Sue Smith

Award-Winning DPs to Teach Inaugural Session in October LOS ANGELES - The American Society of Cinematographers (ASC) announced today that it will be hosting a new series of Master Classes that will teach all aspects of the art and craft of cinematography. Each Master Class will be held over a five-day period and will convene four times a year. The first will run October 21 through October 25, 2013 and will be limited to 20 students. Registration is on a first-come, first served basis. The syllabus - along with tuition and registration information - may be viewed on the ASC Web site. "The ASC Master Class offers an unprecedented opportunity to get direct, hands-on instruction from the best cinematographers in the world," notes ASC President Richard Crudo. "Classes will be based at our historic Clubhouse in Hollywood, and will be augmented by field trips to nearby state-of-the-art facilities. No one else can give such access to the range of knowledge and experience that resides under our roof. It represents a truly comprehensive, one-of-a-kind experience." The ASC Master Class Program Advisor is Oscar®-nominee Stephen Burum, ASC. Different cinematographers will lead the classes each quarter. Among the participating faculty for the inaugural session will be the world's foremost shooter of car spots and other commercials, Bill Bennett. Additional instructors will include ASC greats Dion Beebe, Russell Carpenter, Dean Cundey, Caleb Deschanel, Richard Edlund, Robert Elswit, Matthew Libatique, Dean Semler, Dante Spinotti and John Toll. Each of whom has been Oscar® nominated on at least one occasion, while Beebe, Carpenter, Elswit, Edlund (three), Semler and Toll (two) are Oscar® winners. In addition, Deschanel, Semler and Spinotti are also ASC Lifetime Achievement Award recipients, and Edlund has received the ASC Presidents Award. (All participants subject to availability) At the conclusion of the week participants will receive a certificate of completion at a celebratory dinner with ASC members. ASC was founded in 1919. There are 350 active members today who have national roots in some 20 countries. There are also 150 associate members from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com, or join ASC on Facebook at http://www.facebook.com/the.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer. # # # Media Contacts: ignite strategic communications Lisa Muldowney - 760.212.4130 / lisa@ignite.bz Sally Christgau - 415.238.2254/ sally@ignite.bz

Boxx Communications Provides Panavision with Award-Winning Boxx TV Meridian Wireless Systems LOS ANGELES, August 22, 2013 – Boxx Communications is bringing Boxx TV’s award-winning technology to Panavision with the delivery of 12 more Boxx TV Meridian Wireless Microwave Broadcast Systems. “Panavision has been a leader in this industry for as long as I can remember,” says Mark Walker, founder of Boxx Communications. “And this is a perfect example of why; they provide productions with the very best technology available today, and certainly that is true with the Meridian.” The Meridian System, which was recently selected by the Academy of Motion Picture Arts & Sciences (AMPAS) for further Sci-Tech awards consideration, represents a new era in wireless HD/SD microwave video transmission system for cameras. It instantly delivers extremely high-quality uncompressed SD and HD video over license exempt channels, with zero delay. This revolutionary technology works with all formats (composite, component, SDI and HDSDI) and frame rates, breaking new ground in affordable SD and HD transmission for broadcasting. The Meridian supports full 4:2:2 video for all formats up to 1080/30p, and delivers uncompressed, artifact-free broadcast video with in sync sound to integrate seamlessly with coax cameras switched live. The Meridian, system is used in a variety of settings that cover the gamut of production needs and are frequently found on feature film and TV productions, at live broadcasts of sports, worship, award ceremonies, and news, and in large screen presentations. Panavision has deployed the Boxx TV Meridian for feature films such as Transformers, Let’s Be Cops and Pacific Rim, and on TV shows including Dallas, CSI, NCIS, Army Wives, and Body of Proof, among many others. # About Boxx Communications Boxx Communications is the Los Angeles-based reseller for Boxx TV products, an Emmy® Award-winning manufacturer. Boxx Communications provides the broadcast industry with a wide range of innovative digital microwave systems for live broadcasts, as well as Steadicam, portable field, video assist and ENG applications. Boxx TV is revolutionizing the industry with reliable, cost-effective, and groundbreaking technology. Continually innovating, constantly advancing, Boxx Communications offers impeccable solutions. For more information about Boxx Communications, visit www.boxxusa.com or call 310.287.1285. About Panavision Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, including both film and digital cameras, and lenses and accessories for the motion picture and television industries. Renowned for its world-wide service and support, Panavision systems are rented through its domestic and internationally owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions

Winners Represent Universities from Mexico, Africa, Germany and U.S. (LOS ANGELES, CA) Kodak and the University Film and Video Foundation (UFVF) have named the 2013 recipients of the KODAK Student Scholarship Awards and KODAK Student Cinematography Scholarship Awards, which were selected by a panel of judges led by award-winning cinematographer John Bailey, ASC. This year's winners represent film schools in Mexico, Africa, Germany and the United States. Kodak's annual global competition is designed to recognize emerging talent that demonstrates superior filmmaking skills and creativity. Accredited film schools from around the world nominated up to two students for consideration in each award category. They were judged on a combination of past work, faculty recommendations, and academic achievement. Judging took place in July. The KODAK Student Scholarship winners are: Gold Award - Carlos Eduardo Correa Reynoso from Centro de Capacitación Cinematográfica in Mexico, for his film Mr. Sabas. His award includes a $5,000 Kodak motion picture film product grant, and a $4,000 tuition scholarship. Silver Award - Werner Nortje from the AFDA in Africa for Jericho. The award includes a Kodak $4,000 motion picture film grant, and a $3,000 tuition scholarship. Bronze Award - Nicolas Navia from the American Film Institute (AFI) in the U.S. for his piece The Superman. The award comes with a $3,000 Kodak motion picture product grant and $2,000 tuition scholarship. The KODAK Student Cinematography winners are: First Place - Max Preiss from Deutsche Film Und Fernsehakademie Berlin (DFFB) in Germany for his cinematography on Come and Play. He receives a $5,000 Kodak film product grant and $3,000 to be applied toward his tuition. Honorable Mention - Daniella Nowitz, also from AFI, for her work on Sassafras. The award is a $3,000 Kodak product grant, and $1,500 for tuition. Kodak partners with the University Film and Video Foundation to make this program possible. The UFVF is a not-for-profit organization that engages in and promotes worldwide education, research, innovation, and charitable activities in the arts and sciences of moving images and aural communication. In addition to Bailey, the entries were judged by Melinda Levin, a professor at the University of North Texas and president of the UFVF, and Kodak's Lorette Bayle, who is also an award-winning filmmaker. Kodak introduced its worldwide film school program in 1991. Through the years, the program has grown to include a wide range of initiatives to help both students and educators enrich the development of their skills in the art and craft of filmmaking. For more information, visit www.kodak.com/go/education. About Kodak's Entertainment Imaging Business Kodak's Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm). # # # Media Contacts: ignite strategic communications 818.303.8088 Lisa Muldowney - direct: 760.212.4130 / lisa@ignite.bz Sally Christgau - direct: 415.238.2254 / sally@ignite.bz

