, invented by Jacques Cousteau. This inspired Gottschalk to design and build an underwater housing for a Bolex 16 mm camera. "We soon found that the refraction index of water made the field of view too narrow," Moore recalls. "Gottschalk then discovered anamorphic lenses that had been made in France many years earlier. We shot an anamorphic demo reel on 16 mm film, and the president of Radiant Screen Company asked to see it. His company made projection screens for theaters. Simultaneously, the first CinemaScope movie, The Robe, was being readied for release. He proposed an association with us providing anamorphic lenses that could be used to adapt theatrical projectors for showing CinemaScope movies." Gottschalk and Moore assembled a small team, including cinematographer Meredith Nicholson, ASC, optical engineer Walter Wallin and optics manufacturing company owner William Mann. Moore says that they succeeded because their lenses cost far less than their competition and were immediately available. The saturation of the projection lens market led to the development of Panavision's first 35 mm cameras and lenses. They subsequently developed 65 mm cameras and lenses for wide-screen, roadshow productions. Moore left Panavision midway through the company's ninth year, because he wanted to use the lenses and cameras that he had helped design and build. Initially, he worked as a camera operator on commercials, frequently with cinematographer Ben Colman, ASC. Moore was also a camera operator on the crew that Hall assembled for Harper. He earned his first narrative credit in 1965 for a low budget film shot in Bangkok called Operation CIA. Moore followed that with two independent features produced by Roger Corman. By the late 1960s and early '70s, he was shooting and directing television commercials in-between feature films. Moore cites Winning, a 1969 film featuring Paul Newman as a racecar driver, among his personal favorite films. For that film, Moore designed and built a remote control system that enabled him to use radio signals to operate a camera mounted on a racecar driven by Newman. That was a revolutionary concept in 1969. In those scenes, Moore was in a chase car following Newman. A video tap on the Arriflex camera and a monitor in the chase car enabled him to pan, tilt, zoom, focus and set T-stops by remote control. Moore joined mainstream Hollywood during the 1970s, compiling an impressive list of credits as a cinematographer. In 1977, he directed The Silent Flute (aka Circle of Iron), a feature film produced in Israel starring David Carradine. "One of the things that has fascinated me about filmmaking for all of these years is that it provides an opportunity to express yourself in a language that everyone understands," Moore says. "You can educate as well as entertain people and hopefully improve the condition of mankind. I think that is incumbent on every human being, but especially those of us who are in the film business, because we have the ability to do so." The ASC traces its roots to the dawn of the motion picture industry in 1913 when the first generation of cinematographers began holding informal meetings in New York and Los Angeles to share ideas about the art and craft of visual storytelling. That led to the organization of ASC by15 charter members in 1919. Their primary purpose was to advance the art and craft of filmmaking. There are currently some 275 active ASC members today with roots in many different countries, and 140 associate members who work in ancillary sectors of the industry. For an extended conversation with Moore, and information about ASC or the 19th Annual Outstanding Achievement Awards, visit www.theasc.com.

