Tim Tyler

Australia's Russell Boyd has won the Oscar for cinematography. Boyd shot Master and Commander starring Russel Crowe and directed by Peter Weir. Russell Boyd's credits include Gallipoli, A Town Like Alice, The Year of Living Dangerously, A Soldier's Story, Mrs. Soffel, Crocodile Dundee, Forever Young, Doctor Doolittle and Master and Commander: The Far Side of the World. ACCEPTANCE SPEECH I have an Australian accent. I'd like to thank the Academy and a wonderful cast and crew. If I could mention my entire camera crew by name, I'd be here all night, but they did an absolutely wonderful supporting job for me, and for Peter and the whole production. Also, I'd like to thank Pat Murray my gaffer, and Chris Centrella my key grip, Ann Murtha and Larry Mirisch and to Duncan Henderson, who steered the ship some of the time. He was a great, great person to work with. And most of all, to Peter Weir, who provided extraordinary inspiration to all of us to give of our best. And to my family, Sandy and my boys, thank you very much.

Kodak revealed two new films that incorporate the company?s advanced VISION2 color negative film technology. The introduction adds 100- and 200-speed, ultra-fine grain color negative films with specialized imaging characteristics to the KODAK VISION2 product line. ?Nobody loves film like Kodak,? says Kodak Chairman and CEO Daniel Carp. ?These exciting new products reinforce our strong commitment to film technology. Kodak is dedicated to developing a full range of products and services ? both digital and traditional ? to help bring the visions of filmmakers to the screen so that the viewing audience enjoys the richest experience that technology can provide.? The new generation of KODAK VISION2 films leverages a quantum leap forward in photochemical science and technology. According to Robert Mayson, general manager of image capture and vice president of Kodak?s Entertainment Imaging Division, ?The new films provide extraordinary creative latitude for cinematographers, coupled with efficiencies designed to retain the integrity of the original images during postproduction. We are making considerable progress on a long journey to a future with unlimited possibilities.? KODAK VISION2 100T Color Negative Film 5212/7212 is rated for an exposure index of 100 in 3200 degrees Kelvin tungsten light. KODAK VISION2 200T Color Negative Film 5217/7217 is rated for an exposure index of 200 in 3200 degrees Kelvin tungsten light. Both new films offer significant advances in under- and over-exposure latitude, extremely fine grain and enhanced capacities for recording subtle details in highlights and shadows. They are available in 16, 35 and 65 mm formats. ?Cinematographers who have tested the new films are finding they can probe deeper into both highlight and shadow areas and record nuances in details that are important to the stories they are telling,? says Mayson. ?They also like the truer colors, the fidelity of skin tones and the more subtle grain structure.? The two new films are optimized for both digital and optical postproduction applications. ?The 200-speed film is ideal for such visual effects applications as blue- and green-screen photography, where well defined edges and accuracy in color reproduction are crucial,? he says. ?There is built-in protection against unwanted light absorption, which helps visual effects practitioners make the clean separations needed for seamless compositing.? The company introduced the first member of its new family of films in November 2002. KODAK VISION2 500T Color Negative Film 5218/7218 is rated for an exposure index of 500 in 3200 degrees Kelvin tungsten light. Kodak unveiled a second 500-speed film in December 2003. KODAK VISION2 500T Expression Color Negative Film 5229/7229 is designed to render images with a somewhat softer look, including smoother skin tones and a more subdued range of contrast and color saturation. ?Filmmaking is an interpretive form of artistic expression,? says Mayson. ?These developments are a response to customers who have been telling us they want more flexibility and more creative latitude. They also want the ability to retain the subtlest details recorded on the negative during both optical and digital postproduction with the goal of putting them on cinema and television screens.? Mayson points out that the KODAK VISION2 family of films incorporates new sensitizing layers that provide important advantages during postproduction. He explains that the exposed negatives are designed to retain the fidelity of the original images when they are converted to digital and optical formats for postproduction. ?This provides more flexibility for manipulating images during post production,? he says. ?That?s important, because with the advances being made in digital intermediate technologies, the role of cinematographers has extended deeper into postproduction.? Peter Deming, ASC (Twisted, Austin Powers, Mulholland Dr.) is among the cinematographers who have tested both of the new stocks. He cites ?truer color saturation and an improved range of contrast? as an advantage offered by the new 100-speed film, and ?improved skin tones, and more details in shadows and highlights? in the 200-speed stock. Visual effects supervisor and director of photography Bill Taylor, ASC (Bruce Almighty, XXX, Star Trek: Nemesis) says, ?The new VISION2 5217 film produces a flawless composite, with no sign of fringing. The film has another advantage in that it is innately compatible with the other members of the VISION2 family. It doesn?t require any special color correction to match surrounding footage.? Mayson notes that filmmakers around the world have embraced the KODAK VISION2 500-speed film. ?We believe this is the beginning of a renaissance in the global art of filmmaking,? he concludes. ?Remarkable work is being done, and the best is yet to come.? Mayson emphasizes that Kodak is still in the relatively early stages of bringing recent advancements in emulsion technology to the marketplace. He anticipates additional developments before the end of the year.