(HOLLYWOOD, CA) Margarita Mix Hollywood, a FotoKem company that has been providing award-winning audio post services to the entertainment and advertising industries for 34 years, has developed a unique post production finishing workflow that includes the addition of two color suites and an upgraded hub for media management. The expansion and inventive new process enable content creators to complete audio and video work simultaneously at a single facility, adding speed and cost efficiencies to the workflow. The new color suites are completely integrated with the existing audio bays, utilizing Nucoda Film Master color grading systems to ensure unmatched Avid integration with direct connectivity to the ISIS and Avocent network. Through this network, the experts at Margarita Mix are able to access audio and video elements from multiple terminals at the facility. As part of the expansion, Margarita Mix has added colorists Troy Smith and Michael Mintz, and online editor Adam St. Clair, to their family of artists and engineers. Margarita Mix clients that utilize ISIS media servers from FotoKem's Nonlinear Services Division can now tap into the high-speed fiber connection between facilities, eliminating the need for transporting tapes and drives across town. Addressing the frequent need for shot replacement and other creative changes during the finishing process, this direct connection to the client's servers allows new media to be prepped and incorporated quickly. A variety of content creators have utilized Margarita Mixes' augmented capabilities in the last 18 months. Their projects include Ridiculousness, Top Gear U.S.A., Life Below Zero, Fantasy Factory, Breaking Pointe, The Glee Project, and Richard Hammond's Crash Course. Dustin Montez, Post Supervisor for Ridiculousness and Fantasy Factory, was one of the first clients to utilize the new color capabilities and expanded services offered by FotoKem and Margarita Mix. "With our space and equipment rented from FotoKem, the streamlining of our services made perfect sense. The fact that the buildings are connected via fiber saves us, literally, hours of time. When there are fixes, everything is instantly sent back and forth. In our business, it ultimately comes down to the people, and we love our team at Margarita Mix - our colorist, sound designer, the engineers, everyone we work with is top notch. The workflow is easy, saving me time and money, and I don't have to worry about anything. Any type of show would benefit from collaborating with Margarita Mix." Margarita Mix brings award-winning sound services to the pipeline, with four full mixing suites featuring 5.1 surround sound, as well as stations where sound design and pre-lay can take place. The facility's talented mixers frequently contribute to animated and reality shows, as well as gaming and long- and short-form projects. Rand Gladden, Senior Vice President of FotoKem, explains, "We knew that combining the power of our network with one-stop audio/video finishing would result in some major advantages in cost and time. This is especially a game changer for reality TV productions that may not have previously had access to high-end workflows at an affordable price point." Veneta Butler, General Manager of Margarita Mix, adds, "Our clients have been asking for centralized services for years, and now it's a reality. Shots on the editorial ISIS across town can be replaced in minutes during an audio or video finishing session at Margarita Mix, providing incredible efficiencies and the ability to work on every aspect of their projects simultaneously." Gladden adds, "The connection and design of these facilities will empower collaboration; when there are tight turnarounds, creative changes, and advancing deliveries, this will be a great value-add for the creative process." About Margarita Mix Hollywood Established in 1983, Margarita Mix is a premiere audio and video post-production facility located in the heart of the Hollywood media district. They provide a wide variety of services, including audio mixing, color grading, online editing, sound design, ADR, and voice over recording. Their projects include television shows, feature films, commercials, animation, video games, DVD commentaries, and web-based content. For more information, visit www.lastudios.com. About FotoKem FotoKem is an independently-owned, full-service post production facility serving the worldwide creative community. Since 1963, the company has been a trusted resource for every corner of the entertainment market, providing broad post production expertise, high-end solutions and innovative in-house technologies. The company assists filmmakers in successfully bridging production and post, helping navigate the expanding world of motion picture finishing technology. FotoKem offers a broad spectrum of services, including a full service film lab, file-based workflows, digital intermediates, digital cinema packaging, mobile dailies, global data delivery, film and video finishing, audio mixing and mastering, visual effects, restoration, and production rentals. FotoKem has expanded over the years with the acquisition of SPY Post, Keep Me Posted, L.A. Studios, and Margarita Mix. For more information visit www.fotokem.com, or follow FotoKem on Facebook and Twitter. # # # Media Contacts: Lisa Muldowney / Chris Purse ignite strategic communications 818.980.3473 lisa@ignite.bz / chris@ignite.bz

Bryan H. Carroll Captures the Heart of the Motorcycle Community (LOS ANGELES, CA) Walking West Entertainment and Gnarlynow Entertainment have completed principal photography on Why We Ride, the first feature documentary of its kind in years to explore all aspects of the motorcycling community and its riders. Project helmer and Gnarlynow founder, Bryan H. Carroll, (Public Enemies, Miami Vice, Collateral) is producing and directing along with Walking West's James Walker (Brake) as producer. Ed Kretz Jr., (AMA Hall of Fame Racer), is on board as a technical consultant. "Why We Ride is a story about the passion of motorcycle riders," Carroll commented. "From a family riding together on the sand dunes, to hundreds of choppers carving through the canyons - the bond with two-wheels is the same - it brings people together in a unique and memorable way and we wanted to share that joy with an audience." Why We Ride began production in July 2012 with filming continuing all over the country for a full year. From the deserts of California to the salt flats of Bonneville, visiting the rallies in the Midwest and beyond to Daytona, Carroll captured photography and interviews of riders and racers from all walks of life and all forms of motorcycling. With a special emphasis on the increasingly popular women, youth, and family groups of the sport, the film works to show how the motorcycle community continues to grow all around us as it's passed down from parents to their children. Why We Ride was shot with Canon's Cinema EOS C500 camera and paired with Codex's Onboard S recorder, which enabled 4K resolution at rates up to 120 fps. The package was compact and lightweight enough to be operated out the door of a speeding van or on the end of a 12 foot jib arm. Carroll concluded, "When you're averaging 30-40 setups per day on a documentary, the mobility and durability of the camera package is paramount." Why We Ride will be released later this fall. About Gnarlynow Entertainment Gnarlynow Entertainment was launched by Producer/ Director Bryan H. Carroll in 2010 as a production platform to develop and produce high-quality films that are informative, positive and entertaining. # # # Media Contact: Christine Purse (chris@ignite.bz) or Gail Laguna (gail@ignite.bz) ignite strategic communications 818.980.3472

Bexel Broadens Equipment Offerings with New Dealer Partnerships Company Expands Video and Audio Product Lines for Purchase or Rental (BURBANK, CA) Bexel, a unit of the Vitec Group's Services Division and a leading worldwide provider of broadcast services and solutions, has expanded its new equipment offerings of high-end video and audio products. Bexel's Technical Sales & Solutions (TSS) business segment is now the first authorized U.S. reseller of Lawo, and has added five new product lines, including: Lawo's V_pro8 video processors, AJA acquisition/edit/conversion products, Grass Valley production solutions, Harris Broadcast, and Panasonic professional video products and displays. These brands join over 200 products available from Bexel TSS to the broadcast and production segments of the industry. These products will also be incorporated into Bexel's Engineered Systems & Solutions (ESS) business segment, which designs and implements solutions for the broadcast industry, including systems integration, fiber, engineering expertise, and technical production support. "This strengthening of inventory and manufacturing relationships builds on Bexel's long history of supporting the broadcast industry with new and pre-owned equipment for purchase or rental," says Bexel President and General Manager Halid Hatic. "These new partnerships make it possible for content creators and production pros to leverage Bexel's wide-range of offerings for all their needs." As the first certified reseller for Lawo's new V_pro8 video processor in the U.S., Bexel is able to provide robust features for the video engineer in a small 1RU form factor. The V_pro8 combines a number of different tasks into one tool, including eight 3G/HD/SD-SDI video channels with frame synchronization, variable video and audio delays, and 128 audio channels via MADI or RAVENNA for embedding, de-embedding and shuffling. Additionally, the V_pro8 offers high-quality up/down/cross and AR conversion, RGB color correction with Proc Amp and quadsplit monitoring including waveform and vectorscope display as supplementary options. All features are configured via an intuitive html5-based touch user interface. "At Bexel, we pride ourselves on knowing how video and audio products service the broadcast and engineering needs of the community, because we rent and integrate systems all the time," adds Joyce Bente, director of sales, Bexel TSS. "We don't just sell equipment; we use it in real-world environments, offering our customers unmatched expertise about product performance." After working with AJA for many years, Bexel TSS now offers the complete Ki Pro Family of file-based recording and playback devices, Io Family hardware and software for on-set editorial and graphics capabilities, KONA cards, and conversion solutions. According to Bente, the Ki Pro recorders have become a go-to product for file-based recordings due to their easy file compatibility for editing. Grass Valley brings broadcast technology to teleproduction facilities, independent video professionals, and emerging content creators and distributors. Bexel represents their full line of cameras, switchers, converters, servers, replay systems and other tools for broadcast, sports and venue applications. For nearly 100 years, Harris Broadcast has been a leading source for professional audio and video equipment for the broadcast industry. Bexel now offers their portfolio of automation products, editing systems, networking and encoding, servers, and signal processing solutions. Panasonic offers a range of professional video solutions. This wide selection of gear provides Bexel's customers with comprehensive equipment from camcorders and camera systems, to mixers, switchers, video recorders, displays and digital media. From ENG and field production to the studio, Bente notes that Panasonic's advanced solutions complement a plethora of sports, news, and entertainment equipment needs. Bexel is also the exclusive U.S. distributor of TSL and SoundField audio products. As part of the Vitec Group of companies, Bexel has access to a wide range of industry standard product lines including Anton/Bauer, Vinten, Litepanels, Sachtler and Petrol Bags. Additionally, Bexel TSS offers its own line of intercom and audio products made in house under the Bexel ASG business segment. About Bexel TSS Bexel Technical Sales & Solutions (TSS), a business segment of Bexel Broadcast Services, a Vitec Group Brand, has offered the latest new and pre-owned professional broadcast video and audio products since 1991. Over the years, Bexel TSS has expanded to include exclusive dealerships with top-of-the-line manufacturers. The company is the exclusive U.S. distributor of TSL and SoundField audio products, as well as the only U.S. dealer for Lawo. As part of the Vitec Group of companies, Bexel has access to a wide range of industry standard product lines including Anton/Bauer, Vinten, Litepanels, Sachtler and Petrol Bags. Bexel TSS also offers its own line of intercom and audio products made in house under the Bexel ASG brand. Bexel's specialists offer product training and support before and after the sale, as well as in-house equipment maintenance and repair. In an effort to supply the broadcast industry with unequaled service and product solutions at exceptional prices, Bexel TSS represents over 200 product lines, including AJA, Canon, Clear-Com, DiGiCo, Evertz, Fujinon, Grass Valley, Harris, Lawo, Lectrosonics, Panasonic, Sennheiser, and TSL/Soundfield, among many others. For more information about Bexel, visit www.bexel.com, or follow them on Facebook, Twitter, and Instagram. # # # Media Contact: Christine Pure or Sally Christgau ignite strategic communications 818-980-3473