Sony, the worldwide camcorder market leader, today took another leap forward with the introduction of the world's first HDV 1080i camcorder. The HDR-FX1 Handycam® camcorder records and plays back high definition video with 1080 interlaced lines of resolution - the highest resolution (1440 pixels x 1080 lines) of any consumer camcorder available. "With U.S. sales of HDTV sets exploding, along with the availability of high-definition programming, the expectation of having personal content in HD is growing rapidly," said Linda Vuolo, director for camcorder products for Sony Electronics. "The introduction of the HDV-FX1 has been timed and targeted to meet this desire." The camcorder's best-in-class video resolution is enhanced by Sony's new three-chip, one-megapixel Super HAD? CCDs. The new 1080i HD CCDs have several improvements, including an on-chip micro-lens on top of the CCD sensor that increases the light focusing rate for focusing on the fly. There is also a newly developed 16:9 aspect mode for recording in widescreen. By giving each lens its own megapixel imager, the camcorder captures the intense detail and color that expert videographers and HD lovers appreciate. Each of the camcorder's three 1/3-inch, 16:9 CCDs utilize Carl Zeiss® Vario-Sonnar® T* optics, minimizing warping while maximizing sharpness and contrast. All of this imaging power -- together with the 14-bit A/D converter that processes four times more digital information than converters used in traditional television cameras -- produces sharper, richer and more true-to-life images. HD Quality in a Small Package Sony developed an advanced HD codec engine for the new camcorder, which efficiently compresses massive digital data while maintaining optimal HD quality. Engineered to reduce energy consumption, this powerful digital signal processor fits perfectly inside the camcorder's streamlined body. The HDR-FX1 camcorder employs the same MPEG2 compression scheme that is used for digital broadcasts and for DVD discs, so it can record on easy-to-find DV tapes. Control of Sound and Vision To meet the demands of the experienced user, the camcorder has a shooting range from 32.5mm to 390mm, a 12x optical zoom and a multitude of zoom control mechanisms, including a non-perpetual zoom ring that allows for professional-like control. Users also have the option to switch between the zoom ring, the two zoom levers as well as a variable zoom control on the handle for greater shooting flexibility. To capture even the smallest detail with clarity, the new HDR-FX1 model offers increased focusing control with expanded focus and peaking functions. In the expanded focus mode, the camera's LCD image is magnified up to four times its original size without any loss of resolution. The peaking function emphasizes the outline of objects creating clear contrast and clarity in a scene. The 3.5" SwivelScreen? hybrid LCD offers 250,000 pixels -- the highest resolution of any consumer camcorder LCD -- for accurate viewing under bright lighting conditions. The LCD is conveniently located towards the front of the unit and is on the same eyelevel as the color viewfinder with the same pixel resolution. The camcorder also features a wide-range stereo microphone for superior audio quality. Because of its unique body design and well-placed microphone, wind noise is minimized so videographers can capture the sound they want, not the noise they don't. Additionally, sound adjustments that typically are made via a menu are now adjustable through an external audio level switch. Custom Features for a Film-Like Feel and Smooth Transitions With the HDR-FX1 Handycam camcorder, the budding hobbyist as well as the seasoned videographer can make their video look like a professionally-shot film. The Cinematone Gamma? and Cineframe? functions enable high quality picture processing to create video with the warmth, softness and richness similar to a big screen movie. Smooth, seamless, shot transitions are achieved using the Shot Transition? function. With settings to control focus, zoom, iris, gain, shutter and white balance, focus can gradually be shifted from the front of the screen to a deeper subject, or vice versa, enabling an effortless transition in depth of field. For creativity and control, the HDR-FX1 camcorder allows users to define their own default settings through the Picture Profile? function. This function offers six different profiles that can be customized and taken advantage of, depending on the scene. Scenes may include a setting for filming sunsets, another for filming people, and another for recording in black and white. And for ultimate control, the iris, gain, white balance, shutter speed and focus can also be adjusted manually. Additional features include: InfoLithium® Battery with AccuPower? System - The battery can be charged at any time as the rechargeable Lithium-Ion batteries minimize life shortening "memory effect." Sony's exclusive AccuPower meter conveniently indicates the remaining minutes of battery life on the LCD or viewfinder display, allowing users to keep an accurate and constant reading of remaining battery power. i.LINK® Digital Video Interface - The i.LINK (IEEE 1394) DV interface is a high speed bi-directional digital video/audio communication between two devices equipped with a compatible i.LINK DV interface, including camcorders, digital VTRs and PCs. The HDR-FX1 camcorder will be available in November for about $3,700. Media Optimized for HDV Recordings To complement the high-definition recording capabilities of the new HDR-FX1 camcorder, Sony is also introducing new HD DVC videotape, optimized to meet the demanding requirements of 1080i high-definition recording and playback. Sony HD DVC media utilizes a new, second-generation Advanced Metal Evaporated (AME II) technology, as well as improved quality control processes. The result is an improved drop-out rate, which translates into significantly higher reliability and audio/video stability, as well as a lower carrier-to-noise ratio for lower error rates, greater output and less noise during recording. Sony HD DVC tape will be offered in the 63-minute professional tape length, which allows three minutes for recording tests. The tape will be available next month for about $18 per cassette.