Seabiscuit, the movie about the Depression era race horse with the reputation for come-from-behind victories, has surprised Hollywood by winning the top award from the American Society of Cinematographers. Seabiscuit cinematographer John Schwartzman took the prize for the year's best camera work over rivals that included the Lord of the Rings: The Return of the King and Master and Commander: The Far Side of the World for which it will compete for the year's top US film prize, the Oscar, later this month. The award for Schwartzman splits the weekend's top two film awards heading toward the February 29 Oscars. On Saturday, director Peter Jackson of The Lord of the Rings took home the award for best directing from the Directors Guild of America. Due to the popularity of Rings, many Hollywood award watchers believe it will sweep through awards season that ends in the US film industry's top honors, the Oscars, on February 29. But Seabiscuit proved them wrong, so far. "Oh my god," said a surprised Schwartzman on accepting the award. He called the race horse movie, "the ride of a lifetime." Next up in the race to Oscars are the Screen Actors Guild Awards on February 22. The Oscars, or Academy Awards, are given out by Academy of Motion Picture Arts and Sciences.

Kodak received a Scientific and Engineering Award from the Academy of Motion Picture Arts & Sciences (AMPAS) for the development of antistatic layer technology. The new technology controls static electricity that can cause fogging on color intermediate and sound negative films during high-speed printing operations. Kenneth Tingler, Charles Anderson, Diane Kestner and Brian Schell, the team that designed and engineered the technology, accepted the plaque for Kodak. It marked the third consecutive year the company has been recognized by the Academy for scientific and technical achievements that have significantly contributed to progress in the industry. Kodak was recognized last year for developing KODAK VISION Premier Color Print Film and in 2002 for bringing KODAK Panchromatic Sound Recording Film to the marketplace. The company and its scientists have received eight Academy Awards® and more than 30 plaques and certificates for scientific and technical achievements since the inception of the awards. ?This recognition will inspire our scientists and all of the dedicated people who support their efforts to pursue their goal of enhancing the movie-going experience,? says Bill Tompkins, vice president and general manager of motion picture distribution products for Kodak?s Entertainment Imaging division. ?We are committed to providing the creative community with the tools they need to make their dreams come true.? The technology developed by Kodak prevents static discharges and consequent fogging of film during manual raw stock handling while it is being manufactured, processed and printed. It also deters the attraction of dirt to film in lab operations and during projection. ?This results in audiences seeing cleaner images projected on cinema screens, and it also extends the life of release prints before they are recycled because of wear and tear,? notes Tompkins. ?The antistatic technology also reduces the time and cost needed to clean film.? AMPAS reserves Scientific and Technical Awards for devices, methods, formulas, discoveries or inventions of special and outstanding value to the art and science of motion pictures that also have a proven history of use in the industry. The Academy Board of Governors votes on these awards based on the recommendations of the Scientific and Technical Awards Committee. Awards may be granted in any of three classifications: Academy Award of Merit (Oscar statuette) for basic achievements that have a definite influence upon the advancement of the industry; Scientific and Engineering Award (Academy plaque) for those achievements that exhibit a high level of engineering and are important to the progress of the industry; and Technical Achievement Award (Academy certificate) for accomplishments that contribute to the progress of the industry.

