Sue Smith

FotoKem has appointed Joseph Slomka as VP and Principal Color Scientist for the company’s digital post-production and creative picture services. Slomka will spearhead the execution of color science, management, and best practices for FotoKem’s extensive picture production chain, from location services to distribution masters. Before joining the FotoKem team, Slomka served as color scientist of Sony Pictures Imageworks, managing the color pipeline for over 30 major studio pictures in addition to multiple facility projects. Slomka’s impressive background includes a master’s degree in color science from the Munsell Color Science Laboratory at the Rochester Institute of Technology and a bachelor’s degree in information technology from RIT. His extensive industry experience includes working closely with the Science and Technology Council of the Academy of Motion Picture Arts and Sciences in the development of the Image Interchange Framework (IIF) and the Academy Color Encoding Specifications (ACES). He has also worked with the American Society of Cinematographers (ASC) Technology Committee, and was a main contributor to the Sony Imageworks OpenColorIO (OCIO) project. For six years, Slomka was responsible for managing the color pipeline of Sony Pictures Imageworks, planning and implementing workflows, pre-production decisions, onset acquisition and production support, digital intermediate technologies, software development, and archival YCM separations. “My overriding goal is to help artists and filmmakers tell a creative visual story in the most effective way possible,” says Slomka. At Sony Pictures Imageworks, Slomka was instrumental in designing the color architecture for several major motion pictures and visual effects integration. In the midst of a current technology sea change, the creative community is exploring a wide array of file-based acquisition devices, large film formats, on-set and near-location toolkits, and content distribution platforms. Mike Brodersen, vice president of FotoKem comments, “Every choice that filmmakers commit to has visual and technical ramifications. We are focused on arming our creative partners with the most viable tools and strategies to support the creative vision.” “We are delighted to have Joseph join our team,” comments Bill Schultz, senior vice president and general manager of Digital Film Services. “He is a highly respected color expert in the industry and he brings capabilities that complement our team perfectly. Joseph’s expertise in research, design and execution will provide an invaluable resource for us and filmmakers that utilize FotoKem’s services.” FotoKem and its affiliated companies, Keep Me Posted (KMP), Margarita Mix/LA Studios, and SPY will all benefit systematically as Slomka supervises each phase of the image-making chain. Unifying the process between subsidiaries will allow filmmakers maximum control over their artistic decisions at all stages, including on-set visualization, dailies, visual effects, and the final master. “Maintaining color integrity in today’s file-based pipelines has evolved into a complex practice,” says Slomka. “I am excited to find new pathways to meet the creative and technical needs of our customers. I am also looking forward to working closely with the team at FotoKem as we contribute to the evolution of imaging science. These are exciting times and FotoKem has the expertise, resources and breadth of services to reach new levels.”

(SANTA MONICA, CA) SPY, a FotoKem company offering creative finishing services for commercials and feature films, has opened a new studio in Santa Monica, Calif. SPY: LA extends the capabilities of its main facility in San Francisco, and will specialize in VFX based commercial productions. SPY: LA began work in December on a number of visually compelling spots for such clients as UPS, Asics, THQ/UFC, Hillshire Farm and Canon. The new West Coast locale is within FotoKem's award-winning sound studio Margarita Mix. Visual effects artist Scott Rader also joins SPY: LA as creative director and lead Flame artist. He previously worked at top VFX studios such as Radium, Hydraulx and Digital Domain. Rader's work on numerous television series, feature films, commercials and music videos as an Inferno artist/VFX supervisor has earned him nine Emmys, three Clio Awards, three PromaxBDA Awards and a VES Award. "Anchored by Emmy Award-winning talent and industry leading technology, SPY: LA provides the same level of quality services that is offered in our San Francisco facility," says Co-Founder Eric