Sue Smith

LOS ANGELES, November 14, 2012 — The American Society of Cinematographers (ASC) is accepting submissions for their annual television competition. Directors of photography can enter in three categories: (1) An episode of a regular half-hour series (2) An episode of a regular hour-long series, and (3) A movie or miniseries made for television. The deadline for entries is noon (PDT) on December 3. Finalists will contend for top honors during the 27th ASC Outstanding Achievement Awards at the Hollywood & Highland Grand Ballroom on February 10, 2013. To qualify, shows must have premiere broadcast dates in the United States between December 1, 2011 and November 30, 2012. Entry forms can be downloaded from the ASC website. “The television awards celebrate the visual achievements of cinematographers who create captivating images for serialized stories under tremendous time and budget pressures,” says ASC President Stephen Lighthill. “Our goal is to showcase some of the best work being produced in these demanding categories.” Last year’s ASC Award recipients in the TV categories were Jonathan Freeman, ASC earned top honors in the one-hour television episodic category for HBO’s BOARDWALK EMPIRE. Michael Weaver, ASC was the inaugural recipient of the half-hour television episodic category for Showtime’s CALIFORNICATION, and Martin Ruhe won the TV movie/miniseries award for PBS’ PAGE EIGHT. The ASC 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 http://www.facebook.com/AmericanCinematographer.

Evenski Takes the Reins of Kodak’s Entertainment Imaging Division ROCHESTER, NY (November 13, 2012) – Eastman Kodak Company today announced that Andrew R. Evenski has been promoted to president and general manager of the company’s Entertainment Imaging division, effective immediately. The appointment of Evenski represents Kodak’s ongoing focus on its motion picture film business, which is an important element of the company’s successful re-emergence plan. Kodak remains the world’s leading innovator of film-based technology and film sales. “It is a privilege to lead Kodak’s motion picture division at this time,” says Evenski. “We certainly see a future for film, and are dedicated to shaping it. The landscape for image capture and display has changed in recent years, but Kodak is committed to giving artists a choice when deciding which tools will best illuminate their stories.” Evenski has a deep history across Kodak’s various businesses, with many years dedicated to the company’s silver halide portfolio, including a key leadership position within the Entertainment Imaging division. Most recently, Evenski was vice president of Kodak’s Corporate Finance Group supporting Consumer and Commercial Digital Imaging where he was responsible for the divisions’ worldwide financial operations. Prior to that, he oversaw corporate finance for the Film, Photofinishing, and Entertainment Group, where his responsibilities included worldwide financial operations for all film and paper-based products within Eastman Kodak Company. Evenski will report to Brad Kruchten, president of Graphics, Entertainment & Commercial Films (GECF), and senior vice president of Eastman Kodak Company. “Andy’s background in international business, manufacturing and operations makes him the right leader at this time of tremendous opportunity,” says Kruchten. “His experience at Kodak will allow him to hit the ground running. So much of the history of Hollywood and its movies is recorded on Kodak film. Under Andy’s leadership, we expect that to continue well into the future.” In his new role, Evenski is also responsible for film manufacturing operations, giving him the opportunity to streamline and create efficiencies across the board. Evenski will work out of both the Rochester and Hollywood Kodak offices. “After more than 30 years with Kodak, I’ve been fortunate to spend a large percentage of my career working with film,” adds Evenski. “Stepping into this role, I truly feel privileged to help serve a customer base with such sophisticated artistry. While there has been a tremendous amount of change in the imaging marketplace – across all business segments – Kodak’s premier technologies are seen today on screens around the globe, as well as in vaults preserving those stories for future generations. I look forward to continuing the long tradition of providing our entertainment customers with the products and support they deserve.” # About Kodak’s Entertainment Imaging Division Kodak’s Entertainment Imaging Division is the world-class leader in providing film, digital and hybrid motion imaging products, services and technology for the entertainment industry. For more information, visit <a href="http://www.kodak.com...com/go/motion">www.kodak.com/go/motion. Follow Kodak on Facebook (www.facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm) and YouTube (www.youtube.com/KodakShootFilm).

American Society of Cinematographers to Honor Dean Semler with Lifetime Achievement Award; Rodney Charters, Robby Müller and Curtis Clark Will Also Receive Tributes LOS ANGELES (November 2, 2012) – Dean Semler ASC, ACS; Rodney Charters, ASC, CSC; Robby Müller, NSC, BVK; and Curtis Clark, ASC will be honored by their peers during the 27th Annual American Society of Cinematographers (ASC) Outstanding Achievement Awards to be held February 10 at the Hollywood & Highland Grand Ballroom. Semler will receive the 2012 ASC Lifetime Achievement Award; Müller will be presented with the International Achievement Award; Charters gets the Career Achievement in Television Award; and Clark collects the President’s Award. “We are thrilled to be honoring this extraordinary group of artists,” says ASC President Stephen Lighthill. “Each of these individuals has made an indelible impact on our profession, and the industry as a whole.” Semler earned his first narrative credit for Let the Balloon Go in 1976. He went on to earn critical praise for his innovative camerawork on a string of successful 1980s films, including Mad Max 2: The Road Warrior, Mad Max Beyond Thunderdome, The Lighthorsemen, Cocktail, Young Guns and Dead Calm. In 1984, Semler won an Australian Film Institute Award for Russell Mulcahy’s thriller Razorback. Semler went on to earn an Oscar® and an ASC Award in 1991 for his magnificent imagery in Kevin Costner’s directorial debut Dances With Wolves. In 2007, his work on Mel Gibson’s Apocalypto earned him a second ASC Award nomination. Semler is a Member in the General Division of the Order of Australia, appointed by Her Majesty Queen Elizabeth II for services to the arts, an honor bestowed upon him by his fellow countrymen. The sought-after cinematographer has collaborated with such seminal directors as George Miller, Peter Segal, Randall Wallace, Roland Emmerich, Tom Shadyac, and Phillip Noyce, among others. 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, Angelina Jolie’s directorial debut In the Land of Blood Honey, and the upcoming Parental Guidance and Maleficent. “Dean’s creative prowess is seemingly limitless,” says ASC Awards Committee Chairman Daryn Okada. “His long list of impressive credits has defined a generation of cinema. Dean is consistently innovative, and is always outdoing himself from film to film. While we recognize his tremendous contribution to our art form, we will keep an eye on the future and highly anticipate what he will create next.” Müller is a native of Holland, and spent five years as assistant to Dutch cinematographer Gerard Vandenberg. His collaborations with Wim Wenders began in 1969 when they made the short Alabama: 2000 Light Years From Home. The two went on to create such classics as Summer in the City, The Scarlet Letter, Falsche Bewegung, Kings of the Road, Alice in the Cities, The American Friend, Until the End of the World and the 1994 Palme d‘Or winner Paris, Texas. Müller has earned Independent Spirit Award nominations for Best Cinematography on Down By Law (1986), Barfly (1987), Mystery Train (1989), and Dead Man (1997).The list of Müller’s seminal credits is long and includes Lars von Trier’s Dancer in the Dark and Breaking the Waves, Alex Cox’s Repo Man, William Friedkin’s To Live and Die in L.A., and Jim Jarmusch’s Ghost Dog: The Way of the Samurai. Charters is a graduate of the Royal College of Art in London. He began his career primarily working on documentaries. He spent 15 years traveling the world -- shooting in locations such as the jungles of South America and in the Soviet Union during the Cold War. Charters eventually segued into the narrative world, shooting features and television. The New Zealand native earned a Gemini Award nomination for his work on the telefilm TekWar in1994, and grabbed two Emmy® nominations for his work on the acclaimed FOX series 24 in 2005 and 2006. Charters has brought his talent to the sets of such notable series as Nash Bridges, The Commish, M.A.N.T.I.S, The Pretender, Roswell, Shameless, Dallas (2012), and Nashville. His television movie credits include Deadly Vows, Conundrum, A Ring of Endless Light, Sounder, Pixel Perfect, A Very Married Christmas, An American Girl on the Home Front, Night Life, and Washington Field. In addition to shooting, Charters is a member of the Directors Guild of America, and has directed 11 hours of episodic TV. Clark’s feature film credits include such critically-acclaimed narrative films as The Draughtsman’s Contract, Dominick and Eugene, Alamo Bay, Extremities and Triumph of the Spirit. He has hundreds of commercial credits working with cutting-edge directors and ad agencies. Clark has served as the chairman of the ASC Technology Committee, which both investigates and influences the development of emerging technologies that impact filmmakers. Under Clark’s leadership, the ASC Technology Committee has become an important industry forum that has achieved a series of notable successes including its collaborative work with the Digital Cinema Initiatives, LLC (DCI) to produce standardized evaluation motion picture content for assessing the performance of DCI standards-based digital cinema systems. The Committee has also developed a groundbreaking cross platform data exchange for primary RGB digital color grading referred to as the ASC CDL (Color Decision List). The acceptance and implementation of the ASC CDL by the industry has been widespread, and it’s been recognized with a 2012 Primetime Emmy® Engineering Award. For information regarding the 27th ASC Outstanding Achievement Awards visit www.theasc.com or call 323-969-4333. # About The American Society of Cinematographers The American Society of Cinematographers (ASC) is a nonprofit organization 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. (Oscar and Academy Award are registered trademarks of the Academy of Motion Picture Arts & Sciences.) (Emmy is a registered trademark of the Academy of Television Arts & Sciences.)