ASC Announces Winners of Savides Student Heritage Awards LOS ANGELES, June 16, 2013 – The American Society of Cinematographers (ASC) announced the winning films in the 2013 ASC Harris Savides Student Heritage Awards last night in a ceremony here at the organization’s clubhouse. The awards are designed to showcase the artistic abilities of the next generation of filmmakers, with a focus on their cinematographic abilities. The winners and honorable mentions are: Graduate WINNER: Ryan Broomberg of Chapman University with “The Bright Side” HONORABLE MENTION: Petr Cikhart of AFI for “First in Flight” HONORABLE MENTION: Martin Kobylarz of AFI for “Wolves from Another Kingdom” Undergraduate WINNER: Mishka Kornai of Chapman University for “Straight Down Low” HONORABLE MENTION: Nick Reinhard of Florida State University for “Cootie Contagion” HONORABLE MENTION: Daniel Rink of Brooks Institute for “Ai” Documentary WINNERS: Drew Heskett and Ryan Westra of Chapman University for "We are the Land" HONORABLE MENTION: Dan Duran and Sam Price-Waldman of Chapman University for “Wolf Mountain” Each year, the ASC Heritage Award is rededicated in memory of an individual who advanced the art and craft of cinematography. This year's award is dedicated to the memory of Harris Savides, ASC. Savides earned Independent Spirit Award nominations for his photography of Gerry, Elephant, Last Days, Milk and Greenberg. In 2008, he was nominated for a BAFTA for American Gangster. Savides was known for his stunning cinematography on such acclaimed films as The Game, The Yards, Finding Forrester, Margot at the Wedding, Zodiac and Somewhere. He was highly lauded for his imagery of award-winning music videos for artists such as Madonna, R.E.M. and Michael Jackson, among others. “Harris wasn’t just an amazingly talented cinematographer, but also a wonderful person,” says Richard Crudo, ASC President. “His point of view and artistry have left a lasting impression on the filmmaking community, and for these students and the generations after them, his influence will have a profound effect.” To qualify, professors at film schools recommended one student for each category from their school, who then submitted their film for judging. A Blue Ribbon panel of ASC members judged the 135-plus entries. The ASC Heritage Award was inaugurated for the purpose of encouraging filmmakers to pursue careers in cinematography. Past winners have gone on to prolific professions. For additional information about the ASC, visit www.theasc.com, or join ASC on Facebook at http://www.facebook.com/the.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer. #

(LOS ANGELES, CA) - Cinematographer Robert Yeoman, ASC will headline the annual Kodak Focus program at this year's Los Angeles Film Festival. The intimate conversation will spotlight Yeoman's artistic and technical accomplishments by screening scenes from 35mm prints of Moonrise Kingdom, Drugstore Cowboy and The Royal Tenenbaums. The Kodak Focus takes place on June 16 at 1:10 p.m. at the Regal Cinemas at L.A. Live. The seminar is free with a festival ticket. Yeoman won an Independent Spirit Award for his memorable cinematography on Gus Van Sant's Drugstore Cowboy, and was also nominated for Wes Anderson's Moonrise Kingdom. Yeoman has photographed all of Anderson's live-action features, including Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic With Steve Zissou, The Darjeeling Limited and Moonrise Kingdom. Yeoman also photographed Wes Craven's Red Eye, Roman Coppola's CQ, Noah Baumbach's The Squid and the Whale, Drew Barrymore's Whip It, Paul Feig's Bridesmaids, and the soon-to-be released The Heat. The LAFF festival, which runs June 13-23, celebrates independent and international cinema. This year's festival in downtown Los Angeles will screen a diverse slate of nearly 200 feature films, shorts and music videos, representing more than 40 countries, along with such signature programs as the Filmmaker Retreat, poolside chats, master classes and more. There will also be a number of free community screenings. Kodak's Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm). For more information on LAFF, visit www.lafilmfest.com. # # #

Richard Crudo Named President (LOS ANGELES, CA) The Board of Governors of the American Society of Cinematographers (ASC) has held its annual election to appoint its new slate of officers. Richard Crudo will serve as president, along with Vice Presidents Owen Roizman, Kees Van Oostrum and Lowell Peterson; Treasurer Victor J. Kemper; Secretary Fred Goodich; and Sergeant-at-Arms Isidore Mankofsky. The members of the Board, elected in May by the organization's active membership, include: Curtis Clark, Dean Cundey, George Spiro Dibie, Richard Edlund, Fred Elmes, Francis Kenny, Matthew Leonetti, Stephen Lighthill, Michael O'Shea, Rodney Taylor and Haskell Wexler. Alternate Board members consist of Kenneth Zunder, Steven Fierberg, Karl Walter Lindenlaub, and Sol Negrin. "I am honored to have another opportunity to serve this great organization," says Crudo, who previously served three terms as ASC president from 2003 through 2005. "Our 94-year history makes us the longest standing group in the motion picture industry. As always, we will be aggressively promoting our art and craft, as well as the related interests of cinematographers everywhere." The ASC carries out its mission of inspiring the next generation of filmmakers through many industry events and initiatives, such as its Student Heritage Awards, Breakfast Club seminars, panel discussions by their Education and Outreach committee, the burgeoning Friends of the ASC membership level, and the org's ongoing collaborations with other industry associations vital to the image-making process. "I want to thank Stephen Lighthill for his hard work and dedication during the past term," Crudo adds. "We operate in an astonishingly fast-moving world, and I look forward to working with him and the other Board members as we expand our efforts on all fronts, from pre-visualization through post-production and image delivery." Crudo is also a member of the Academy of Motion Picture Arts and Sciences, serving as an Academy Governor and Chairman of the Cinematographers Branch. In addition, he has chaired and co-chaired the ASC Awards for several years throughout the past decade. Born and raised in Brooklyn, New York, Crudo began his film career as an assistant cameraman. As a director of photography, he has shot a wide range of feature, television and commercial productions. Among his feature credits are Federal Hill, American Buffalo, American Pie, Music From Another Room, Outside Providence, Down To Earth, Out Cold, Grind, Brooklyn Rules, and My Sexiest Year. He has also directed several independent films, and currently shares cinematography duties with Francis Kenny, ASC on the popular FX Channel series Justified. ASC was founded in 1919. There are 330-plus active members today who have national roots in some 20 countries. There are also 150 associate members from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com, or join ASC on Facebook at http://www.facebook.com/the.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer. # # # (Photos available on request) Media Contacts: ignite strategic communications Sally Christgau / Lisa Muldowney sally@ignite.bz / lisa@ignite.bz 818.980.3473