Hanson. "The two studios are securely connected by a high speed network offering real-time interface capabilities between San Francisco and Santa Monica, and this west side location greatly enhances our ability to interface effectively with our clients." FotoKem Senior VP Rand Gladden notes, "There is synergy and scalability for our clients in the aggregation of solutions provided by SPY and Margarita Mix. The flexibility of SPY's interconnected locations and FotoKem's Burbank headquarters offers a wide range of artistic and technical support from set to delivery. Our goal is to continue to support the creative community through investments in talent and technology." Hanson adds, "The connection and design of the 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 SPY SPY was founded in San Francisco in 1998 by Darren Orr and Hanson, and acquired by FotoKem in 2009. A highly regarded creative studio, SPY has contributed to many projects for some of the industry's leading advertising agencies, including Goodby Silverstein & Partners, TBWA\Chiat\Day, Leo Burnett, DDB, and more. Over the past several years, SPY: SF has also provided visual effects for a number of features including Fox's Avatar and Sony Screen Gem's Priest, as well as effects and color grading for director Francis Ford Coppola on his visually complex self-released feature, Twixt. For more information, go to www.spypost.com, or follow SPY on Facebook (www.facebook.com/spypost). # # # Media Contacts: Chris Purse / Lisa Muldowney ignite strategic communications 818.303.8088 chris@ignite.bz / lisa@ignite.bz

Harrison Ford to be Feted by American Society of Cinematographers LOS ANGELES, Jan. 30, 2012 — Harrison Ford, the venerable actor who immortalized Han Solo and Indiana Jones, will receive the American Society of Cinematographers (ASC) 2012 Board of Governors Award. Ford will be honored during the 26th Annual ASC Outstanding Achievement Awards gala here on February 12 at the Hollywood & Highland Grand Ballroom. “Harrison Ford is a talented and focused actor whose professionalism has earned the admiration of our members,” says ASC Awards Chairman Richard Crudo. “His diverse, and still evolving, body of work includes too many memorable motion pictures to list.” Ford earned an Academy Award® nomination in 1986 for his compelling role as John Book in Witness. In 2000, the American Film Institute bestowed him with their Lifetime Achievement Award. In addition to receiving four nominations from the Hollywood Foreign Press for his roles in Sabrina (1996), The Fugitive (1994), The Mosquito Coast (1987), and Witness, Ford was revered by the organization with the 2002 Cecil B. DeMille Award at the Golden Globes. Ford’s Hollywood career was launched by his portrayal of Bob Falfa in George Lucas’ American Graffiti (1973). Four years later, he landed the now-legendary role of Han Solo in George Lucas’ Star Wars: Episode IV – A New Hope. In 1981, Ford brought Indiana Jones to screens for Steven Spielberg in Raiders of the Lost Ark. His many other credits include, Apocalypse Now, The Empire Strikes Back, Blade Runner, Return of the Jedi, Indiana Jones and the Temple of Doom, Indiana Jones and the Last Crusade, Regarding Henry, Patriot Games, The Fugitive, Clear and Present Danger, Sabrina, Air Force One, What Lies Beneath, K-19: The Widowmaker, Indiana Jones and the Kingdom of the Crystal Skull, Extraordinary Measures, Morning Glory, and Cowboys & Aliens. Several of these movies represent some of the highest-grossing films by year. Ford is currently preparing for a role in Ender’s Game, the film adaptation of the popular alien invasion sci-fi novel, and he will star in 42 as Branch Rickey, the Major League Baseball executive who helped shatter baseball's color barrier by making Jackie Robinson the first African-American player in MLB. The ASC Board of Governors Award is given annually to an individual who has made extraordinary achievements to advancing the art and craft of filmmaking. Previous recipients include Julia Roberts, Warren Beatty, Francis Ford Coppola, Sally Field, Morgan Freeman, Ron Howard, Sydney Pollack, Martin Scorsese and Steven Spielberg, among others. “Many of our members who have collaborated with Harrison Ford were inspired by his extraordinary talent,” says ASC President Michael Goi. “His presence on set raises the bar for everyone in the cast and crew,” We are thrilled to honor his career, and I know many of our members hope to have an opportunity to work with him in the future.” 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.