Cinematographer To Give Sneak Peek into the Making of Oz: The Great and Powerful (Burbank, CA) Peter Deming, ASC, will topline a keynote discussion on November 7 at 5 p.m. at this year's Fall Entertainment Technology Expo (ETE) presented by Createasphere. ETE takes place at the Burbank Marriott and runs from November 7-8. The show offers a thriving environment for ongoing education and networking with industry professionals, content creators, technicians and solution providers who are making significant advances in entertainment technology. Deming, an award-winning cinematographer, will discuss his latest project, as well as look back at his diverse experiences that have put him on the cutting-edge of creating visuals for horror, comedy and drama. Deming recently completed cinematography duties on the highly anticipated Oz: The Great and Powerful, directed by Sam Raimi and slated for U.S. release in early 2013 by Walt Disney Studios. It was the cult classic Evil Dead II with Raimi that shot Deming's career into high gear. He went on to receive the Sundance Cinematography Award for his work on House Party, and a Spirit Award for David Lynch's dramatic thriller Mulholland Dr., among other critical acclaim. From comedy to horror and art house to mainstream, Deming's diverse and impressive credits include My Cousin Vinny; Lost Highway; Austin Powers: International Man of Mystery and Austin Powers in Goldmember; Mystery, Alaska; From Hell; The Jacket; Music of the Heart, Last Night, I Heart Huckabees; Drag Me to Hell; and Cabin in the Woods, in addition to many commercials. The session is preceded by two previously announced keynotes. Fourth Wall, the Emmy®-winning pioneers of the multi-screen entertainment experience, will debut a new transmedia show at 1:30 p.m. Company executives will discuss and demonstrate the ways their studio is utilizing leading-edge technology to broaden the storytelling landscape across multiple screens and devices. Their panel will culminate in a showcase premiere of an exciting new offering that exemplifies the power of Fourth Wall Studios' engaging entertainment capabilities. The Society of Camera Operators (SOC) returns for its perennially popular "How'd You Get That Shot@?!", where operators reveal the intricacies of how they actually captured amazing, compelling shots from a variety of well-known projects. SOC then takes their panel to Gear Alley, for a Shoulder-to-Shoulder touch-and-see breakdown of the tools that helped them get difficult yet visually unique scenes. ETE is also debuting the Digital Process Workflow (DPW) Lab at the Expo, a working cloud-based lab demonstration in real time that brings experts and end-users together in an informative, hands-on environment, explaining the lifecycle of an asset and what happens at each step of workflow. Participating companies include Dell, Technicolor, ARRI, Codex, Signiant, Adobe, FilmLight, 5th Kind, Levels Beyond and Quantum. A high-caliber roster of speakers, intensives, hands-on equipment opportunities, and networking abound at this year's Entertainment Technology Expo. There is no charge for this event. Register to attend here: https://www.speedbadge.com/sreg2.php?s=hdb&clear=1 About Createasphere Createasphere is the premier business development partner for technology enabled entertainment, marketing, and communications organizations. We advance careers and technologies by connecting world-class professionals globally online and in person. Createasphere was founded in 2001, and over the past decade has grown into a global company that in 2011 produced seventeen events over three continents as well as five websites. Createasphere became part of Diversified Business Communications in 2008, and now drives their entertainment, media, technology strategies and properties division. Currently, Createasphere produces the Entertainment Technology Expos in Los Angeles; the Digital Asset Management Conference in New York, Los Angeles, and Europe; The DAMMY Awards in New York; the Executive Marketplaces for Houses of Worship in Los Angeles and Chicago; Post Production Master Classes in New York and Los Angeles, the Digital Process Workflow Lab and the online news and content portals ProVideoCoalition.com, DamCoalition.com and ProPhotoCoalition.com. Connect with Createasphere on: Facebook (http://www.facebook.com/pages/createasphere/120410987973181) Twitter (https://twitter.com/createasphere) LinkedIn (http://www.linkedin.com/company/createasphere) Vimeo (http://vimeo.com/createasphere) Flickr (http://www.flickr.com/search/?q=createasphere&f=hp) # # # Media Contact: Chris Purse, 818.303.8088 ignite strategic communications chris@ignite.bz or mimi@ignite.bz

ROCHESTER, NY (October 23, 2012) – Kodak has added another product to its portfolio of asset protection films. KODAK VISION3 Digital Separation Film 2237 is a black-and-white separation film for preserving images from color digital masters. This archival film is optimized for laser, CRT and LED light sources utilized by digital recorders in the marketplace. Providing exceptional image quality including fine detail, tight grain, optimal resolution, and excellent flare characteristics, KODAK VISION3 2237 Film is offered on an ESTAR base for premier physical performance and long-term stability that lasts centuries in recommended conditions. “This film is designed to create archival elements from digital image files that maintain the integrity of the original content with extraordinary precision,” says Diane Carroll-Yacoby, product manager for Kodak’s Entertainment Imaging Division. “The improvements we have introduced into this stock are based on our deep knowledge of image science, film design, digital recorders, and production workflow from our research and development over the past few decades. Kodak scientists continue to push the boundaries of film technology, and uncover ways to optimize the extraordinary characteristics of film for today’s digital post production workflows.” KODAK VISION3 Digital Separation Film 2237 builds upon the enhancements incorporated in KODAK VISION3 Color Digital Intermediate Film 2254, which is used as a digital master for generating high-quality release prints with greater efficiency and image quality. The new 2237 Film has improved spectral sensitivity for digital-to-film transfers and optimized latent image keeping, which offers efficiencies for service providers that in the past had to “cure” rolls before processing. The film can be processed in either D-96 or D-97 chemistry, which are standard black-and-white processes in the industry. “Digital technology is evolving, making obsolescence a dire concern for content owners,” adds Carroll-Yacoby. “There is no other proven archival medium than film, and we will continue to provide the options that the industry needs to preserve their assets.” Kodak recently introduced KODAK Color Asset Protection Film 2332, an affordable color film option designed for content owners working on television programs, independent features and documentaries to assure long-term access and preservation of their assets. All the products in Kodak’s portfolio of asset protection films offer maximum dye stability at various price points for budgets ranging from large to small. For more information or technical data on this stock or any of Kodak’s asset protection films, contact your local Kodak representative or visit www.kodak.com/go/archive.