Vantage is proud to announce its latest development: the new Hawk 10-24mm/T2.5 zoom, the first 35mm zoom lens which both covers the ultra wide angle range and offers an extremely high image quality. As the first zoom lens worldwide the new Hawk 10-24mm compares in speed, weight and size to currently available fixed focal length lenses. A switch to the new Hawk lens therefore poses no restrictions whatever in terms of T-Stop or the Steadicam® setup. The new Super-Close-Focus-System developed by Vantage and for the first time used in the Hawk 10-24mm/T2.5 zoom lens guarantees close-up focusing right to the front element ? in other words: considerably closer focusing than all other primes available within this range. This leads to dramatic differences in image size and allows for more creative freedom. Moreover, three aspherical and two ultra low dispersion lens elements ensure that images are sharp and clear from the center to the edges and virtually free of color fringing, regardless of the focal length setting. By using a ten-bladed iris diaphragm that produces a nearly circular aperture, out-of-focus images in front of or behind the subject are rendered as pleasing blurs. Hawk® 10-24mm/T2.5 Focal length: 10mm - 24mm Film format: Super 35 (18 x 24mm) Maximum aperture: T2.5 Iris scale: T2.5, 2.8, 4, 5.6, 8, 11, 16 CfD: 24 cm / 9½" Lens construction: 17 elements in 13 groups, 2 glass mold aspherical, 1 compound aspherical and 2 UD lens elements Angle of view: 98.9º horizontal (18 x 24mm) Focal length scale: 10, 12, 14, 16, 18, 20, 22, 24mm Dimensions: 170mm diam. x 185mm Weight: 3.95 kg / 8.7 lbs. Front diameter: 156mm Filter size: 6.6 x 6.6"

AMSTERDAM, September 9, 2004 - Kodak is showcasing an array of film and post production technologies at the annual International Broadcasters Convention (IBC) conference. The company is demonstrating the Kodak Look Manager and Kodak Display Manager Systems, which are designed to help ensure the integrity of looks created by cinematographers through the digital post production workflow, and other post tools. The exhibit also features images recorded on the new Kodak Vision2 color negative films. "Amazing progress is being made in the evolution of film and complimenting hybrid technologies," says Robert Mayson, general manager and vice president of image capture for the Kodak Entertainment Imaging division. "We are drawing on a deep pool of the company's unique color science technology to broaden the palette of creative options available to the creative community. The convergence of advances in film and hybrid post production technologies has broadened the quality gap separating film and digital image capture, and it also provides creative alternatives and flexibility in post production." The Kodak Look Manager System is designed to allow cinematographers to create, pre-visualize and manage film looks from preproduction through post production. The software-based system locks the picture data into an exportable file, which can be accessed by other system users to ensure accurate communications in a collaborative environment. Chris Wheeler, worldwide product manager of hybrid products for the Kodak division, explains that everyone involved in a project using the system can access the same images as visual references. Once a look is set, the system can deliver uniform results on many display devices, including computer monitors, standard and high-definition video, and film and digital projectors. "The over-arching goal is to give cinematographers extraordinary artistic control of the images they create through the post production process," says Wheeler. The Kodak Look Manager System is available under a pay-per-use licensing model. Productions can buy a license key for the duration of their shoot that will enable full use of the system, including calibrated visual communications from the set through postproduction. Trial versions are available to directors of photography who want to familiarize themselves with the system. Interested filmmakers should contact a Kodak representative. The Kodak Display Manager system consists of calibration hardware and proprietary software utilizing Kodak color science technology that adjusts electronic display devices to accurately emulate the look of print film. Precise calibration ensures that collaborators looking at different displays are seeing identical images. Kodak Display Manager is a key component of the Kodak Look Manager System. The Kodak Display Manager System V2.0 is available for Windows, IRIX and Mac OS X platforms. The Kodak exhibit also features a diverse range of film footage displayed on high-definition television monitors. The Kodak Vision2 films leverage advances in emulsion technology to render finer grain images with a wider range of latitude for recording nuances in both shadows and highlights. They also feature enhanced color and contrast, as well as efficiencies for both optical and digital post production. The new palette includes color negative films optimized for exposure indexes of 100, 200 and 500 in tungsten light, and a specialized 500-speed film designed to record a more subdued range of contrast and color saturation. The new films are available in all popular formats, including 35 mm, Super 16, 16 mm and Super 8. Part of