Kodak Supports Independent Filmmakers at Sundance and Slamdance Festivals; Highlights include a Panel on Super 16 for Low-Budget Features and a Roundtable with Indie Filmmakers PARK CITY, UTAH, January 18, 2012 — Kodak will once again give its full support to the independent filmmaking community at the Sundance and Slamdance Film Festivals, which will run concurrently in Park City, Utah, beginning January 19. Kodak will present an all-star panel of filmmakers discussing the advantages of shooting Super 16 on January 21 at Sundance’s New Frontier from 2:30- 4 p.m. Colorist Alex Bickel (NOBODY WALKS), producer Lucas Joachin (KEEP THE LIGHTS ON), cinematographer William Klayer (THAT'S WHAT SHE SAID), cinematographer Ben Richardson (BEASTS OF THE SOUTHERN WILD) and director Ira Sachs (KEEP THE LIGHTS ON) will share their hands-on experiences. Over at Slamdance, Kodak will host a discussion with Indie Filmmakers on January 23 from 10 –11:30 a.m. at the Treasure Mountain Inn. FAITH, LOVE & WHISKEY director Kristina Nikolova and cinematographer Alexander Stanishev, KUDZU VINE director-cinematographer Josh Gibson, NOBODY WALKS cinematographer Christopher Blauvelt, SUNDOWNING director Frank Rinaldi and cinematographer Kiran Chitanvis, and SMASHED cinematographer Tobias Datum will join Kodak for a conversation about the beauty, versatility, and affordability of shooting film. “Film is still a very affordable medium for a wide range of productions, and these panelists can speak to that first-hand,” says Graeme Parcher of Kodak’s Entertainment Imaging Division. “Nothing compares to film’s latitude, flexibility and resolution, and we want independent filmmakers to understand that they don’t have to make compromises to realize their vision. Our newest film stocks offer great options and pristine results for projects at all budget levels.” Kodak will also present a product grant to the winner of the Slamdance Cinematography Award. The winner, chosen by a Slamdance jury and announced January 26, will receive 5,000 feet of Kodak motion picture film. On Main Street at the Sundance Film Festival, Women in Film will present a Kodak product grant as part of their Women in Film/The Incentives Office Grant on January 24. This award — chosen by a jury of educators, filmmakers and artists from WIF — is presented to a female director in the Sundance Film Festival Shorts Program. 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). Note: Panelists are subject to availability.

(SUN VALLEY, CA) ALT Systems, a full service systems integrator and workflow solutions provider for the entertainment industry, has promoted Bruno Munger to Vice President and Chief Technology Officer of the company. Munger will continue to manage ALT Systems' expansion of services, especially in the area of on-set dailies solutions, which he has fostered since joining the company in February 2011 as Director of Sales. Munger has been working with ALT Systems' customers to design workflow solutions, integrate cutting-edge hardware and software systems, and adapt technical infrastructures for the most demanding post production and visual effects work. The proliferation of file-based workflows has fed the need for on-set solutions, and Munger has worked to manage the challenges that face facilities in today's digital environments while solving the many technological and architectural challenges that drive this marketplace. President Jon Guess of Alt Systems says, "Bruno has quickly and successfully integrated his post expertise and industry relationships with ALT Systems' long-standing, solid business offerings to ramp up our mobile dailies offerings along with all our high-quality solutions. As an established workflow provider with storage, networking and archive solutions, ALT Systems was well positioned to deal with the transition to file-based workflows. By adding Colorfront to our portfolio, we were able to support the rapidly evolving needs of our customers on set. As our company grows, we recognized that Bruno has the talent, skill and perspective to help our customers make these important changes, and to prepare ALT Systems for the future." Munger adds, "Today's facilities must succeed in a dynamic industry of emergent technologies, and ALT Systems is the glue to all elements from production to post. We know what customers need because of our experience on a number of different levels. When we take on a product, we support it fully, which means that movie, television, commercial and vfx companies can implement the systems they need in an efficient and cost-effective manner. We know we must enable our clients with the knowledge and the tools to succeed in a vigorous environment." Munger brings nearly 20 years of experience to his expanded role, with specialties in workflow design for file-based image capture, file-based delivery, and 2D/3D digital intermediate. He has been involved in product management for such industry-leading companies as Image Systems (formerly Digital Vision), Autodesk, MTI, and Snell & Wilcox. For more information, visit www.altsystems.com, or follow them on Twitter at @ALT_Systems. About ALT Systems ALT Systems Inc. is a Los Angeles-based systems integrator and workflow solutions provider, offering superior compositing, rendering, editing, color correction, digital intermediate, 2D/3D, restoration, large format film recording, and SAN and NAS networking and storage options to the post production and visual effects industry. Founded in 1995 and privately owned, the company is a leading solution provider in the global entertainment and media marketplace. Key customers include Deluxe, Technicolor, CBS, Rhythm & Hues, Hydraulx, Tata Elxsi and IMAX. The cornerstone of ALT Systems' solutions is Autodesk's Creative Finishing products. Over the past several years, ALT Systems has consistently been recognized as Autodesk's Top Creative Finishing Systems Reseller in the Americas, delivering Autodesk® Flame®, Autodesk® Smoke®, Autodesk®Lustre® and Autodesk® Flare to both large and boutique-sized facilities. ALT systems also offers products from top manufacturers including Colorfront, Apple, Brocade, Dot Hill, HP, Quantum and Xyatex. # # # Media Contact: Lisa Muldowney, 760.212.4130 ignite strategic communications lisa@ignite.bz