Kodak Goes Behind-the-Scenes With Acclaimed Cinematographers at Cine Gear Expo; Eric Alan Edwards, Giles Nuttgens and Rachel Morrison Headline Panels LOS ANGELES, May 29, 2013 — Kodak will host two discussions with acclaimed cinematographers at this year’s Cine Gear Expo on the Paramount Lot in Los Angeles. On Friday, May 31, at 5:15 p.m., Kodak will sit down with award-winning cinematographer Giles Nuttgens, BSC for a conversation in the Paramount Theater. On Saturday, June 1, at 11:45 a.m., the “Sundance in Summer” panel will feature Eric Alan Edwards (Lovelace) and Rachel Morrison (Fruitvale Station) in The Sherry Lansing Theater. In a candid conversation, Nuttgens will reveal the thinking behind his extensive body of work -- including the imagery, technology, career choices, and his collaborations. The seminar will offer a glimpse into the mind of one of today's more innovative artists. Nuttgens shot the recently released What Maisie Knew with the directing team Scott McGehee and David Siegel, and Midnight’s Children, based on the best-selling Salman Rushdie novel. Nuttgens’ extensive feature resume also includes Mehta’s elemental trilogy Fire, Earth and Water, which received a 2007 Oscar® nomination for Best Foreign Language Film and earned Nuttgens the 2006 GENIE Award for Best Cinematography. Nuttgens first worked with McGehee and Siegel on The Deep End, a film which earned him the 2001 Sundance Film Festival Award for Best Cinematography, and a nomination in the same category at the 2002 Independent Spirit Awards. His next films include the upcoming features Young Ones and God Help the Girl. Both Edwards and Morrison recently had movies that were stand outs at the Sundance Film Festival. This panel conversation will delve into their creative and budgetary considerations made prior to and during production. The cinematographers will also give the audience behind-the-scenes insight on the collaborations with their directors – Ryan Coogler who took his first turn at the helm on Fruitvale Station; and the dual visionary team on Lovelace comprised of Oscar®-winning director Rob Epstein and Emmy®-nominated Jeffrey Friedman, both with documentary backgrounds. Edwards’ film Lovelace is the story of adult film legend Linda Lovelace, who starred in the 1972 film Deep Throat. The film will hit cinema screens in August. Edwards received an Indie Spirit Award nomination for My Own Private Idaho, and has an eclectic list of credits including Gus Van Sant’s Even Cowgirls Get the Blues, Judd Apatow’s Knocked Up, David Dobkin’s The Change-Up, and the upcoming Delivery Man from director Ken Scott. Morrison lensed Fruitvale Station, which was the winner of both the Audience Award and Grand Jury Prize at the 2013 Sundance Film Festival. Based on real events, the film follows Oscar Grant on the final day of 2008, and his untimely death New Year’s Day at the hands of a transit police officer in Oakland, Calif. The film will be released by The Weinstein Co. on July 26. Morrison’s credits include Palo Alto, CA; and the upcoming thriller The Harvest, among others. Morrison will receive the Kodak Vision Award at the 2013 Women in Film Crystal + Lucy Awards® on June 12. The panel is free with admission to Cine Gear Expo. Advanced registration for the Expo can be done at www.cinegearexpo.com. The website also includes directions and additional information. To learn more about Kodak, visit www.kodak.com/go/motion, or follow Kodak on Facebook at http://www.facebook.com/KodakMotionPictureFilm and Twitter (@Kodak_ShootFilm). (Participants subject to availability.) # About Kodak’s Entertainment Imaging Business Kodak’s Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm).

Expo Recognizes Company for 50 Years of Innovation BURBANK, Calif. - In today's sometimes complex content creation pathway, there are more choices than ever for handling the imaging chain from on set to final deliverables. At Cine Gear Expo on May 31 at 4:15pm in Screening Room #5, cinematographers John Bailey, ASC (The Way, Way Back) and Peter Levy, ASC, ACS (House of Lies)* will discuss their different but successful pathways to image creation and control from production through post. The conversation will be moderated by well-known industry writer and Creative COW editor Debra Kaufman. Bailey is a renowned cinematographer with wide-ranging credits from such memorable films as American Gigolo, Ordinary People, The Big Chill, Mishima, The Accidental Tourist, Groundhog Day, In The Line of Fire, and As Good As It Gets. A few of his latest credits include Brief Interviews with Hideous Men, The Greatest, and The Way, Way Back, which hits theaters in July. Bailey says he shot The Way, Way Back "guerilla style," and collaborated with FotoKem colorist Kostas Theodosiou during the digital intermediate. Levy recently completed director of photography duties on Season 2 of Showtime's House of Lies. The show is shot on ARRI Alexa, ingested into FotoKem's nextLAB system, and then piped to Keep Me Posted, a FotoKem company, for final color by Keith Shaw. Levy's credits include the TV hits Californication, 24, and Without a Trace, and feature films including Predator 2, Broken Arrow, Lost in Space, and Lonely Hearts. Additionally, FotoKem will be recognized for 50 years of service to the industry during the Cine Gear annual awards presentations on Friday, May 31. Founded in 1963 by Gerald Brodersen, FotoKem began as a motion picture film laboratory, dubbed by some as "the biggest little lab in America." Gerald Brodersen's vision was to create a facility where a film could be done under one roof - from concept to finished print. Today, filmmakers continue to rely on the facility's wide range of expertise for navigating the many formats and choices for storytelling. The company's executive team now includes William and Michael Brodersen (President/CEO and Chief Strategy Officer, respectively), along with several other family members specializing in different aspects of the business. "We are very proud of our history in the post-production industry," notes William Brodersen. "Our transition into a third generation is absolutely attributed to the talented people that work here. With the leadership of individuals like Bob Semmer, our COO, we have been able to build an incredible team of professionals that has made FotoKem remain a viable, and inventive resource for our customers." Over the years as technologies have advanced, FotoKem has grown with an eye on the future. They recently established an in-house software development team that has at least half a dozen significant software products, such as their award-winning nextLAB system. Headquartered in Burbank, FotoKem is one of a few independently owned and operated post facilities with a global reach. The facility has expanded over the years with the acquisition of SPY (in San Francisco and Santa Monica), Keep Me Posted (Burbank), Margarita Mix (in Hollywood and Santa Monica) and L.A. Studios (Hollywood), each specializing in unique services. The company also has fiber-connected offices in New York, Atlanta and New Orleans. Michael Brodersen notes, "Today, there is a lot of prediction involved. We listen closely to our customers and respond thoughtfully. We frequently invent solutions and turn on a dime - a necessity in today's dynamic world. There is tremendous innovation here, and we're focused on being part of this industry for another 50 years." *based on availability About FotoKem FotoKem is an independently owned, full-service post production facility that has become the go-to resource for the worldwide creative community. Since 1963, the company has serviced every corner of the entertainment market, providing unmatched expertise, high-end solutions and innovative technologies. The company's systems approach to the imaging chain assists filmmakers in successfully bridging production and post, and supports them in navigating the many formats and choices for telling stories. FotoKem offers a broad spectrum of services, including file-based workflows, 3D, digital intermediates, digital cinema packages, mobile dailies, global data delivery, film and video finishing, audio mixing and mastering, visual effects, full service film lab, restoration, and production rentals. FotoKem has expanded over the years with the acquisition of SPY, Keep Me Posted, Margarita Mix and L.A. Studios. Follow FotoKem on Facebook and Twitter (@FotoKem). # # # Media Contacts: ignite strategic communications Chris Purse - chris@ignite.bz / 323.806.9696 Lisa Muldowney - lisa@ignite.bz / 760.212.4130

Company to Showcase New Offerings and Equipment Sales at Cine Gear Expo Bexel Cine Gear Expo Booth # 98C (BURBANK, CA) - Bexel, a unit of the Vitec Group's Services Division and a leading worldwide provider of broadcast services and solutions, has expanded its selection of camera solutions with the purchase of four Sony F55 cameras, a compatible selection of PL-mount Fujinon Cabrio Lenses, as well as 10 Canon EOS C300 cameras. The new camera packages will be on display at Cine Gear Expo (Booth #98C), which runs May 31 through June 1 in Los Angeles. "The investment in these acquisition formats expands the broad base of Bexel's available camera packages, and ramps up our turnkey solutions featuring leading products from the chief manufacturers in the industry," says Bexel CTO Tom Dickinson. "We have been following the market quite closely, as we always do at Bexel, and know that this is the right time to jump into an extended offering that includes a series of PL-mount cameras." The Sony F55 cameras will play a crucial role in Bexel's new 4K solutions, and their capabilities for providing camera packages that augment any major sporting event or live production, while also providing clients with an outstanding HD source for various broadcast television projects and other high-end programs. Bexel will offer a full suite of accessories with the camera, including the AXS-R5 RAW recorder, which enables incredibly precise 16-bit linear RAW in both 2K and 4K. To complement their new Sony F55 cameras, Bexel has acquired eight Fujinon PL 19-90mm Cabrio lenses (ZK4.7x19) and PL 85-300mm Cabrio lenses (ZK3.5x85). These premier PL-mount lenses provide a film-like look, and are easily scalable to enable full 4K production. The Cabrio lenses feature a detachable servo drive unit, making it suitable for use as a standard PL lens or an ENG-style lens. Bexel anticipates that the ability to extract sharp, crisp, high-resolution 4K images from a zoom will be especially desirable for live sports broadcasts. The Canon EOS C300 with the EF-mount provides users with the ability to give a project a variety of looks, as it delivers an effective and cost efficient cinema-style look that is ideal for reality programming, field acquisition, and the enhancing of high-end video production. The Canon's Super 35mm CMOS Sensor, DIGIC DV III Image Processor and XF Codec augment reality show productions at a very cost effective price point. Dickinson adds, "We're very pleased to be expanding the range of our camera lines. The Sony F55 is going to give our clients great shots that look like film, and the ability to be more creative. And on the 4K side of the spectrum, particularly when paired with the Fujinon PL Cabrio lenses, the F55 provides a larger image for 4K production. We also have a whole range of customers who will benefit from the flexibility and affordability the EF-mount Canon EOS C300s offer in augmenting a variety of video productions." Also at Cine Gear, Bexel's Technical Sales & Solutions division (Bexel TSS) will be promoting its portfolio of new and pre-owned gear. Bexel TSS is the leading dealer of professional broadcast equipment sales, boasting a multi-million dollar standing inventory of the latest audio, video and fiber equipment. Bexel TSS recently became a premier reseller of DiGiCo's broadcast digital audio consoles, and will showcasing the DiGiCo SD 11 at the booth. The company is planning a summer sale at its Burbank headquarters on June 7. Expo attendees can preview a selection of gear that will be available for purchase, as well as inquire about other equipment sales and rental needs. "Having everything under one roof makes Bexel the go-to resource for rentals and sales," notes Joyce Bente, director of sales for Bexel TSS. "We are thrilled to be able to provide more resources to our customers, including increased support and the ability to leverage all our products to meet their demands." About Bexel Bexel is the pre-eminent worldwide provider of broadcast services including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance. Bexel provides brilliantly designed and flawlessly executed systems and solutions to all customers - including producers of the biggest and most important televised events in the world. For more information, visit www.bexel.com, and follow Bexel on Facebook (https://www.facebook.com/BexelBroadcast) and Twitter (@Bexel). About the Vitec Group Capture the moment For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com. # # # Media Contacts: ignite strategic communications Lisa Muldowney - 760.212.4130 / lisa@ignite.bz Sally Christgau - 415.238.2254 / sally@ignite.bz