LOS ANGELES (October 19, 2012) – The 2012 Kodak Educational Award will be presented to Professor William McDonald of the University of California, Los Angeles (UCLA), at the Society of Motion Picture and Television Engineer’s (SMPTE) Honors and Awards Ceremony during the SMPTE 2012 Annual Technical Conference and Exhibition in Hollywood. McDonald, a cinematographer and filmmaker himself, is being recognized for his dedication to educate the next generation of filmmakers in the art and craft of cinematography throughout his professional career. The presentation takes place on October 25 at the Loews Hollywood Hotel. “I take pride in the art and craft of what I do and teach,” says McDonald. “It is tremendously important to the field of cinematography that new filmmakers are fully aware of the artists who came before them, and the attention they gave to the craft of cinematography when shooting with film. New filmmakers must be taught, and must adhere completely, to all the principles of cinematography regardless of the tools being used. To do so ultimately strengthens the very foundation of what we do as filmmakers.” As Chair of the of Film, Television and Digital Media Department at UCLA School of Theater, Film and Television, McDonald has advocated for the best production and post-production resources for the college’s film students. He tirelessly negotiates services and alliances with companies and organizations in the industry to assist the next generation of storytellers as they learn how to create and succeed in the entertainment business. Additionally, McDonald has fostered the UCLA Cinematographer in Residence Program, also sponsored by Kodak, where an award-winning professional cinematographer teaches a spring course and hosts movie screenings followed by discussions. “McDonald’s accomplishments are truly admirable and his efforts deserve to be recognized,” says Kim Snyder, president of Kodak’s Entertainment Imaging Division. “The next generation of filmmakers are benefitting greatly from his ongoing dedication to both the aesthetic and technical principles of cinematography.” Past recipients of the Kodak Educational Award include Linda Brown, an associate professor at USC’s School of Cinematic Arts, and Stephen Lighthill, ASC, Senior Filmmaker-in-Residence: Cinematography at AFI. SMPTE 2012 is the premier annual event for motion-imaging professionals in the media, entertainment, communications, and technology industries. As an accredited industry standards-setting body, The Society is also the industry's leading nonprofit association providing technology education and information to the motion imaging industry. 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.

LOS ANGELES, Oct. 18, 2012—Boxx Communications will bring Boxx TV’s latest technologies to the SMPTE 2012 Annual Technical Conference and Exhibition next week in Hollywood. Boxx Communications (Booth #416) will be showing the Meridian product line, as well as giving conference goers a sneak peak at the prototype h.264 HD system that is covering a distance of three miles. SMPTE 2012, considered the premier annual event for motion-imaging professionals in the media, entertainment, communications and technology industries, will be held at the Loews Hollywood Hotel (formerly the Renaissance Hollywood) from October 23-25. The Boxx TV Meridian is used on a wide variety of projects including the upcoming James Bond film Skyfall; episodic television shows like Revenge, Body of Proof and the Emmy® Award-winning Modern Family; and on breaking news stories on stations such KABC, KNBC and KTLA. “Boxx TV is thoroughly focused on evolving and innovating our product line,” notes Boxx Communications Founder Mark Walker. “We are constantly in the field, working events in venues, on sets, and in broadcast trucks and control rooms. We derive significant understanding from that kind of real-world, hands-on experience. We get it, and understand what our customers have to accomplish, and that drives us to continually improve our products. What Boxx TV offers is an incredible option for the industry in terms of functionality and affordability.” For those situations that demand high-quality, zero-delay HD and SD live transmission, Boxx TV’s Meridian Wireless Microwave Broadcast System is an affordable alternative to traditional COFDM systems with unprecedented success. The Meridian system uses license-exempt channels, and offers secure encrypted transmissions. It can be used for a variety of applications including large screen presentations, award ceremonies, and live broadcast events. Boxx Meridian supports full 4:2:2 video including 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. SMPTE 2012 attendees will also get a look at the recently released Meridian Tallis, an iris control and tally indicator accessory for two cameras. The Tallis provides tally and iris only control, and complements any brand of broadcast camera. The product is small enough to mount on any camera and the control knob gives accurate iris control. For a price around $4,000.00 for two channels controlling two cameras, the Tallis opens up a solution for productions where only iris control and tally indication is sufficient. For more information about Boxx Communications, visit www.boxxusa.com or call 310.287.1285. # 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 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.

Kodak has partnered with the Hamptons International Film Festival to present a Cinematography Master Class starring Academy Award® Winner Robert Elswit, ASC. Moderated by Time Out New York’s Film Critic David Frear, the seminar takes place on Saturday, October 6, at 11:30 a.m. at the UA East Hampton Theater 6. The hour-long discussion will feature selected clips from Elswit’s prolific body of work, an insightful look at his techniques and creative approaches to moviemaking, as well as an in-depth discussion about his experiences from the set. Attendees will learn about his stylized approach to lighting and composition, and acquire trade secrets from one of today’s leading cinematographers. Elswit won the cinematography Oscar® for his work on There Will Be Blood. He was also nominated by the Academy for Good Night, and Good Luck, for which he took home the Independent Spirit Award for Best Cinematography. Elswit studied filmmaking at the University of Southern California (USC) and American Film Institute (AFI). He began his career working as an optical effects cameraman at ILM. Elswit’s credits include The Bourne Legacy, Mission: Impossible-Ghost Protocol, The Town, Salt, Men Who Stare at Goats, Duplicity, Michael Clayton, Syriana, Runaway Jury, Punch-Drunk Love, Magnolia, 8MM, Tomorrow Never Dies, Boogie Nights, and The Hand That Rocks the Cradle, among many others. “Robert Elswit’s contributions to visual storytelling have made an indelible impact on cinema,” says Kodak’s Judy Doherty, marketing director for the Entertainment Imaging Division. “We are fortunate to have this opportunity to hear about his creative philosophies, learn some practical production solutions, and ask questions about the collaborative process of filmmaking.” The Kodak Cinematography Master Class is a free, ticketed event. Badge holders may access the class without a ticket. Complimentary tickets are available to the general public at the HIFF Box Office. For more information, visit the HIFF website at http://hamptonsfilmfest.org/.

FotoKem provided all the large format and finishing services for Paul Thomas Anderson’s lauded film, The Master, which opened nationally on September 21. One of the most anticipated dramatic features of 2012, The Master has received critical acclaim and film festival honors, including a Silver Lion at the recent Venice Film Festival, and broke a box office record for per-theater-average its first weekend in limited release. Produced by Annapurna Pictures, the film is being distributed by The Weinstein Company. FotoKem was an important collaborator on the project from the beginning, devising a hybrid workflow necessitated by the mix of 35mm and 65mm film origination. As Anderson increasingly relied on 65mm to tell the story of a lost soul (Joaquin Phoenix) attracted to a charismatic leader (Philip Seymour Hoffman), FotoKem became more involved in the completion of the film. The 65mm component of the movie eventually grew to nearly 75% of the final cut. In addition to processing all the 65mm negative, FotoKem devised a seamless workflow for creating 35mm reduction work print dailies from the 65mm negative, completing the final color grade for the film, and producing digital cinema deliverables. FotoKem also created a small number of 70mm prints for those theaters capable of projecting the large format. Over the course of the project, FotoKem worked directly with Anderson to ensure his vision was served, and that his goals were thoroughly supported at the facility. “This collaboration was an amazing experience that allowed us to work with an artist of Paul’s caliber, and to build a positive working relationship with one of the most talented directors of this generation,” says FotoKem’s Andrew Oran, VP of large format and restoration services. “We did a lot of testing at every step of the way to make sure that each frame of film was exactly as Paul wanted it, and that our approach for handling each format – 65mm, 35mm and ultimately digital as well – achieved Paul’s distinctive vision for the film.” The Master was a cut negative project in both 65mm and 35mm formats. Oran explains, “We assembled and answer printed the 35mm scenes, and then optically blew them up to 65mm duplicate negative for inclusion in a complete 65mm negative cut of the film, from which 70mm release prints were produced. That same 35mm original negative was cut into a 35mm reduction negative of the movie which was produced from the 65mm material, making it possible to produce release prints in each format from original negative.” Dan Muscarella, FotoKem’s senior color timer, worked closely with Anderson to ensure all deliverables matched, regardless of final or source format. “This was a highly collaborative and subjective process,” adds Oran. “Dan’s deep experience timing film elements was critically important to Paul.” Oran notes that Anderson has brought an entirely new and important aesthetic to 65mm filmmaking. “In The Master, Paul Thomas Anderson has shown eloquently that 65mm works incredibly well for an intimate, character-driven film, not just those with epic backdrops. He recognizes the emotional power and depth of the large format, and delved into it in a way that is very rarely done. In so doing, he has advanced the power and beauty of 70mm storytelling and elevated moviemaking to exciting new heights.”