The American Society of Cinematographers Nominates The Artist, The Girl with the Dragon Tattoo, Hugo, Tinker Tailor Soldier Spy, and The Tree of Life Guillaume Schiffman, AFC (The Artist), Jeff Cronenweth, ASC (The Girl with the Dragon Tattoo), Robert Richardson, ASC (Hugo), Hoyte van Hoytema, FSF, NSC (Tinker Tailor Soldier Spy), and Emmanuel Lubezki, ASC, AMC (The Tree of Life) have been nominated in the feature film category of the 26th Annual American Society of Cinematographers (ASC) Outstanding Achievement Awards. The winner will be announced at the ASC Awards celebration at the Hollywood and Highland Grand Ballroom on February 12. “These five cinematographers have created works of art that serve the story and director’s vision in unique and engaging ways,” says ASC Awards Committee Chairman Richard Crudo. “Their talent for translating the script and performances to the screen demonstrates the phenomenal power of the visual image.” This is the second consecutive ASC Award nomination for Cronenweth who was recognized last year for The Social Network. Richardson earns his 10th nomination. He was previously acknowledged for Inglourious Basterds (2010), The Good Shepherd (2007), The Aviator (2005), Snow Falling on Cedars (2000), The Horse Whisperer (1999), Heaven & Earth (1994), A Few Good Men (1993), JFK (1992), and Born on the Fourth of July (1990). Lubezki won the ASC Award in 2007 for Children of Men, and was also nominated in 2000 for Sleepy Hollow. Schiffman and van Hoytema are both first-time ASC nominees. “Every year, the nominees in this category have expanded the boundaries of cinematography with their consummate artistry and their mastery of the technological tools required to achieve their vision,” says ASC President Michael Goi. “In an intensely competitive field, these are the best of the best.” Last year, Wally Pfister, ASC, BSC won the ASC feature film award for Inception, and went on to take home the Oscar® as well. 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.

LOS ANGELES, December 28, 2011 — The American Society of Cinematographers (ASC) has announced nominees in three television categories for the 26th Annual Outstanding Achievement Awards competition. The awards ceremony will be held here on February 12 at the Hollywood & Highland Grand Ballroom. Nominees in the one-hour Episodic Television Series/Pilot Category are: • David Franco for HBO’s Boardwalk Empire (“To the Lost”) • Jonathan Freeman, ASC for Boardwalk Empire (“21”) • David Katznelson, DFF, BSC for PBS’ Downton Abbey ("Pilot") • John Lindley, ASC for ABC’s Pan Am ("Pilot") • David Stockton, ASC for NBC’s Chase (“Narco Part 2”) The finalists in the Television Movie/Miniseries category are: • Ed Lachman, ASC for HBO’s Mildred Pierce• Kevin Moss for Showtime’s Chicago Overcoat • David Moxness, CSC for ReelzChannel’s The Kennedys (“Moral Issues and Inner Turmoil”) • Martin Ruhe for PBS’ Page Eight • Wojciech Szepel for PBS’ Any Human Heart (“Episode 2”) The third category, for a half-hour Episodic Series or Pilot, was just added this year. The inaugural nominees are: • James Bagdonas, ASC for ABC’s Modern Family (“Bixby’s Back”) • Michael Balfry, CSC for The Hub’s R.L. Stine’s The Haunting Hour (“Brush with Madness”) • Vanja Cernjul, HFC for HBO’s Bored to Death (“Forget the Herring”) • Levie Isaacks, ASC for ABC’s Man Up (“Acceptance”) • Michael Weaver, ASC for Showtime’s Californication (“Suicide Solution”) “Our members who judged this competition were impressed by the extraordinary images created by these individuals,” says ASC Awards Chairman Richard Crudo. “The contributions they made to telling a wide variety of stories – from period dramas to contemporary comedies – is undeniable.” Freeman, Moxness and Stockton have won ASC Awards. Freeman took home awards for Boardwalk Empire (2011) and Homeland Security in (2005), and earned additional nominations for Boardwalk Empire (2011), Taken (2003), Strange Justice (2000) and Prince Street (1998). Moxness won for this work on Smallville (2007). Stockton earned his ASC Award for Eleventh Hour in 2009, and a nomination for Nikita (2011). This is the fifth ASC nomination for Franco who was previously nominated for Bury My Heart at Wounded Knee (2008), Intensity (1998), Falling for You (1996), and Million Dollar Babies (1995). Bagdonas has three prior nominations for photographing Chicago Hope (1997, 1998) and Hunter (1990). Collecting their second nominations are Lachman (Far From Heaven, 2003) and Weaver (Pushing Daisies, 2008). The remaining nominees revel in their first nomination. HBO shows lead the pack with four nominations, followed by PBS and ABC with three, and Showtime with two. The Hub and ReelzChannel claimed one each. “Narrowing down the field to these nominees was a tough task given the tremendous quality of work being done,” says ASC President Michael Goi. "Innovation and technology has raised the bar for television viewers, and these nominees’ imagery more than meets a new standard.” For information regarding the 26th ASC Outstanding Achievement Awards visit www.theasc.com or call 323-969-4333. # (Photos of the nominees are available upon request) About the American Society of Cinematographers The American Society of Cinematographers (ASC) is a nonprofit 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, or on Twitter @AmericanCine.