Kodak Appoints Christian Richter to Film Lab and Studio Relationship Manager ROCHESTER, NY (May 14, 2013) – As part of Kodak’s ongoing efforts to support the motion picture film infrastructure, the company has appointed Christian Richter to the newly created role of film lab and studio relationship manager, effective immediately. Richter will be responsible for developing and managing strategies to optimize the workflow between studios, filmmakers, laboratories and post-production facilities. He will report to Andrew Evenski, Kodak’s president and general manager of the company’s Entertainment Imaging division. “There is a growing concern that the changes occurring in the industry will be detrimental to the motion picture film infrastructure, and we want to alleviate that concern,” says Evenski. “There is a thriving, global lab network and many filmmakers are choosing film. Christian has more than 15 years of extensive, international experience to contribute to this new role. He will liaise with our customers and promote the options for shooting anywhere in the world, utilizing the high-quality film system in place to support those productions.” Since joining Kodak in 1997, Richter has worked solely in the Entertainment Imaging division, fulfilling roles on an international scale. His responsibilities have ranged from managing the business unit’s initiatives for students, film schools and emerging filmmakers in Germany, to general management of Kodak’s Cinelabs in Dubai and Bulgaria. After developing broad international sales experience over several years, he became an integral part of Kodak’s product development and innovation advocacy teams, working with R&D scientists to drive product quality and growth. His business acumen includes a skill set for overseeing people, projects, products and industry partnerships. Richter is currently the business manager for Europe, the Middle East and Africa, a title he’ll maintain as he embarks on his new responsibilities. Previously, he was the Business Development Manager for Western Europe. “I want to make it as easy as possible for filmmakers to shoot on film, regardless of where they are shooting around the globe,” says Richter. “Filmmakers do not have to shy away from using film because of uncertainties around the availability of laboratory services. That infrastructure is in place. At the same time it will be exciting to work with the lab community, ensuring their services are well promoted within the industry.” # About Kodak’s Entertainment Imaging Business Kodak’s Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm).

Cinematographer Rachel Morrison, who photographed the Sundance Grand Jury Prize and Audience Award winner Fruitvale Station, will be presented with the Kodak Vision Award at the 2013 Women In Film (WIF) Crystal + Lucy® Awards in Los Angeles on June 12. The award is given annually to a female filmmaker with outstanding achievements in cinematography, who also collaborates with and assists women in the entertainment industry. “I am deeply humbled and incredibly honored to be chosen as this year's recipient of the Kodak Vision Award,” says Morrison. “I look at the astounding group of women who have received this honor before me, ranging from personal heroes to dear friends, and I brim with pride because all are groundbreaking, innovative, resilient, and above all, exceptionally talented. “It baffles me how women remain such a minority in an industry whose primary currency is visualizing human emotion but I am grateful for the efforts made by Women In Film to gain equal footing,” she adds. “Our voices are important and need to be heard both in front of the camera and behind the scenes as well. I truly believe it is only a matter of time before there is more equal representation and that time is very near. It is essential that we advise, assist and collaborate with each other - after all film is nothing if not a team sport. I strive to do my part as a team player and to continue to be thought provoking and evocative using the tools I know best - light and camera.” “We are honored to recognize Rachel alongside Women In Film at this prestigious event,” says Kodak’s Lorette Bayle. “This award pays tribute to her creativity as well as her resolve to succeed. We admire her passion, and willingness to assist the next generation.” Morrison has emerged as a refreshing young talent at the forefront of independent cinema, channeling each story’s core emotion into arresting imagery. Her work has a haunting quality at times and a beautiful elegance at others. She recently lensed Fruitvale Station, choosing KODAK VISION3 500T Color Negative Film 7219 to tell the story of 22-year-old Oscar Grant on the final day of 2008 and his untimely death New Year’s Day at the hands of a police officer on the Bay Area Rapid Transit (BART) station platform in the Fruitvale district of Oakland, California. The Weinstein Company will release the film theatrically on July 26. In addition to Fruitvale Station, Morrison lensed two additional Sundance premieres: Sound of My Voice and Tim and Eric’s Billion Dollar Movie. In 2012, she also saw Any Day Now win the Audience Award at the Tribeca Film Festival. In March, South by Southwest premiered her latest drama Some Girl(s), and her upcoming work includes the thriller The Harvest. Additional credits include Palo Alto, CA. After completing a master’s degree in cinematography at the American Film Institute, Morrison honed her craft lensing for television. Her work has been featured on most major TV networks including HBO, ABC, MTV, IFC, Biography, Comedy Central, E!, CBS and OWN. She received an Emmy® nomination for Showtime’s Riker’s High, a documentary about a high school within the Riker’s Island prison system. A mixture of heady and hip, Morrison uses her own life experiences to inform her cinematography. She cites an early loss as the inspiration to preserve time through frozen imagery and is grateful to have discovered a passion and talent for cinematography. Morrison is based in Los Angeles, but travels frequently around the planet to tell stories through extraordinary images. For more information, visit www.wif.org and www.kodak.com/go/motion.

ROCHESTER, NY (February 28, 2013) - John Bailey, ASC, a renowned cinematographer known for his artistic contributions to cinema, will spearhead a panel of judges for the 2013 Kodak student scholarship program. This international competition acknowledges student filmmakers who demonstrate exemplary filmmaking skills and creativity at the undergraduate and graduate levels. The deadline for entries is May 17. Accredited film schools around the world may nominate up to two students for consideration for the KODAK Student Scholarship Award, and one cinematography student for the KODAK Student Cinematography Scholarship Award. The cinematography student nominee may also be nominated for the KODAK Student Scholarship Award. Nomination forms can be downloaded at www.kodak.com/go/scholarships. Bailey has a long list of memorable feature film credits including American Gigolo, Ordinary People, The Big Chill, Silverado, The Accidental Tourist, Groundhog Day, In the Line of Fire, As Good as it Gets, Incident at Loch Ness, Brief Interviews With Hideous Men, The Greatest, Country Strong, When in Rome and most recently Big Miracle. He also blogs for the American Society of Cinematographers - John's Bailiwick - on a range of topics that affect the art and craft of filmmaking. "John's experience and mentorship skills make a huge contribution to this scholarship process," says Kodak's Johanna Gravelle. "Students from around the world will receive feedback from him to assist in their efforts to succeed in filmmaking. We are extremely grateful to John for his ongoing commitment to this program and to sharing his knowledge with the next generation." Kodak, in collaboration with the University Film & Video Foundation (UFVF), holds this annual scholarship to encourage students pursuing a career in filmmaking. As part of the competition, the judges will review sample reels, as well as evaluate the students' faculty recommendations and academic achievements. The following prizes will be awarded to the finalists and announced in August: KODAK Student Scholarship Award: * Gold: $4,000 tuition scholarship and $5,000 Kodak motion picture film grant * Silver: $3,000 tuition scholarship and $4,000 Kodak motion picture film grant * Bronze: $2,000 tuition scholarship and $3,000 Kodak motion picture film grant KODAK Student Cinematography Scholarship Award: * First Place: $3,000 tuition scholarship and $5,000 Kodak motion picture film grant * Honorable Mention: $1,500 tuition scholarship and $3,000 Kodak motion picture film grant Since 1991, Kodak has been supporting future filmmakers and encouraging excellence in the field of motion picture education. The company's ongoing efforts include a range of opportunities that students and educators can use to enrich their knowledge of the art and craft of filmmaking, including educational materials and discounts, in addition to sponsorship of film festivals, awards, seminars and student showcases that raise awareness about emerging talent. For more information, visit www.kodak.com/go/education.