Kodak Introduces Cost-Effective, Asset Protection Film Stock Offers Content Owners an Affordable New Option on the Only Proven Archival Medium ROCHESTER, NY (August 23, 2012) – In response to the overwhelming industry concern about preserving today’s motion picture and television content long into the future, Kodak has developed an affordable, innovative color film specifically designed for asset protection. The new 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 stock offers over a century of dye stability when stored in recommended environments and Kodak’s proprietary ESTAR base guarantees high-quality physical performance. “File-based projects often end up stored on tapes or drives, which need to be continually re-mastered or migrated, and run the risk of format obsolescence,” says Kodak’s Kim Snyder, president of Kodak’s Entertainment Imaging Division. “Our goal was to create an affordable film option designed for content owners working on television programs, independent features and documentaries to assure long-term access and preservation of their valuable content.” KODAK Color Asset Protection Film 2332 is designed for exposure on digital film recorders and processed in standard ECP-2D chemistry. The product is built on current KODAK VISION Color Print Film 2383 technology with formulation changes incorporated to improve long term dye stability. This new film, along with KODAK VISION3 Color Digital Intermediate Film 2254 (which has been available as part of the company’s portfolio since 2010), boast ultra-stable dyes. When Kodak scientists performed tests on the new film, the results indicated dye stability of over a century when stored under recommended conditions, and decades-long performance even in ambient environments. Additional features include improved speed for ease of use on film recorders, and consistent image structure with equivalent sharpness and grain to the 2383 print film. “The industry acknowledges the need for a long-term strategy. The Digital Dilemma reports published by the Science and Technical Council of the Academy of Motion Picture Arts and Sciences have carefully outlined the risks of digital storage,” adds Snyder. “Film is still the one true archival medium, and this new, economical option provides a long-term solution for a variety of content owners.” Kodak plans to add a black-and-white separation film to their asset protection portfolio later this year, which will join 2332 and 2254 to create a robust platform of archiving options for content owners. KODAK Color Asset Protection Film 2332 is now available in the 35mm format. For more information, technical data on the stock, or to place an order, contact your local Kodak representative or visit www.kodak.com/go/archive. # About Kodak’s Entertainment Imaging Division Kodak’s Entertainment Imaging Division is the world-class leader in providing film, digital and hybrid motion imaging products, services and technology for the entertainment industry. 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).

Creative collaborations, working in small spaces, workflow, directing, inspiration, and advice for aspiring cinematographers are just a few of the topics Michael Slovis, ASC covers in Kodak's Ask A Filmmaker series. The answers have been posted at: http://motion.kodak.com/motion/About/The_Storyboard/4294969907/index.htm

Keep Me Posted (KMP), a FotoKem company, has appointed veteran VFX Supervisor Peter Vazquez to spearhead the expansion of the company’s visual effects services. Vazquez’s extensive experience in visual effects cinematography and supervision includes work for television, commercials, features, main titles and themed entertainment. In his new role, Vazquez will oversee the VFX pipeline and deliverables, extending KMP’s one-stop shop services. Vazquez will utilize FotoKem’s multifaceted infrastructure to provide comprehensive services via the company’s network, linking its family of subsidiaries that includes Margarita Mix, SPY, and LA Studios. KMP’s Senior Vice President and General Manager Andrew Hanges explains, “It became apparent to us as we worked on a number of high-profile shows over the past television season that there was a clear need to streamline the VFX process for our customers. We are thrilled to have Peter join our team, and effectively integrate quality effects as part of our service pipeline. He is an extremely talented, proficient and distinguished visual effects expert poised to lead our growth in this area.” Vazquez has earned credits as a visual effects supervisor and cinematographer. Since 2007, he has worked on such television series as Eli Stone, Grey’s Anatomy and Las Vegas, and created main titles for Dancing with the Stars and The Bold and the Beautiful. Previously, he spent over a dozen years as a VFX supervisor at Stargate Studios, in addition to shooting visual effects, miniatures, models, blue/green screen and motion control. His visual effects cinematography credits include CSI: Crime Scene Investigation and CSI: Miami, for which he was part of the team that created the point-of-view shots that take audiences into the bodies of cadavers. Vazquez says, “I look forward to building a strong pipeline for episodic VFX at KMP. It’s a great facility with an outstanding roster of shows and in-house talent. The plans we are putting into place will make the facility an even more powerful option for producers and creatives. Now, we can take a project from script breakdown and pre-production to post and finishing with the most efficient turnaround, and deliver a high quality product.” In addition to his expertise as a VFX supervisor, Vazquez is a member of the International Cinematographers Guild (ICG) with hands-on production knowledge encompassing every camera currently on the market, an important asset in the ongoing evolution of production, visual effects and post. KMP’s Senior Vice President Tim Kelly adds, “At KMP, we believe that our customers will benefit from a true end-to-end process. Peter Vazquez’s experience as an accomplished cinematographer and highly knowledgeable VFX supervisor is crucial for today’s digital workflows. His skillset elevates our capabilities and we are delighted to have him on board.”

ASC Announces Winners of Student Heritage Awards HOLLYWOOD, June 18, 2012 – The American Society of Cinematographers (ASC) has chosen three winners for this year’s ASC Andrew Laszlo Student Heritage Awards. The students reign from the USC School of Cinematic Arts, Art Center College of Design and Northwestern University. A ceremony announcing the winners in each category was held at the ASC Clubhouse on June 16. 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: "Josephine and the Roach" by Damian Horan, University of Southern California School of Cinematic Arts HONORABLE MENTION: "Narcocorrido" by Benjamin Kitchens, American Film Institute HONORABLE MENTION: "The Bullet Catcher" by John Walstad MacDonald, Chapman University, Dodge College of Film and Media Arts Undergraduate WINNER: "Aexis" by H.R. McDonald, Art Center College of Design HONORABLE MENTION: "The Drop" by Nicholas Wiesnet, Chapman University, Dodge College of Film and Media Arts HONORABLE MENTION: "Reclamation" by Adam Lee, Loyola Marymount University, School of Film and TV Documentary WINNER: "Language of the Unheard" by Travis LaBella, Northwestern University* (*only one nominee in category) Prior to the awards ceremony, the ASC hosted an invite-only screening of all the student films at the Clubhouse for its membership and industry supporters. Each year, the ASC Heritage Award is rededicated in memory of an individual who advanced the art and craft of cinematography. A Hungarian native, Andrew Laszlo, ASC was a talented cinematographer whose film and television career spanned 50-plus years, amassing such credits as You’re a Big Boy Now, The Night They Raided Minsky’s, The Out of Towners, The Owl and the Pussycat, The Warriors, Southern Comfort, First Blood, Streets of Fire, Innerspace, and Star Trek V: The Final Frontier. He earned Emmy® nominations for his work on Shogun and The Man Without a Country. Laszlo dedicated many years to teaching future directors of photography at workshops, seminars and schools around the world, and authored several books, including It’s A Wrap, a compilation of his experiences on movie sets around the world. 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 40-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 careers. 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. #