Benedict Salazar Olgado has been named the recipient of the 2011 Kodak Fellowship in Film Preservation, an award established to foster and support the next generation of preservationists and archivists in the industry. Olgado receives a cash scholarship from Kodak that is administered by AMIA (Association of Moving Image Archivists), in addition to a four-week summer internship next year, organized by PRO-TEK, a Kodak company that operates world-renowned film and video preservation vaults, and provides inspection and restoration management consultation services. The internship will include a comprehensive agenda with training at PRO-TEK, Chace Audio by Deluxe, and FotoKem’s digital and photochemical lab. Kodak initiated this successful program 12 years ago, and 11 of the past recipients are now working in the field at such organizations as the Library of Congress, NARA (National Archives and Records Administration), and Academy of Motion Picture Arts & Sciences. “We designed the Kodak Fellowship program to augment the education that future preservationists and archivists receive,” says PRO-TEK’s Vice President Rick Utley. “They gain exposure to the industry, hands-on experience and the opportunity to meet many people in a thriving and passionate community. It’s a great way for Fellows to evaluate next steps for their careers.” A native of the Philippines, Olgado will receive a master’s degree in Moving Image Archiving and Preservation from New York University’s Tisch School of the Arts in May 2012. His long-term goal is to become an active part of the international preservation community, and work to safeguard audio-visual legacies across the globe. “I am extremely grateful for this award,” Olgado says. “This recognition affirms and strengthens my dedication as a budding audio-visual archivist. I’m looking forward to developing my skills this summer, and am honored to belong to a roster of individuals who have gone on to become key players in the field.” Olgado has gained experience as a senior administrator at the Southeast Asia Pacific Audiovisual Archive Association. He simultaneously worked on projects with UNESCO and did film programming in Southeast Asia. He’s worked on the Maya Deren collection at the Anthology Film Archives and in the mixed media collections of Appalshop, among others. Olgado earned his bachelor’s degree at Ateneo de Manila University with a double major in communications and social sciences prior to enrolling at NYU. He is an active member of AMIA and SOFIA (Society of Filipino Archivists for Film). To read about the previous Kodak Fellowship recipient, Jessica Storm, a graduate of UCLA’s Moving Image Archive Studies Master of Arts Program, visit www.protekvaults.com. For more information about Kodak products and services for the entertainment industry, visit www.kodak.com/go/motion.