the demonstration includes a test produced by NFL Films that compares Super 16 film and digital images displayed on HD monitors. The demonstration includes side-by-side comparisons that run the gamut of production situations captured with film and high-definition, NTSC and PAL format video cameras. The test scenarios include interior and exterior dramas, nature and action sequences. "This exhibit provides convincing evidence that content produced in Super 16 format will satisfy the highest expectations for future HD display," says Maryann Mendel, product manager for the Kodak Entertainment Imaging division. "Advances in films, cameras and post production technologies are fueling a renaissance in the use of Super 16 mm film. Budget-conscious filmmakers are opting for the creative flexibility and affordability of the format. The exhibit also includes a proprietary Kodak algorithm, which enhances film images while maintaining sharp, crisp edges. This is another exploratory research tool for future-proofing film images." The Kodak Telecine Calibration System (TCS) 1002-V is also featured in the exhibit. This system is designed to transfer highlights, shadows, contrast, and colors when the negative is scanned and converted to digital files while maintaining the intentions of the cinematographer. Mendel explains that the advanced Kodak technology employed by the TCS provides a recurring way for cinematographers and colorists to communicate, and ensures nuances recorded on the negative are retained during telecine transfer. In addition to the standard features, which include exposure control, scene illuminant, fine color adjustment and a remote user interface, the Kodak Telecine Calibration System now has the ability to download and apply 3-D look up tables (LUTs) in real time. The Kodak TCS also incorporates Kodak color science technology. In a joint development with Pandora, the Pogle Platinum now has full control of the Kodak Telecine Calibration System. This control integration into the Pandora system means that the telecine colorist can easily and accurately create calibration related lists and notes. The resulting metadata can also be shared between multiple Pogle Platinum rooms equipped with the Kodak Telecine Calibration System. Pandora's POGLE Evolution will be on display at the Kodak booth controlling the Kodak Telecine Calibration System. "We have been listening to our customers, and in response we have developed these exciting new film, digital and hybrid technologies that give them the creative flexibility they want," says Mayson. "Our commitment to the future of film is open-ended."

DALSA is pleased to announce the much-anticipated screening of clips from Zicatela Films? short ?Le Gant/The Glove?, digitally captured by its Origin digital cinematography camera, at the 2004 Toronto International Film Festival. The screening will take place on September 10 at 9am at the Varsity 8 screening room at 55 Bloor St. West. Although this is an ?industry-only? event, a limited number of tickets will be available for purchase at the Varsity Box Office the morning of the screening. The Toronto screening, as part of the film festival?s ?Digital Vanguard Panel?, will be the first opportunity for cinematographers and members of the film community to view a comparison of the resolving power, exposure latitude and color fidelity of DALSA?s revolutionary Origin digital cinematography camera versus a traditional film-based motion picture camera. ?Le Gant/The Glove? was shot simultaneously with the Origin camera and a film camera using Kodak?s® latest 100T (Vision 2) film stock. The screening will present comparison footage from both digital and film formats. ?We?re very excited to share this comparison screening with members of the motion picture industry at this year?s Toronto International Film Festival,? remarked Brian Doody, President of DALSA Corporation?s Digital Imaging Business. ?No digital camera has ever demonstrated performance like this?Origin?s extremely wide exposure latitude shows detail in the highlights and shadows never seen before. With the commercial launch of the camera just around the corner in November, the Toronto International Film Festival is an ideal venue for showcasing this material.? Organizers of the Festival are equally excited at the prospect of supporting both Canadian filmmaking and Canadian innovation by showcasing technology that could change the way of motion pictures are made forever. ?We?re very happy to be a part of this technological unveiling? said Kelley Alexander, Director of Industry Programming and Services for the festival. ?If this really is the next step in filmmaking then it?s going to be very exciting indeed. The Festival is about showcasing new ideas and perspectives, so we?re pleased to promote new technology that will have such a significant impact on the future of cinematography.? Designed for cinematographers with 35mm cine lenses and a through-the-lens reflex viewfinder, DALSA?s award winning Origin camera delivers the optical performance professionals demand. No other digital camera provides 4K output, but more importantly for cinematography, no other digital camera comes close to delivering as much exposure latitude. For more information on Origin, visit http://www.dalsa.com/dc .