Director-cinematographer Wally Pfister, ASC, BSC will headline the annual Kodak Focus program at this year’s Los Angeles Film Festival. The intimate conversation will spotlight Pfister’s artistic and technical accomplishments by screening scenes from three of his films – Insomnia, Laurel Canyon and Inception. Kodak Focus takes place on June 23 at 1 p.m. at the Regal Cinemas at L.A. Live. The seminar is free with a festival ticket. Pfister won an Oscar® for his cinematography on Inception, and is currently prepping for his feature film directorial debut. His work on the highly anticipated summer movie The Dark Knight Rises hits theaters in July. Pfister’s long-time collaborations with director Christopher Nolan has garnered him an additional three Oscar nominations for The Dark Knight, The Prestige and Batman Begins. His notable film credits also include Moneyball, The Italian Job and Memento, in addition to shooting and directing many prominent commercials. “Wally Pfister’s stunning and innovative cinematography on so many iconic films thrills audiences and inspires filmmakers,” says Kodak’s Judy Doherty. “We are excited to have him share his inspirations and visionary approach to his work with LAFF filmmakers and cinephiles.” Kodak will also sponsor LAFF’s Fast Track – an intensive film financing market that connects filmmakers seeking funding with financiers, production companies and other high-level industry professionals who can provide assistance. This highly selective program is open to established as well as up-and-coming filmmakers with exceptional projects still seeking funding. Previous Fast Track projects include Amreeka, Frozen River, Kabluey, Four Sheets to the Wind, Ira and Abby and After Innocence. The LAFF festival, which runs June 14-24, 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 30 countries, along with such signature programs as Poolside Chats, Coffee Talks, music events and more. There will also be a number of free community screenings. Tickets may be requested in person only at the Festival Ticket Center or at the door while supplies last. Kodak’s Entertainment Imaging Division is the world-class leader in providing film, digital and hybrid motion imaging products, services and technology for the entertainment industry. For more information, visit www.kodak.com/go/motion, or follow Kodak on Facebook at http://www.facebook.com/KodakMotionPictureFilm. For more information on LAFF, visit www.lafilmfest.com.

Stephen Lighthill Elected President of the American Society of Cinematographers LOS ANGELES, June 6, 2012 – Stephen Lighthill has been elected to serve as president of the American Society of Cinematographers (ASC). The vote was made by the newly elected Board Of Governors who also elected ASC Officers, Vice Presidents Richard Crudo, Daryn Okada and Kees Van Oostrum; Treasurer Victor J. Kemper; Secretary Fred Goodich; and Sergeant-at-Arms Steven Fierberg. Lighthill takes over the reins from outgoing ASC President Michael Goi, who served a maximum three consecutive terms. This will be Lighthill’s first turn as ASC president. He has previously served on the organization’s Board and as sergeant-at-arms. “I am honored and humbled to be trusted by my peers to lead the ASC,” says Lighthill. “There has never been a more exciting time to tell stories visually. The creative options are abundant today. That also means it’s never been more important for us as an organization to collaborate in the diverse challenges affecting the role of the cinematographer.” Other ASC members elected to the Board of Governors include John Bailey, Stephen H. Burum, Curtis Clark, Dean Cundey, Fred Elmes, Michael Goi, Francis Kenny, Matthew Leonetti, Michael O’Shea, Robert Primes, and Owen Roizman. Alternate Board members include Ron Garcia, Karl Walter Lindenlaub, Julio Macat and Kenneth Zunder. The ASC continues its mission of inspiring the next generation of cinematographers and advancing the art of filmmaking through many industry events and initiatives, such as the ASC Student Heritage Awards, the ASC Breakfast Club seminars; panel discussions by the ASC’s Education and Outreach committee, and the org’s ongoing collaboration with the PGA on camera assessment tests. Lighthill currently is the chair of the cinematography program at American Film Institute Conservatory. He began his career shooting for San Francisco Bay area news programs, as well as national news shows such as 60 Minutes. He segued into documentary cinematography, working on many films including Gimme Shelter and Berkeley in the Sixties, which was nominated for an Academy Award® and won the Audience Award at Sundance. Lighthill’s narrative credits include such television dramas as Vietnam War Story, Earth 2, Nash Bridges, and She Spies, among many others. Lighthill’s commitment to sharing his experience and knowledge led him to become an AFI instructor, now serving as Senior Filmmaker-in-residence: Cinematography. Always active in the filmmaking community, Lighthill has long served as an officer on the National Executive Board of the International Cinematographers Guild (ICG). In 2000, he was presented with the Society of Operating Cameramen’s (SOC) President’s Award, recognizing his career achievements. In 2010, SMPTE recognized Lighthill with the Kodak Educational Award for outstanding educational contributions to the motion picture industry. 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. #

The American Society of Cinematographers (ASC) has chosen seven student filmmakers from six U.S. film schools as nominees in the 2012 ASC Andrew Laszlo Student Heritage Awards. A ceremony announcing the winners in each category will be held June 16. The awards are designed to showcase the artistic abilities of the next generation of filmmakers, with a focus on their cinematography skills. The nominees are (listed alphabetically by film title in each category): Graduate "Josephine and the Roach" by Damian Horan, University of Southern California School of Cinematic Arts "Narcocorrido" by Benjamin Kitchens, American Film Institute "The Bullet Catcher" by John Walstad MacDonald, Chapman University, Dodge College of Film and Media Arts Undergraduate "Aexis" by H.R. McDonald, Art Center College of Design "The Drop" by Nicholas Wiesnet, Chapman University, Dodge College of Film and Media Arts "Reclamation" by Adam Lee, Loyola Marymount University, School of Film and TV Documentary "Language of the Unheard" by Travis LaBella, Northwestern University* (*one nominee chosen; also winner for the category) Each year, the ASC Heritage Award is rededicated in memory of an individual who advanced the art and craft of cinematography. A Hungarian native, Andrew Laszlo, ASC was a talented cinematographer whose film and television career spanned 50-plus years, amassing such credits as You’re a Big Boy Now, The Night They Raided Minsky’s, The Out of Towners, The Owl and the Pussycat, The Warriors, Southern Comfort, First Blood, Streets of Fire, Innerspace, and Star Trek V: The Final Frontier. He earned Emmy® nominations for his work on Shogun and The Man Without a Country. Laszlo dedicated many years to teaching future directors of photography at workshops, seminars and schools around the world, and authored several books, including It’s A Wrap, a compilation of his experiences on movie sets around the world. To reach this stage, 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 40-plus entries and narrowed it to this field. That same panel will select the winners. The ASC Heritage Award was inaugurated for the purpose of encouraging filmmakers to pursue careers in cinematography. “It’s a competitive industry but these emerging talents have shown they have the vision and skillset to use lighting and composition to convey moods,” says Isidore Mankofsky, ASC, chairman of the ASC Education Committee. “We hope this recognition encourages them to follow their dreams.” Past ASC Heritage Award winners have gone on to prolific careers. 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.

Kodak Presents a Conversation with Janusz Kaminski and Phedon Papamichael at Cine Gear Expo LOS ANGELES, May 24, 2012 — Kodak will present a conversation with Janusz Kaminski and Phedon Papamichael, ASC on June 1 at Cine Gear Expo in Los Angeles. The panel will be held at 6 p.m. in the Paramount Theatre on the Paramount Lot. The two world-renowned filmmakers and friends will talk about their work, challenges, inspirations, and the state of cinematography. Kaminski’s and Papamichael’s amazing credits, enviable careers and enduring friendship have left a lasting trail through Hollywood. They will discuss their careers and paths to the top of their field, and share their thoughts about the future of image making. Kaminski has earned Oscars® for Saving Private Ryan and Schindler’s List, and has shot dozens of feature films including War Horse, The Diving Bell and the Butterfly and Amistad. Papamichael’s extensive list of impressive credits includes the award-winning films The Descendants, The Ides of March, 3:10 to Yuma, Walk the Line and Sideways. Join these master cinematographers in a rare, candid and personal conversation. The discussion is free with admission to Cine Gear Expo. Advanced registration for the Expo can be done at www.cinegearexpo.com. Directions and additional information can be found www.cinegearexpo.com. For more information about Kodak, visit www.kodak.com/go/motion, or follow Kodak on Facebook at http://www.facebook.com/KodakMotionPictureFilm. (All participants are subject to availability.)