Kodak Expands Creative Choices for Filmmakers; New Daylight Stock Added to VISION3 Film Family ROCHESTER, N.Y., December 14, 2011 – Eastman Kodak Company has added a new daylight stock to their VISION3 Film family. The KODAK VISION3 50D Color Negative Film 5203/7203 integrates the company’s advanced VISION3 Film imaging technology into a fine-grained, daylight-balanced film, giving filmmakers more options and flexibility for shooting on location. “This addition to the VISION3 Film portfolio is designed to give extraordinary creative latitude to cinematographers working in daylight conditions,” says Kim Snyder, president, Entertainment Imaging, and vice president, Eastman Kodak Company. “This new stock – the finest-grained negative on the market – offers a combination of unmatched resolution, reliability, and proven archival capabilities.” KODAK VISION3 50D Color Negative Film 5203/7203 is a low-speed film optimized for capturing images in natural or simulated daylight conditions. The new stock incorporates VISION3 Film technology advancements, like Dye Layering Technology and sub-micron imaging sensors. These technologies deliver 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 cinematographers with the ability to shoot challenging high-contrast exteriors, and follow the action into bright highlight scenes without loss of image discrimination. Cinematographer Blake Evans (The Middle) tested the film. He explains, “I wanted to stress test the contrast capabilities of new Kodak 50D stock, so we shot a few scenes in a high-contrast exterior situation that included bright whites and shadows. I exposed normally, and followed the actors’ faces as they moved from the sun into the shadows. The negative was processed normally, and when I saw the footage as DVD dailies, I found the grain a tiny bit tighter in the dark toe of the shadows. That says a lot, considering the (KODAK VISION2 50D Color Negative Film) 5201 emulsion was already a super fine grain. This new 5203 stock dug deep into the shadows and maintained neutral colors, especially in the skin tones. There was also no biasing of the whites in the bright highlights." VISION3 stocks have also demonstrated clear benefits to the post production process as well. The ability to render finer grain images in underexposed areas produces cleaner film-to-digital transfers. The emulsions also process light more efficiently and record greater detail in the highlights. Cinematographers and their colorists can then extract more image information during digital post production without introducing artifacts. Additionally, the new VISION3 50D possesses all the necessary qualities that allows a color negative film to perform well in film recorders, including extremely fine grain, high resolution, excellent latent image keeping and reciprocity characteristics, as well as a low level of unwarranted crosstalk between the color channels. “We understand that digital cameras are improving, but the industry holds film as the benchmark by which they are all judged,” says Snyder. “This new emulsion is another example of Kodak’s dedication to filmmaking technology and ongoing innovation.” About Kodak Entertainment Imaging For over a hundred years, Kodak has been providing tools for the creative community to tell their stories in motion, and is focused on bringing the best in imaging capabilities to its customers. The world’s most celebrated movies, popular TV shows, cutting-edge music videos, effective commercials, and revealing documentaries are photographed on Kodak film. For information on Kodak’s film, digital and hybrid motion imaging products, services and technology solutions, visit www.kodak.com/go/motion. Follow Kodak on Facebook (www.facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (www.youtube.com/KodakShootFilm).

Kodak has expanded its online store for students and educators in the United States (www.kodak.com/go/shopmotionedu) who want to purchase motion picture film via the Internet. Kodak color and black-and-white camera negatives, as well as reversal films, are now available online in every format, at the 30 percent discount for the next generation and their mentors and institutions. “Young filmmakers aspire to shoot on film, and today’s film schools understand the importance of teaching the art of filmmaking,” says Kodak’s Johanna Gravelle. “Film has been the capture medium of choice since the beginning of cinema. There is also a photographic discipline and understanding that forms the basic foundation of the craft when learning on film. By offering easy access to our wide range of stock choices, we hope the next generation of filmmakers will continue to express their creativity in new ways, and carry on the invaluable tradition of an art form.” Since 2006, the Kodak Education Web site has been offering the educational filmmaking community online shopping capabilities for 16 mm and 8 mm products. Recently, Kodak’s 35 mm stocks were added to the store. Visitors to the site can also find an array of tips and tools, filmmaking guides, and information about Kodak’s scholarships and competitions. The website also features links to workshops, news, and Kodak publications, which feature in-depth stories about the prolific professional community of film users, and how and why they choose film to tell their stories visually. Additionally, students and educators can download several free Kodak apps for the iPad, iPhone and Android handheld devices. These mobile tools are designed to bring useful information to the fingertips of filmmakers regardless of where and when they are shooting. “With the latest film technology in their cameras, filmmakers have the most advanced imaging science working for them to capture every gradation of light, darkness and color that they want to convey on the screen,” Gravelle adds. Students and film school staff in the U.S. simply need to register for an account and use their institution’s email address to automatically receive the discount at checkout. Participating schools are listed on the site. Anyone whose establishment is not currently part of the program can easily submit a request to have their university or college added. For more information, visit www.kodak.com/go/education.