The 2013 Academy Award® best picture nominees include six movies that were shot on Kodak film: Argo, Lincoln, Silver Linings Playbook, Django Unchained, Beasts of the Southern Wild, and Les Miserable. In the 84-year history of Oscar®, no Academy Award®-winning best picture has ever been made without motion picture film. "We congratulate all of the 2013 nominees for their remarkable achievements,” says Andrew Evenski, president and general manager of Kodak’s Entertainment and Commercial Films Group. “We are honored that so many talented filmmakers continue to choose Kodak technology to tell their stories and create extraordinary images.” Movies made on Kodak film received a total of 56 nominations. In the four acting categories, an overwhelming majority (16 of 20) of the nominated performances were captured on motion picture film. Additionally, three of the five nominees for best cinematography relied on Kodak film to create their compelling imagery, as did three of the five directors acknowledged in their category. Evenski also notes that Kodak is still making billions of feet of film. “Many of those reels will be loaded into cameras that are capturing movies that will contend for Academy Awards in 2014.” Kodak’s Entertainment Imaging Division is the world-class leader in providing film, digital and hybrid motion imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion.

Boxx TV’s Meridian is Behind the Scenes on Oscar®-Nominated Films LOS ANGELES, February 20, 2013 — Three of this year’s Academy Award®-nominated films chose Boxx TV’s Meridian Wireless Microwave Broadcast System for reliable, 4:2:2 uncompressed video with zero delay. The Meridian was the system of choice for Quentin Tarantino’s Django Unchained, Sam Mendes’ Skyfall and Kathryn Bigelow’s Zero Dark Thirty, capping a busy year for the company headquartered in the UK, along with its reseller Boxx Communications in Los Angeles. “We are extremely proud that our technology contributed to the amazing stories told in these Oscar®-nominated films,” says Scott Walker, co-founder of Boxx TV. “We understand that everything is important during production. Image quality, reliability, and zero delay are all crucial. The Meridian provides high-image quality consistently, and is highly reliable whether you are shooting in high-desert heat on the hunt for Bin Laden, moving through a free-wheeling Tarantino project, or following the action of a legend like Bond. Working with the production teams of these incredibly accomplished films was an honor and a great experience.” For those situations that demand high-quality, zero-delay HD and SD live transmission, the Meridian is an affordable alternative to traditional COFDM systems with unprecedented success. The Meridian system uses license-exempt channels. Django Unchained’s five Oscar® nods include Best Picture and Best Cinematography, for last year’s Oscar® winner, Robert Richardson, ASC. There were two Boxx Meridian systems and handheld receivers used during the production of the multi-nominated Tarantino project. Skyfall grabbed a total of five nominations, including one for Best Cinematography for Roger Deakins, ASC, BSC. The production used five zero-delay Meridian systems, simultaneously, in conjunction with ALEXA cameras supplied by ARRI Media UK. Also earning five Oscar® nominations, Zero Dark Thirty used three systems and handheld receivers. The film’s Oscar® nods include one for Best Picture. Their customers’ nominations come on the heels of one of the company’s busiest years on record. “It is great to be associated with Oscar®-nominated projects and we’re thrilled,” adds Mark Walker, owner of Boxx Communications. “That said, we worked on many great projects last year, from feature films, to live coverage of the Macy’s Thanksgiving Day parade, to episodic television shows such as Revenge and Modern Family; and on breaking news stories on stations such KABC,KNBC and KTLA. We are dedicated to making sure that our clients have great images, no delay, and an incomparable ease of use every time.” For more information, visit www.boxx.tv or www.boxxusa.com

Game of Thrones, Hunted, Wilfred and Great Expectations Win in TV Categories LOS ANGELES - Roger Deakins, ASC, BSC; Balazs Bolygo, HSC; Kramer Morgenthau, ASC; Florian Hoffmeister; and Bradford Lipson claimed top honors in the four competitive categories at the 27th Annual American Society of Cinematographers (ASC) Awards for Outstanding Achievement, which was held here tonight at the Grand Ballroom at Hollywood & Highland. Deakins won the ASC Award in the feature film competition for SKYFALL. Bolygo and Morgenthau tied in the one-hour television episodic category for Cinemax's HUNTED and HBO's GAME OF THRONES, respectively. Hoffmeister won the TV movie/miniseries award for PBS' GREAT EXPECTATIONS, and Lipson was the recipient of the half-hour television episodic category for FX's WILFRED. The ASC Award for best feature was presented by Emmy®-nominated actor John Slattery. Deakins, who was regrettably not able to attend, has previously won ASC Awards for THE SHAWSHANK REDEMPTION (1995) and THE MAN WHO WASN'T THERE (2002). His other ASC nominations include FARGO (1997), KUNDUN (1998), O BROTHER, WHERE ART THOU? (2001), NO COUNTRY FOR OLD MEN (2008), THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (2008), REVOLUTIONARY ROAD (2009), THE READER (2009), and TRUE GRIT (2011). He also received the organization's Lifetime Achievement Award in 2011. The other nominees in the feature film category were Seamus McGarvey, ASC, BSC (ANNA KARENINA), Danny Cohen, BSC (LES MISERABLES), Claudio Miranda, ASC (LIFE OF PI), and Janusz Kaminski (LINCOLN). Actor David Zayas, also known as Sgt. Batista on DEXTER, announced Bolygo and Morgenthau had tied for the Outstanding Achievement Award in the one-hour television category. This is the first tie in ASC Awards history. Bolygo, a first-time ASC nominee, won for the "Mort" episode of HUNTED. This is the first win for Morgenthau, who has been previously nominated for THE FIVE PEOPLE YOU MEET IN HEAVEN (2005), LIFE ON MARS (2009) and BOARDWALK EMPIRE (2011). Tonight's award is for the GAME OF THRONES episode "The North Remembers." The other nominees in the one-hour television episodic series category were Christopher Manley, ASC for AMC's MAD MEN ("The Phantom"), David Moxness, CSC for FOX's FRINGE ("Letters of Transit"), Mike Spragg for Cinemax's STRIKE BACK (Episode 11) and David Stockton, ASC for FOX's ALCATRAZ (Pilot). Oscar®-nominee Mary McDonnell presented the Television Movie/Miniseries Award to first-time ASC nominee Hoffmeister for the PBS Masterpiece presentation of GREAT EXPECTATIONS. Nominated along with Hoffmeister were Michael Goi, ASC for FX's AMERICAN HORROR STORY: ASYLUM ("I am Anne Frank: Part 2"), Arthur Reinhart for History Channel's HATFIELDS & MCCOYS, and Rogier Stoffers, ASC for HBO's HEMINGWAY & GELLHORN. TWO BROKE GIRLS' Matthew Moy presented the half-hour television category award to Lipson, who was a first-time ASC nominee for the "Truth" episode of WILFRED. Nominated alongside Lipson were Ken Glassing for FOX's BEN AND KATE ("Guitar Face"), Goi for NBC's THE NEW NORMAL ("Pilot"), Peter Levy, ASC for Showtime's HOUSE OF LIES ("Gods of Dangerous Financial Instruments"), and Michael Price for ABC's HAPPY ENDINGS ("Four Weddings and a Funeral (Minus Three Weddings and One Funeral)"). Oscar®-winner Angelina Jolie presented the ASC Lifetime Achievement Award to Dean Semler, ASC, ACS who earned an Oscar® and an ASC Award for Kevin Costner's DANCES WITH WOLVES (1991). In 2007, his work on Mel Gibson's APOCALYPTO earned him a second ASC Award nomination. Semler's nearly 70 feature credits include such memorable films as CITY SLICKERS, LAST ACTION HERO, WATERWORLD, THE BONE COLLECTOR, WE WERE SOLDIERS, XXX, BRUCE ALMIGHTY, THE ALAMO, GET SMART, 2012, DATE NIGHT, SECRETARIAT, Jolie's directorial debut IN THE LAND OF BLOOD AND HONEY, PARENTAL GUIDANCE, and the upcoming MALEFICENT. The ASC International Award was presented to Robby Müller, NSC, BVK by director Steve McQueen and actress Nastassja Kinski who worked with him on the film PARIS, TEXAS. Kinski noted, "Seeing Robby work on that film made me want to know all about the camera - how it catches light, images, and feelings. How it serves as the window to each film." Müller was unable to attend the event, and McQueen and Kinski accepted the award on his behalf. The Career Achievement in Television Award was presented to Rodney Charters, ASC, CSC (24) by Sir Robert Harvey, mayor of Waitakere City in New Zealand. The ASC Presidents Award was given to Curtis Clark, ASC (THE DRAUGHTSMAN'S CONTRACT) by Stephen Burum, ASC. Last year, Emmanuel Lubezki, ASC, AMC won the ASC feature award for THE TREE OF LIFE. The American Society of Cinematographers was chartered in January 1919. There are more than 300 active members of ASC, and 150-plus associate members from sectors of the industry that support the art and craft of filmmaking. Membership and associate membership is by invitation based on contributions that individuals have made to advance the art of visual storytelling. For additional information about the ASC, visit www.theasc.com. Join ASC on Facebook at http://www.facebook.com/The.ASC and American Cinematographer magazine fan page at # # # Media Contacts: ignite strategic communications Lisa Muldowney - 760.212.4130 / lisa@ignite.bz Sally Christgau - 415.238.2254/ sally@ignite.bz