Cinematographer Anette Haellmigk, who photographed three seasons of HBO's Big Love, will be presented with the Kodak Vision Award at the 2012 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. “We are honored to recognize Anette alongside Women In Film at this prestigious event,” says Kodak’s Kim Snyder. “This award pays tribute to Anette’s creative accomplishments as well as her focus and determination to succeed in a challenging line of work. Her passion is contagious, and she is a strong role model.” A German native, Haellmigk’s first feature film experience was in 1981 working on the legendary cinematic masterpiece Das Boot, shot by Jost Vacano, who also mentored Haellmigk early in her career. She continued working in Europe on various productions as a focus puller, pioneering the role of women in a male-dominated profession. Haellmigk made her way stateside for Paul Verhoeven’s Robocop as a camera assistant. This collaboration began a long-term relationship, and Haellmigk has worked on Verhoeven’s crews for such projects as Starship Troopers and Hollow Man as second unit director of photography, and on Total Recall as A camera operator. She has also served as second unit cinematographer on S.W.A.T. and Never Been Kissed. Other collaborators include such first-class DPs as John Bailey, ASC (Divine Secrets of the Ya-Ya Sisterhood), Bill Pope, ASC (Spider-Man 2), and Alex Nepomnaischy (All the Rage). Her credits as a director of photography include various independent films in Europe and the U.S. She broke through the TV glass ceiling in 2003 when she got the opportunity to shoot several episodes of The West Wing. In addition to her work on Big Love, her TV credits include The Nine, Journeyman, The Whole Truth, Poe, and the upcoming Bunheads and 666 Park Avenue. Previous recipients of the Kodak Vision Award include Nancy Schreiber, ASC, Sandi Sissel, ASC, Ellen Kuras, ASC, Lisa Rinzler, Amelia Vincent, ASC, Carolyn Chen, Tami Reiker, ASC, Maryse Alberti, Uta Briesewitz, Mandy Walker, ACS, Cynthia Pusheck, and Reed Morano, among others. Since 1977, Women In Film has honored some of the most creative, prolific and socially responsible individuals in the entertainment industry, those who lead by example. The Crystal Awards were established to honor outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry. The Lucy Awards were established to recognize women and men and their creative works that exemplify the extraordinary accomplishments of Lucille Ball; whose excellence and innovation enhanced the perception of women through the medium of television. For more information, visit www.wif.org.

The American Society of Cinematographers (ASC) continues its mission of inspiring the next generation of cinematographers and advancing the art of filmmaking through upcoming industry panels on May 19 at J.L. Fisher, and June 2 at Cine Gear Expo. For the May 19 event, ASC members will convene at 2:30 p.m. at J.L. Fisher to discuss the current state of visual storytelling. Slated to speak are: Stephen H. Burum, ASC; James L. Carter, ASC; George Spiro Dibie, ASC; Michael Goi, ASC; Karl Walter Lindenlaub, ASC; David Mullen, ASC; Daniel Pearl, ASC; Dante Spinotti, ASC, AIC; and Amy Vincent, ASC.* The J.L. Fisher Annual Mixer and BBQ Lunch is an event held in conjunction with the ASC, ICG and SOC. It takes place from 9 a.m. to 4 p.m. at 1000 West Isabel Street in Burbank. No RSVP required. For more information, go to http://www.jlfisher.com. The June 2 panel at Cine Gear Expo will be held at 1 p.m. in the Sherry Lansing Theater. ASC members will delve into the artistic nature of cinematography, using real-world examples to demonstrate the process of creating a visual style for projects based on each member’s experiences. The panel will feature: Dion Beebe, ASC, ACS; Stephen H. Burum, ASC; Patrick Cady, ASC; James L. Carter, ASC; George Spiro Dibie, ASC; Michael Goi, ASC; Karl Walter Lindenlaub, ASC; Donald A. Morgan, ASC; Dave Perkal, ASC; Roberto Schaefer, ASC; Dante Spinotti, ASC, AIC; and Haskell Wexler, ASC.* Cine Gear Expo in Los Angeles is held at The Studios at Paramount in Hollywood. Registration in advance is free for attendees. Visit www.cinegearexpo.com for details. Both panel discussions are structured so that questions from the audience drive the conversations, and will be moderated by Dibie, chairman of the ASC Education and Public Outreach Committee for the organization. “As production and post-production become more intertwined in today’s filmmaking environments, the role of the cinematographer as artist of the images is more important than ever,” says Dibie. “The ASC is dedicated to supporting emerging filmmakers, sharing our knowledge, and collaborating with all departments in the creation of moving images.” Dibie notes that ASC members frequently speak at colleges and universities around the world, as well as at the ASC Clubhouse in Hollywood, where many film school students join members for intimate dialogues regarding movie-making. “We open our doors to anyone studying screenwriting, directing, producing, design, acting, etc. because it takes a collective effort to succeed in the process of telling a story for the screen with compelling visuals,” adds Dibie. 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. *Panelists are subject to change

Vision Globale Joins the KODAK Imagecare Program ROCHESTER, NY, May 8, 2012 – Canada’s Vision Globale is the newest member of the KODAK IMAGECARE Program, a prestigious quality program for motion picture film processing laboratories. Vision Globale, located in downtown Montreal, is the first Canadian lab to gain accreditation into the KODAK IMAGECARE Program, a truly global initiative, with member labs in 23 countries worldwide. The KODAK IMAGECARE Program includes rigorous quality standards that assure member labs adhere to established practices with full documentation of procedures and calibration. Kodak works very closely with laboratory personnel to assure these standards are met and maintained. In 2001, Vision Globale opened a small, independent boutique film laboratory to expand their range of services to the entertainment industry. They have now received Phase I KODAK IMAGECARE Program accreditation for camera negative processing operations, indicating to filmmakers that critical film handling techniques and quality processing standards are being maintained by the facility. “Over the years, Kodak has been a great partner in the ongoing task of achieving consistency,” says Paul Dion, Director of Operations at the lab. “The KODAK IMAGECARE Program accreditation gives us credibility and instant recognition of our continuous commitment to the highest quality standards and assurance that all assets entrusted to us will be handled with the utmost level of expertise. Throughout the process and right up to the final audit, we had the continuous support of Kodak. Our commitment to the highest-quality services has rewarded us with repeat business from enthusiastic filmmakers who count on us to bring their wildest projects to life. In a sense, the existence of a strong infrastructure is necessary to promote film as a superior medium.” “We are delighted and proud to welcome Vision Globale as the first Canadian laboratory into the Program,” says Diane Carroll-Yacoby, worldwide manager of the KODAK IMAGECARE Program. “They are committed to excellence and delivering the best that film can offer a customer.” For details on Vision Globale visit their website at http://www.visionglobale.com/ Visit www.kodak.com/go/imagecare for further information on the KODAK IMAGECARE Program. #

John Bailey Heads Judging of 2012 KODAK Student Scholarships; New Student Cinematography Award Added to Competition ROCHESTER, NY, May 2, 2012— World-renowned cinematographer John Bailey, ASC, will join the panel of judges for the 2012 Kodak student scholarship program, which recognizes student filmmakers at the undergraduate and graduate levels. Nomination forms can be downloaded at www.kodak.com/go/scholarships, and the deadline for entries is June 15. Accredited film schools from around the world may nominate up to two students each year for consideration for the KODAK Student Scholarship Award, and one cinematography student each year for consideration for the KODAK Student Cinematography Scholarship Award. The cinematography student nominee may also be nominated for the KODAK Student Scholarship Award. 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. “John Bailey is a talented artist who will offer great insight to this next generation of filmmakers,” says Johanna Gravelle, Worldwide Image Capture marketing director for Kodak’s Entertainment Imaging Division. “Receiving feedback from a filmmaker of his stature will be an invaluable asset to these students. We are so grateful to John for his ongoing commitment to sharing his experience and knowledge.” Wenhwa Tsao, Graduate Program director of the Film & Video Department at Columbia College Chicago, representing the University Film & Video Association (UFVA), will join Bailey on the judging panel. A third judge will be added at a later date. Kodak, in collaboration with the University Film & Video Foundation (UFVF), annually holds this worldwide contest to acknowledge students who demonstrate professional filmmaking skills and creativity. The addition of the KODAK Student Cinematography Scholarship Award is new for 2012. “The Cinematography Scholarship gives us a chance to recognize the vision and artistry that student cinematographers contribute to the collaborative process of visual storytelling,” adds Gravelle. 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. 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 For more information on the Kodak’s student scholarship program, visit www.kodak.com/go/scholarships. Kodak’s initiatives for students and educators were launched in 1991 to help support future filmmakers and encourage 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, workshops 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. Join Kodak on Facebook (www.facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm) and YouTube (www.youtube.com/KodakShootFilm). #