American Society of Cinematographers to Honor Dante Spinotti with Lifetime Achievement Award; William Wages, Francis Kenny and Fred Godfrey Also To Receive Tributes LOS ANGELES, Nov. 8, 2011 – Dante Spinotti, ASC, AIC, William Wages, ASC, Francis Kenny, ASC, and Fred Godfrey will be honored by their peers during the 26th American Society of Cinematographers (ASC) Outstanding Achievement Awards celebration here on February 12 at the Hollywood & Highland Grand Ballroom. Spinotti will receive the 2012 ASC Lifetime Achievement Award, with additional ASC honors going to Wages for the Career Achievement in Television Award, Kenny with the Presidents Award, and Godfrey with the ASC Bud Stone Award of Distinction. Spinotti’s U.S. career began in 1986 with his breakthrough visuals on Manhunter with director Michael Mann, and continues today with his current 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 Dante Spinotti brings to every movie he photographs is youthful exuberance mixed with the wisdom of experience,” says ASC President Michael Goi. “His visual style is infused with the kind of playful experimentation and consummate craft that results in iconic imagery. He is a model for why great cinematographers are truly timeless." Wages has been nominated for two Emmy® Awards and eight ASC Awards, winning twice. One of his first major narrative credits was Resting Place, the first of many Hallmark Hall of Fame productions Wages would photograph. In 1988, Gore Vidal’s Lincoln was nominated for an ASC Award, with additional nods for Caroline?, Voices Within: The Lives of Truddi Chase, I’ll Fly Away (pilot), The Moving of Sophia Myles, and Miss Lettie and Me. Wages won consecutive ASC Awards in 1997 and 1998 for Riders of the Purple Sage and Buffalo Soldiers. The latter also earned an Emmy nomination, as did Into the West, in 2006. Wages became a member of the ASC in 1992, and counts more than 50 narrative television projects, commercials and documentaries among his credits. Kenny began his career as a documentary filmmaker. His 50 credits as a cinematographer include the feature films Heathers, New Jack City, She’s All That, and Jason's Lyric. His documentary credits include films shot throughout the world ranging from Afghanistan to the North Sea. Kenny is currently the director of photography on the FX television series Justified. He became a member of the ASC in 1998. He has been the ASC Membership Chairman for the past 10 years, and is also serving his second term on the ASC Board of Directors. "Bill and Francis are fabulously talented cinematographers who also happen to be terrific human beings,” says ASC Awards Committee Chairman Richard Crudo. “Their work in features and television speaks for itself but perhaps more importantly, they're treasured members of our organization." Godfrey is the first recipient of the ASC Bud Stone Award of Distinction, which will be presented to individuals who have made significant contributions to advancing the art of filmmaking. Burton “Bud” Stone was president of Deluxe laboratories in Hollywood from 1976 until 1994. He was a founding member of the ASC Outstanding Achievement Awards and served as chairman for 17 years. Godfrey’s career in the film industry began in a Hollywood warehouse, where Kodak motion picture film was stored. Within a few years that led to an opportunity for Godfrey to become a customer service representative at the Kodak motion picture office in Hollywood. He served as a liaison between cinematographers and the film manufacturer until he retired in 1986. He is an associate member of ASC, and was also on the committee that planned the first and subsequent ASC Outstanding Achievement Awards. For information regarding the 26th 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 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. (Oscar and Academy Award are registered trademark of the Academy of Motion Picture Arts & Sciences) (Emmy is a registered trademark of the Academy of Television Arts & Sciences)

2011 Kodak Film School Cinematography Competition Winners Revealed; Contest Recognizes Emerging Talent from Around the World ROCHESTER, NEW YORK, Nov. 1, 2011 — Four first-place winners – one from each major region of the world and one in a new 35 mm category – have been announced in the annual Kodak Film School Cinematography Competition. The contest is designed to recognize the creativity and talent of student cinematographers in the collaborative process of visual storytelling. This year’s winners from the regional competition are Joshua Spires from the University of North Texas for the Americas region; Johannes Praus from the University of Film & Television "Konrad Wolf" Potsdam for the Europe-Africa-Middle East region; and Masanori Yokota from Osaka University of Arts for the Asia-Pacific region. The winner of the worldwide 35 mm competition is Brendan Barnes from AFDA in South Africa. The four winners will receive a trip, courtesy of Kodak, to the 2012 Clermont-Ferrand Short Film Festival in France, where they will have the opportunity to screen their films in the Kodak Short Film Showcase. The filmmakers will also participate in networking sessions and other activities that are part of the festival. For the third consecutive year, John Bailey, ASC (The Big Miracle, Ordinary People) judged the entries. “We