FotoKem and SPY (a FotoKem company) combined in-house talent and key post-production services for the Sundance winning film Fruitvale, written and directed by Ryan Coogler with cinematography by Rachel Morrison. The film won the festival’s coveted Grand Jury Prize and Audience Award for a drama, and was acquired by The Weinstein Company soon after its premiere screening. Providing end-to-end services for the Super 16 mm project, FotoKem and SPY worked closely with the filmmakers from start to finish. Fruitvale was processed and transferred at FotoKem in Burbank. The files were delivered to SPY’s headquarters in San Francisco, where colorist Chris Martin color graded the film with Coogler and Morrison. The two facilities are securely connected by a high-speed network offering real-time interface capabilities between the locations to provide the creative community with easy access to the full breadth of post-production services that FotoKem and its companies offer. Fruitvale follows the final day of 22-year old Oscar Grant, who was gunned down by a police officer at the Fruitvale stop of an Oakland transit line. The tragedy was caught on video, and the incident made national headlines. The movie was shot on location in San Francisco. The Super 16 footage was then shipped to Burbank, scanned to HDCAM SR, and conformed at SPY. “When I met with Ryan and Rachel prior to production, they were committed to shooting film. They felt strongly that film would convey the emotion they wanted to draw from Oscar's character,” recalls Martin. “Our color grade supported the quality of grain and tonal palette that the Super 16 format brought to the story. Specifically, we approached the process as if we were timing in a film laboratory, avoiding the feeling of a digital grade. Building in contrast and adding weight to the mid-tones, rather than overcooking the shadows and highlights, brought a very specific emotional element to the film. The result is a feeling of intimacy that holds the personality of the film and supports Rachel’s amazing camera work. Obviously the audience at Sundance agreed!” Martin notes that Fruitvale can be divided into two worlds - the quiet intimate world of Oscar and his family, and the larger institutional world where Oscar encounters conflict. “Oscar's world tends to be defined by warmer scenes with more intimate contrast while the institutional scenes are seen with a wider lens and more mixed lighting, embracing an observational feel,” says Martin. “So while we maintained the same approach for all the scenes, there's a wonderful dichotomy between the two worlds.” “We are honored to have collaborated with the talented team behind Fruitvale. At FotoKem, we continually strive to offer independent filmmakers the workflow expertise that they need, and invest in the talent and technology to support their creative visions,” says FotoKem’s Mike Brodersen.

Films Originating on Kodak Make Big Impact at Sundance Festival Winner Fruitvale Leads an Impressive List of Films Headed to Cinemas LOS ANGELES, January 31, 2013 – The 2013 Sundance Film Festival wrapped this last weekend, with director Ryan Coogler’s Fruitvale winning the festival’s Grand Jury Prize and Audience Award for a drama. The film, which was shot on Kodak Super 16mm by cinematographer Rachel Morrison, was one of many independent movies produced on Kodak film and picked up for distribution. “We feel privileged these innovative filmmakers chose Kodak film to create their unique stories.” says Kodak’s Judith Doherty. “Film is a superb medium for a wide range of productions and budgets. The Super 16mm and 35mm in both three-perf and two-perf formats offer a range of efficient and cost-effective options for capturing maximum image information for post production. And Kodak’s new color asset protection film provides all indie producers – regardless of origination medium – a way to future proof their projects, ensuring they are compatible with whatever distribution platform they get seen on today, or decades from now. We want filmmakers to know they don’t have to compromise their vision.” Fruitvale tells the true story of Oscar Grant, the 22-year-old Bay area resident who was shot dead by a transit police officer in Oakland on New Year’s Day in 2009. It was acquired by The Weinstein Co. This is the second straight year that the film winning Sundance was shot on Kodak Super 16mm. Last year’s narrative winner Beasts of the Southern Wild also originated on the medium, and is now nominated for four Oscars®. Bradford Young captured Best Cinematography honors for his work with director David Lowery on Ain’t Them Bodies Saints. Shot on Kodak 35mm, the film follows a Texas outlaw (Casey Affleck) who escapes from prison and sets out to reunite with his wife (Rooney Mara). It was picked up by IFC Films. Additional films originating on Kodak that made an impact on buyers and audiences this year include: · Austenland from director by Jerusha Hess and cinematographer Larry Smith, BSC (Sony) · Don Jon’s Addiction from actor-director Joseph Gordon-Levitt and cinematographer Thomas Kloss (Relativity Media) · Kill Your Darlings, directed by John Krokidas and shot by Reed Morano (Sony) · Lovelace from directors Rob Epstein and Jeffrey Friedman, and cinematographer Eric Alan Edwards (RADiUS) · Mud, directed by Jeff Nichols and photographed by Adam Stone (Lionsgate/ Roadside Attractions) · Stoker from director Chan-wook Park and cinematographer Chung-hoon Chung (Fox Searchlight Pictures) · The Spectacular Now, directed by James Ponsoldt with cinematography by Jess Hall, BSC (A24) · Sweetwater from director Logan Miller and Noah Miller, and cinematographer Brad Shield (ARC Entertainment) Kodak’s Entertainment Imaging Division is the world-class leader in providing film, digital and hybrid motion imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow Kodak on Facebook (www.facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm) and YouTube (www.youtube.com/KodakShootFilm

Anna Karenina, Les Miserables, Life of Pi, Lincoln and Skyfall Earn American Society of Cinematographers Award Nominations LOS ANGELES, January 9, 2013 — Seamus McGarvey, ASC, BSC (Anna Karenina), Danny Cohen, BSC (Les Miserables), Claudio Miranda, ASC (Life of Pi), Janusz Kaminski (Lincoln) and Roger Deakins, ASC, BSC (Skyfall) have been nominated in the feature film category of the 27th Annual American Society of Cinematographers (ASC) Awards for Outstanding Achievement. The winner will be announced at the ASC Awards celebration on February 10 at the Hollywood & Highland Grand Ballroom. “The films our members have nominated are visually distinctive, and very diverse: a theatrical epic, a grand musical, an imaginative 3-D fable, a sweeping biographical drama, and a stylish spy thriller,” notes ASC President Stephen Lighthill. “What they all have in common is that each project’s cinematographer contributed captivating visuals that enhanced and elevated the storytelling.” This year’s nod brings Deakins’ total to 11. He won ASC Awards for The Shawshank Redemption (1995) and The Man Who Wasn’t There (2002). His other nominations were for Fargo (1997), Kundun (1998), O Brother, Where Art Thou? (2001), No Country for Old Men (2008), The Assassination of Jesse James by the Coward Robert Ford (2008), Revolutionary Road (2009), The Reader (2009) and True Grit (2011). He was also the recipient of the organization’s Lifetime Achievement Award in 2011. This is Kaminski’s fifth nomination. His prior nominations were for Schindler’s List (1994), Amistad (1998), Saving Private Ryan (1999) and The Diving Bell and the Butterfly (2008). Cohen, McGarvey and Miranda have all been recognized once previously – Cohen for The King’s Speech (2011); McGarvey for Atonement (2008); and Miranda for The Curious Case of Benjamin Button (2009). For more information regarding the ASC Awards, visit the ASC website at www.theasc.com, or call 323-969-4333. # About The American Society of Cinematographers The American Society of Cinematographers (ASC) is a non-profit association dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography. For additional information about the ASC, visit www.theasc.com. Join ASC on Facebook at http://www.facebook.com/The.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer.