Oscar®-Nominee Dante Spinotti Named 2012 Kodak Cinematographer-in-Residence at UCLA/TFT April 30 Screening of Spinotti’s The Last of the Mohicans Open to the Public LOS ANGELES, April 24, 2012— Affirming their commitment to the next generation of filmmakers and to the future of the film industry, Kodak and UCLA’s School of Theater, Film and Television (TFT) have announced Oscar®-nominee Dante Spinotti, AIC, ASC will be the 2012 Kodak Cinematographer-in-Residence for the spring quarter at UCLA/TFT. “It is an honor to have Dante Spinotti as this year’s Cinematographer-in-Residence at TFT,” says Professor William McDonald. “His experience, unique cinematic eye and dedication to his craft make him an invaluable mentor for our students providing them a once-in-a-lifetime experience and education. This is precisely Kodak and TFT’s goal with our exclusive program.” The mentorship program will begin with a free screening of one of Spinotti’s most memorable films, The Last of the Mohicans, at the James Bridges Theater in Melnitz Hall on Monday, April 30 at 8:00 p.m. Spinotti won a BAFTA Award for his work on the 1992 film directed by Michael Mann, and the film received considerable praise and various other accolades. The screening is free and open to students, staff, faculty as well as the general public. A Q&A discussion with Spinotti will be moderated by Professor McDonald following the screening. Spinotti’s U.S. career began in 1986 with his breakthrough visuals on Manhunter with Mann, and continues today with the recent release, Tower Heist, with Brett Ratner. He has compiled more than 60 venerable credits to date, collaborating with such ground-breaking directors as Bruce Beresford, Garry Marshall, and Michael Apted. His work with Curtis Hanson on L.A. Confidential in 1997 led to his first Oscar® nomination, followed by a second nomination for The Insider in 2000, on which he re-teamed with Mann. Both films also earned Spinotti ASC Award nominations, with an additional nod from ASC for The Last of the Mohicans. His body of work includes such memorable films as Crimes of the Heart, Beaches, Frankie and Johnny, Heat, Wonder Boys, Red Dragon, Pinocchio, X-Men: The Last Stand, Public Enemies, The Chronicles of Narnia: The Voyage of the Dawn Treader, The Berlin Affair, Fotografando Patrizia, Il segreto del bosco vecchio, The Legend of the Holy Drinker, and The Star Maker. “What a tremendous experience these students will have with the incredibly talented Dante Spinotti mentoring them,” says Kodak’s Judith Doherty. “We’re so pleased with the success of this program over the years, as supporting the next generation of filmmakers is always a high priority for Kodak.” The Cinematographer-in-Residence program was inaugurated by Professor McDonald in 2000 with the support of Kodak to enhance the learning experience of students with insight from renowned cinematographers. UCLA/TFT is the only film school that offers a cinematography residency program such as this, where students can receive direct guidance from cinematographers through screenings, workshops and one-on-one sessions over the course of 10 weeks. The revered program’s past mentors include Allen Daviau, ASC; Conrad L. Hall, ASC; Owen Roizman, ASC; Dean Cundey, ASC; Roger Deakins, ASC, BSC; Laszlo Kovacs, ASC; Joan Churchill, ASC; Stephen Burum, ASC; Victor J. Kemper, ASC; Vilmos Zsigmond, ASC, John Bailey, ASC and Richard Crudo, ASC. For additional information about the April 30 screening of The Last of the Mohicans, visit www.tft.ucla.edu or call 310-206-8365. Admission is free. Parking is available in Lot 3. There is an $11 parking fee. A limited number of pay-by-the-hour parking spaces are also available in Lot 3. # About Kodak's Educational Initiatives: Kodak's ongoing support of student filmmakers and educators encourages excellence in the field of motion picture education. The company's efforts include a range of programs that enrich knowledge and learning experiences in the art and craft of filmmaking. Initiatives range from scholarships, educational materials, and product grants to awards, seminars and workshops. Student film showcases and the annual Kodak Student Scholarship and Student Cinematography Awards also contribute to raising the profile and recognition of emerging talent. For more information, visit www.kodak.com/go/education or join Kodak on Facebook at http://www.facebook.com/KodakMotionPictureFilm and on Twitter at @Kodak_ShootFilm. About UCLA School of Theater, Film and Television: The vision of the UCLA School of Theater, Film and Television is to serve as a premier global interdisciplinary professional school that develops outstanding humanistic storytellers, industry leaders and scholars whose diverse, innovative voices enlighten, engage and inspire change for a better world. Consistently ranked as one of the top elite entertainment and performing arts institutions in the world, the School offers an innovative curriculum that integrates the study and creation of live performance, film, television and the digital arts. Our distinguished graduate and undergraduate programs include acting, directing, writing, producing, animation, cinematography, lighting design, set design, costume design, sound design, Moving Image Archive Studies, and offers PhDs in Theater and Performance Studies and Cinema & Media Studies. For more information, visit www.tft.ucla.edu

Digital Vision returns in a supporting role to the Paris-based Film Factory, a global post-production company, in the finishing of Relativity Media’s "Mirror Mirror." The beautifully stylized retelling of the Snow White tale, featuring Julia Roberts as the Evil Queen, is a visual feast, pushing post production and visual effects fully to express the filmmaker’s colorful vision. The project, which was directed by Tarsem Singh and shot by Brendan Galvin on the Sony F35, was completed at the Montreal-based facilities of Film Factory. Lionel Kopp, Founder of Film Factory and one of the world’s leading colorists, worked closely with the project’s creative visionaries, assisted by the expertise within Digital Vision to execute a dynamic color pipeline. "Mirror Mirror" was directed, shot and produced by the same creative team that delivered "The Immortals" to audiences last year, and the design of the production-through-final color workflow had been developed for that earlier project. Like its predecessor, "Mirror Mirror" had a number of complex visual elements to manage and with the experience gained on "The Immortals," this guaranteed a fast turnaround. The Film Factory’s process is centered on the Nucoda Film Master, which marries a powerful on-set solution to the final color pass. The Film Master system, which included a SAN and Nucoda Fuse assist station, was installed on set in Montreal. From the set, Kopp did a grading pass of the Sony F35 dailies, which were then sent to the editing room with the color settings. In some cases, a further grading took place prior to dailies screening in the DI suite with director and crew. Designing this system meant that the dailies – from the set through screening and ultimately delivery – were kept in a closely matched, carefully monitored environment. As he did for "The Immortals," Kopp graded every take from the first day of dailies through completion of the DI. “Building the infrastructure frees me and the director to concentrate on what we really want to do, and that is to create something beautiful,” says Kopp. “This workflow allowed the artistic process to go on through the entire course of the project, not just at the end. It was all about the color palette and choosing visuals that we wanted in the story. If you have to worry about how the pipeline is going to work, that takes time away from what is important. Nucoda has freed us from those concerns. That is why we started with one, and now have three.” In addition to dailies and preparing for the DI, there were previews of the film, which were graded and screened for preview audiences. When audience comments came in, the notes were incorporated into the process and considered for the final DI grade. Working in the Nucoda facilitated easy export for those previews. Colorist Marc Boucrot, who also worked on the project for Film Factory, notes, “From our experience on 'The Immortals,' we were ready and comfortable to go through the process a second time. That was important, since the time frame for 'Mirror Mirror' was significantly compressed, and there were previews to incorporate. With four months from beginning to end, there was simply no time for missteps and confusion in the pipeline. The Nucoda was a critical piece of our success in this project.” There were nearly 1,300 visual effects shots in the movie, and Kopp states, “The Nucoda enabled us to have one central hub, where dailies color settings, visual effects and eventually the DI was managed. There were vendors from all over the world, but the VFX Supervisor, Tom Wood, was in house with us in Montreal during the shoot, and in the post production building at Wildfire Studios in Los Angeles where editing, sound editing and mixing, and DI rooms were all together. As shots came in, we were able to look at them in the DI rooms and see how they were working. The ability to have all of these activities going on in one location, our facility, was crucial given the time frame and the visual style of the movie.” “Keeping the process in-house was important.” Kopp adds. “Helping Tarsem execute his vision for 'Mirror Mirror' was our first priority. Every project we undertake is an artistic and technical process, and we plan and execute how to do that in the best way, from day one to the final delivery. We want to be efficient, creative, and enable filmmakers to tell the story they set out to tell. As we finish this second project with our Nucoda driven pipeline, we have seen again that the Nucoda Film Master is fundamental to our process.” "Mirror Mirror" continues rolling out in theaters worldwide.