Cinematography.com is an international peer to peer community of motion picture camera department professionals, filmmakers, students and industry representatives. At Cinematography.com you will find ASC and SOC members chatting with film school freshmen, industry equipment manufacturers consulting our member base, and camera department professionals networking globally. Since 1998 Cinematography.com has been a place where aspiring filmmakers learn about cinematography, and where experienced cinematographers have generously shared their knowledge. Advertising Information I hope you enjoy Cinematography.com! Tim Tyler Owner & Administrator 360.888.2007 tim@cinematography.com Cinematography.com PO Box 7395 Olympia, WA 98507-7395 USA

Forde rocks.

You might consider spending the money on a talented gaffer who already owns lights. Then you're buying tools AND experience all bundled together.

Anybody go?

I just upgraded the forum software. If you notice any problems, please post them in the "Support" forum. Thx.

Let's stop the political debating, please.

Neal joined this forum in April and I was sure he'd be here for the long haul. It's sad that he's gone now, and he will be missed. His posts.

Just FYI: If you click on "My Controls" at the top of most pages in this forum, and then "Edit Profile info" in the left menu, you can add IM addresses for many of the popular apps. You could also add IM addresses to your forum signature too.

This "Production Sound" category exists on this forum because production sound professionals have a unique and important relationship to the camera department. This is especially true on SD and HD projects.

Good one, John!

Sorry - I don't get it. I'm closing this thread though.

I just created a dedicated forum for discussions regarding the XL1 and XL2 camcorders. I'll be moving some related threads to that new forum. Find it here: http://www.cinematography.com/forum2004/in...hp?showforum=34

Hey, everybody... I suggest that we stop the name calling, and focus politely on the issue at hand. There are people who will find this forum and begin to participate in this community who need some guidance both in the forum and professionaly. The experienced forum users are not "required" to supply information, but many of you perhaps find it rewarding and THAT is what keeps this forum alive. The "forum newbies" need to understand that experienced forum users are in no way obligated to answer their questions. However, the more experienced forum users should refrain entirely from any rudeness. It's easy to type your slightly sarcastic message post with a little smirk and a wink and think that the reader will catch your drift and see the light, but often your comments might be perceived as insulting or rude, and then things just start to snowball. I recommend that, in most cases, if you don't have anything nice to say, don't say anything at all. A vague post that goes unanswered might help the poster "get your drift". If you do need to be critical of another forum user, do so with kindness. And, you know, it's possible that there's somebody in the forum who really wants to answer a vague question with helpfulness and detail. I'm going to pitch that we all contribute to a Forum Rules topic in the Support category. New users will be encouraged to read through it before participating in this forum. Be nice. :)

What's the heck is goin' on here? Doesn't sound like a discussion on "cinematography". Take it outside, please.

I've created two new forums in the "Manufacturer & Industry Forums" category (down at the bottom of the forums list). The forums are dedicated to the Panasonic DVX100A and SDX900 camcorders. Those two forums will be monitored by Panasonic's Product Manager for those products, so users can give feedback to, and get answers from, the top. I'll be moving some of the related threads from this "DV Only" forum into those new forums shortly.

Administrator's Note: Users "jack parker", "J Jukuzami", "Jerry Springfield", and "Ultra Definition" have been deleted by me. Apparently each of these accounts was created with a valid email address and then the user attempts to change to a bogus email address, no doubt to hide their identity. If I have made an error please contact me off the board and I will correct it.

Here ya go: http://www.cinematography.com/forum2004/in...hp?showforum=31

Congratulations!

Why do you think it's them? Where did you "hear" that?

This seems to be the prevailing interest here, so let's go with that.

> and this thing counted me that I already > voted and there were just "no" votes. Hence the button you clicked - "Null Vote". > and another member appear to be af conservative > political thinking while others... Please don't start branding or labeling other forum users. Everybody has different views on different subjects. This is not just a forum for conservatives, or a forum for liberals, or a forum for Americans, or a forum for tall people. It's a forum for people to discuss cinematography, regardless of their other interests or beliefs.