Anna Karenina, Les Miserables, Life of Pi, Lincoln and Skyfall Earn American Society of Cinematographers Award Nominations LOS ANGELES, January 9, 2013 — Seamus McGarvey, ASC, BSC (Anna Karenina), Danny Cohen, BSC (Les Miserables), Claudio Miranda, ASC (Life of Pi), Janusz Kaminski (Lincoln) and Roger Deakins, ASC, BSC (Skyfall) have been nominated in the feature film category of the 27th Annual American Society of Cinematographers (ASC) Awards for Outstanding Achievement. The winner will be announced at the ASC Awards celebration on February 10 at the Hollywood & Highland Grand Ballroom. “The films our members have nominated are visually distinctive, and very diverse: a theatrical epic, a grand musical, an imaginative 3-D fable, a sweeping biographical drama, and a stylish spy thriller,” notes ASC President Stephen Lighthill. “What they all have in common is that each project’s cinematographer contributed captivating visuals that enhanced and elevated the storytelling.” This year’s nod brings Deakins’ total to 11. He won ASC Awards for The Shawshank Redemption (1995) and The Man Who Wasn’t There (2002). His other nominations were for Fargo (1997), Kundun (1998), O Brother, Where Art Thou? (2001), No Country for Old Men (2008), The Assassination of Jesse James by the Coward Robert Ford (2008), Revolutionary Road (2009), The Reader (2009) and True Grit (2011). He was also the recipient of the organization’s Lifetime Achievement Award in 2011. This is Kaminski’s fifth nomination. His prior nominations were for Schindler’s List (1994), Amistad (1998), Saving Private Ryan (1999) and The Diving Bell and the Butterfly (2008). Cohen, McGarvey and Miranda have all been recognized once previously – Cohen for The King’s Speech (2011); McGarvey for Atonement (2008); and Miranda for The Curious Case of Benjamin Button (2009). For more information regarding the ASC Awards, visit the ASC website at www.theasc.com, or call 323-969-4333. # About The American Society of Cinematographers The American Society of Cinematographers (ASC) is a non-profit association dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography. For additional information about the ASC, visit www.theasc.com. Join ASC on Facebook at http://www.facebook.com/The.ASC and American Cinematographer magazine fan page at http://www.facebook.com/AmericanCinematographer.

American Society of Cinematographers Names Television Nominees HOLLYWOOD, December 19, 2012 — The American Society of Cinematographers (ASC) has selected its television nominees for the organization’s 27th Awards for Outstanding Achievement in Cinematography. The winners will be announced on February 10, 2013, at the Hollywood & Highland Grand Ballroom. Nominees in the one-hour Episodic Television Series Category are: Balazs Bolygo, HSC for Cinemax’s Hunted (“Mort”) Chris Manley, ASC for AMC’s Mad Men (“The Phantom”) Kramer Morgenthau, ASC for HBO’s Game of Thrones (“The North Remembers”) David Moxness, CSC, ASC for FOX’s Fringe (“Letters of Transit”) Mike Spragg for Cinemax’s Strike Back (Episode 11) David Stockton, ASC for FOX’s Alcatraz (Pilot) The finalists in the Television Movie/Miniseries category are: Michael Goi, ASC for FX’s American Horror Story: Asylum (“I am Anne Frank: Part 2”) Florian Hoffmeister for the PBS Masterpiece presentation of Great Expectations Arthur Reinhart for History Channel’s Hatfields & McCoys Rogier Stoffers, ASC for HBO’s Hemingway & Gellhorn Rounding out the third category are nominees for a half-hour Episodic Series, including: Ken Glassing for FOX’s Ben and Kate (“Guitar Face”) Michael Goi, ASC for NBC’s The New Normal (“Pilot”) Peter Levy, ASC for Showtime’s House of Lies (“Gods of Dangerous Financial Instruments”) Bradford Lipson for FX’s Wilfred (“Truth”) Michael Price for ABC’s Happy Endings (“Four Weddings and a Funeral (Minus Three Weddings and One Funeral)) “Creating the mood, composing the lighting, and constructing camera angles on a television production schedule to elicit just the right emotions for a scene presents many challenges,” says ASC President Stephen Lighthill. “These artists have shown imaginative creativity in crafting the appropriate visuals on a broadcast timeline.” Moxness and Stockton have previously won ASC Awards. Moxness took home the award for Smallville (2007), and earned an additional nomination for The Kennedys (2012). Stockton earned his ASC trophy for Eleventh Hour (2009), as well as nominations for Nikita (2011) and Chase (2012). Goi’s double recognition makes these his third and fourth nominations. He was previously acknowledged for The Fixer (1999) and Judas (2005). These are the fourth ASC nominations for both Manley and Morgenthau. Manley earned kudos for Threat Matrix (2004), CSI: NY (2005) and Mad Men (2011). Morgenthau received nominations for The Five People You Meet in Heaven (2005), Life on Mars (2009) and Family Limitation (2011). Levy has two prior nominations for photographing 24 (2002) and The Life and Death of Peter Sellers (2005). Price was a nominee for Ugly Betty (2010). Bolygo, Spragg, Hoffmeister, Reinhart, Stoffers, Glassing and Lipson are all first time nominees. FOX programs led the pack with three nominations, followed by FX, HBO and Cinemax with two. Showtime, AMC, ABC, NBC, PBS and History Channel are also represented. “There is an incredible amount of outstanding work being done for television, which is seeing a resurgence in compelling story-telling thanks to a wider landscape for distribution,” adds Lighthill. "It’s exciting to see what’s being done in the field. Audiences have a plethora of options now and these cinematographers have demonstrated superior skills in visual entertainment.” For information regarding the 27th ASC Awards for Outstanding Achievement in Cinematography visit <a href="http://www.theasc.com/">www.theasc.com or call 323-969-4333.

ROCHESTER, NY (December 12, 2012) – Kodak is making its KODAK VISION3 50D Color Negative Film 7203 available in the Super 8 mm format. This fine-grained, daylight-balanced stock will be available in January 2013, giving filmmakers more options and flexibility for shooting on location. KODAK VISION3 50D film was introduced last year in the 35mm and 16mm formats. It is a low-speed color negative optimized for capturing images in natural or simulated daylight conditions. The VISION3 Film imaging technology incorporated into the stock makes it the world’s finest grain negative with extended highlight latitude – as much as two stops of additional overexposure – as well as better signal-to-noise performance, especially in over- and under-exposure. It also offers improved color consistency over the entire exposure range. These features provide filmmakers with the ability to shoot challenging high-contrast exteriors, and follow the action into bright highlight scenes without loss of image discrimination. “There are a wide range of Super 8 users around the globe, and this gives them another stock for their toolbox,” says Kodak’s Mike Ryan, director of film technology for the Entertainment Imaging Division. “Now filmmakers turning to the small gauge format can take advantage of the finest grain motion picture technology on the market to craft the distinctive look they desire from a film captured image.” The ability to render images full of color and detail over an extended exposure range through more efficient light utilization also produces cleaner film-to-digital transfers, bringing benefits to the post production process. This enables digital dodging and burning in post to bring out highlight detail and the extraction of additional information from the shadows. With this addition to the Kodak Super 8 film portfolio, filmmakers can choose from three color negatives ranging in speeds from EI 50 to 500, or the KODAK TRI-X Black & White Reversal Film 7266. For more information, visit www.kodak.com/go/motion. Follow Kodak on Facebook (www.facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm) and YouTube (www.youtube.com/KodakShootFilm).

BYDGOSZCZ, Poland (November 19, 2012) – Kodak is hosting a discussion with cinematographer Mihai Malaimare Jr. at Plus Camerimage, the international film festival of the art of cinematography, on November 28 at 15:30 (3:30pm) at the Opera Nova, first floor seminar room. Festival attendees will hear first-hand why Malaimare and director Paul Thomas Anderson chose to shoot 85% of the critically-acclaimed movie on the 65mm film format and project it on 70mm in select theaters. Immediately following the conversation, Kodak will showcase their new Asset Protection Film portfolio, which includes two color and one black-and-white separation film optimized for recording images from the digital workflow back to film. As the only proven archival medium, Kodak has responded to customers’ needs by developing innovative options for independent filmmakers, broadcasters, documentarians, as well as studios, to preserve their assets for decades. KODAK Color Asset Protection Film 2332 is optimized for content owners who originate or finish their productions on digital formats and want to protect their valuable media for the future. The brand-new KODAK VISION3 Digital Separation Film 2237 is an archival stock for preserving images from color digital masters and is optimized for laser, CRT and LED light sources utilized by digital recorders in the marketplace. Paul Collard from London-based Deluxe 142 will also join Kodak to share his thoughts on the importance of archiving on film, based his experience with many restoration projects over the years. “Kodak has participated and supported the Plus Camerimage festival since its inception in 1993 because of the unique global forum it provides filmmakers to discuss issues and share ideas,” says Kodak’s Kai Langner, Regional Sales Director and Vice President for the Entertainment Imaging division in Europe, Africa and the Middle East. “The festival draws a large number of cinematographers and students from all over the world, which gives us a great opportunity to show them how committed we are to innovating motion picture technology. We are proud to be part of the 20 year history of the festival, and look forward to many more.” For updates on what is happening at the festival, follow Kodak on Facebook and Twitter. For more information about the festival, visit http://www.pluscamerimage.pl, and for more information about Kodak visit www.kodak.com/go/motion.