FotoKem’s nextLAB Puts Solid Workflow Into Place for Canon Cinema EOS C500/C500 PL Debut “Man & Beast” Premieres at NAB with Start to Finish Support from nextLAB FotoKem’s nextLAB, a powerful end-to-end software solution for film and television productions using file-based workflows, played a pivotal role in the production of demonstration footage to support the development announcement of the Canon Cinema EOS C500 and the Cinema EOS C500 PL for use with EF-mount and PL-mount lenses respectively. Both upcoming cameras will be capable of originating 4K (4096 x 2160-pixel) resolution digital motion imagery with uncompressed RAW output for external recording. The Cinema EOS C500/C500 PL are upcoming additions to Canon’s Cinema EOS System, a transformational line of digital cameras and lenses that applies advanced Canon digital imaging technology to cameras designed for professional cinematographers. FotoKem provided complete production support for the Cinema EOS C500 demo film, Man & Beast, which premiered Sunday, April 15, at the 2012 NAB Show. From the early beta stages, FotoKem collaborated and consulted with Canon Inc. on the design of the first end-to-end, 4K production-to-post file system. FotoKem built nextLAB’s high-resolution pipeline on the Academy Color Encoding Specifications (ACES) architecture, making the EOS C500 the first Canon camera to take files from production all the way through post in ACES. FotoKem’s nextLAB has an enviable pedigree, arising from the 50-year-old post production leader’s deep experience in finishing and workflow alongside their innovative software group, which operates as a development arm and launch pad for services in an ever-changing industry. Enabled by this development arm, FotoKem’s nextLAB system has quickly become the backbone of the company’s file-based workflow solution for feature, television, and commercial productions. nextLAB’s all-in-one mobile solution for on-set media and asset management is an advanced technological extension of FotoKem’s state-of-the-art, in-house services. Its unique and proprietary core application software enables the nextLAB Mobile system to essentially bring the full power of FotoKem’s data management systems to production. Based on an open architecture, nextLAB Mobile solutions effectively bridge the gap between production and post, while enabling other platforms to easily interact with its functionality. Notably, nextLAB’s powerful color capabilities were utilized to grade dailies and set the look on Man & Beast, which was shot by acclaimed, Oscar-nominated cinematographer Jeff Cronenweth, ASC (The Girl With the Dragon Tattoo, The Social Network, Fight Club), and produced by MJZ for Canon. Margarita Mix, a FotoKem company that boasts an enviable list of feature, television and spot audio credits, handled the mix for the film. “It has been exciting to work with Canon at the very edge of new camera technologies, experiencing first-hand the latest features available to filmmakers and defining the way they finish their work,” says FotoKem Vice President Mike Brodersen. “Our nextLAB software has helped to define on-set services across a number of productions, and our original, all-in-one dailies and media management platform has evolved to the next level in this process. With Man & Beast, we are seeing the next phase of creative technology for filmmakers come to life.” “About 99% of the file-based TV and feature projects at FotoKem utilize the nextLAB software,” notes Tom Vice, Vice President and General Manager of the nextLAB system. “Its powerful features provide assurances to cinematographers and directors that their digital media files are safe, viewable, and maintain data integrity at every step of the process. We look forward to working with Canon again in the future to help continue to break the barriers of technology.” For more information on the innovative Canon Cinema EOS C500 professional camera and demo film, visit www.canoncinemaeos.com. 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, L.A. Studios, and Margarita Mix. For more information, go to www.fotokem.com, or follow FotoKem on Facebook (www.facebook.com/fotokem) and Twitter (@FotoKem).

Boxx Communications to Debut Meridian Lite and Meridian Tallis at NAB Boxx Communications, the North America headquarters and official reseller for Emmy Award®-winning manufacturer Boxx TV, will unveil Boxx TV’s latest available technology, including the Meridian Lite and the Meridian Tallis, at its booth (C7219) at the NAB Show®. The annual conference will be held in Las Vegas, Nevada, April 14-19. Boxx’s Meridian product line is used on a wide variety of projects from the upcoming James Bond film Skyfall, to the live Brit Awards, and Emmy Award-winning Modern Family, among others. “Our demonstrations at NAB will illustrate the ongoing development and innovation in the product line,” notes Boxx Communications Owner Mark Walker. “The team at Boxx is constantly in the field, working events, in venues, and with broadcasters. Our understanding is derived from hands-on experience and drives us to continually evolve and improve our products. What Boxx offers is an incredible option for the industry in terms of functionality and affordability. In many, many tests, we have beaten head-to-head ratings with the more expensive, and in some cases more well-known, competitors.” The Meridian Lite is an affordable, entry-level RF HD camera system with zero-delay transmission for live broadcast and videography. The less than $10,000 price puts the technology in reach of more budget-conscious users, and is upgradable to Boxx TV’s full-featured, high-end Meridian wireless RF HD camera system. With its lightweight, wireless transmitter, Meridian Lite supports full 4:2:2 video including all formats up to 1080/30p, and delivers uncompressed, artifact-free broadcast video and sound in synch. Conference goers will also get their first look at the Meridian Tallis, an iris control and tally indicator accessory that provides tally and iris only control, and complements any brand of broadcast camera on a wireless rig or Steadicam. The product is small enough to mount on any camera and the control knob gives accurate high-resolution control to the iris. As Tallis only controls the lens, there is no black level or red/blue gain control, but at a price of around $3,500, it opens up a solution to productions where iris only control is sufficient. “The Meridan Tallis solves the tricky problem of providing iris control for a variety of different manufacturers’ cameras by tapping directly into the lens to adjust the aperture,” explains Boxx TV co-founder Scott Walker. “There simply isn’t another solution as this price point to control the iris on wireless camera rigs. This enables you to match the brightness of the video from a wireless camera with other cameras.” In addition to the Meridian Lite and the Meridian Tallis, Boxx will also be demonstrating the Meridian System which provides 4:2:2 uncompressed video with zero delay; the Cobalt system which offers an alternative to COFDM systems with a bi-directional packet acknowledgement protocol that offers extremely robust transmissions; the Cerulean which delivers the quality and reliability of full HD uncompressed fiber link in a cable-free, wireless environment; and a prototype of a lightweight h.264 HD system designed for UAV (unmanned aerial vehicles) including a quadcoptor. For more information about Boxx Communications, visit www.boxxusa.com or call 310.287.1285. # About Boxx Communications Boxx Communications is the Los Angeles-based headquarters and official North America reseller for Boxx TV, 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. The Boxx product portfolio includes the Meridian System which provides 4:2:2 uncompressed video with zero delay; the Zenith Wireless system which is designed for HD live productions, big screens, helicopters, and reality shows where range and signal reliability are essential; and the Meridian Tallis, an iris control and tally indicator accessory that provides tally and iris only control, and complements any brand of broadcast camera on a wireless rig or Steadicam. Boxx 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.