feel very fortunate to have John Bailey, a world-renowned cinematographer, sharing his insights, experience, and eye for talent with these students,” says Johanna Gravelle, Worldwide Image Capture marketing director for Kodak’s Entertainment Imaging Division. “We are so encouraged by the high-quality, creative filmmaking we see coming from film schools around the world. This competition is a wonderful way to recognize the talented students, and it’s just part of Kodak’s many efforts to support the emerging filmmaking community.” The winning films explored a diverse range of topics. Spires’ film, The Whale, follows a young boy who lives in an ephemeral fantasy to try and escape the cycle of paternal abuse. Praus’ Submerged deals with a clash of cultures when a daughter brings home a boyfriend from a different circle. Yokota’s Bullet of Angry is the story of a grieving father who seeks revenge of his daughter’s killers. Those of the Water, shot by Barnes, explores an ancient Xhosa belief of Abantu (The People of the Water) that come into question after a young boy washes up from the ocean. Second place winners were also named in each region and in the 35 mm competition. These recipients receive a $2,000 Kodak film product grant. They are: Marcella Nunes from Universidade Estácio de Sá in Brazil for Itapoanama; Dimitar Skobelev from National Academy for Theatre and Film Arts in Bulgaria for The Service; and Hachul Chung from Seoul Institute of the Arts in South Korea for Knock. The runner-up in the 35 mm competition is Lotta Kilian from University of Film and Television "Konrad Wolf" Postdam in Germany for We Die. The Kodak Film School Cinematography Competition is open to students and recent graduates in Asia, Latin America, Canada and the U.S., as well as Europe, Africa and the Middle East. Participants compete at a national level first. Then those finalists move on to be judged for the top four spots in the competition. All entries must be produced on film by a student crew. For more information on the Kodak Film School Cinematography Competition, visit www.kodak.com/go/filmschoolcompetition. For more information on Kodak motion picture film products and services, visit www.kodak.com/go/motion. Follow Kodak on Facebook (www.facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm) and YouTube (www.youtube.com/KodakShootFilm). # About Entertainment Imaging 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. About Kodak’s Educational Initiatives Kodak’s programs for students and educators was launched in 1991 to help support future filmmakers and encourage excellence in the field of motion picture education. Kodak’s efforts include a range of opportunities that students and educators can utilize to enrich their knowledge of the art and craft of filmmaking, including scholarships, educational materials, product grants, workshops and discounts, in addition to sponsoring film festivals, awards, seminars and student showcases that raise the profile and awareness of emerging talent. For more information, visit www.kodak.com/go/education.

Linda Brown will receive the Kodak Educational Award at the prestigious Honors & Awards ceremony during the SMPTE Technical Conference on October 27 at the Renaissance Hollywood Hotel. Brown is being honored for her dedication to educate the next generation of filmmakers in the art and science of cinematography throughout her professional career and personal endeavors. “Linda Brown has committed herself to pushing professional standards in the educational arena, and insisting her students have a strong foundation in both the technical and aesthetic principles of cinematography, enabling them to choose the best medium for their project,” says Judy Doherty, marketing director of the Americas region for Kodak’s Entertainment Imaging division. “She is a champion for equal opportunities for women and minority filmmakers, and has actively engaged the professional community to recognize talent in all of its forms. We are thrilled to recognize her efforts and honor her accomplishments.” Brown is a previous recipient of a Kodak Vision Award for cinematography, and is a Fulbright Scholar. She studied filmmaking at Temple University and cinematography at AFI. Her feature credits include Little Indiscretions, Lucky Bastard and American Beauties: In Pursuit of Art, which she also produced. Brown also shot episodes of Showtime's Women: Stories of Passion, plus various documentaries and music videos throughout her laudable career. Her documentary, Your Favorite, detailing her relationship with her father, won recognition at the Athens International Film Festival and the American Film Festival. Brown’s latest documentary, You See Me, received a Humanities Grant and is slated for release next year. She has taught at AFI, Maine Media Workshops, City University of Hong Kong, Temple University, The Red Sea Institute of Cinematic Arts, and is presently an Associate Professor at USC’s School of Cinematic Arts. The SMPTE Annual Technical Conference and Exhibition brings together world-renowned technology thought-leaders from the media content business. As an accredited industry standards-setting body, SMPTE is also the industry's leading nonprofit association providing technology education and information to the motion imaging industry. For more information on Kodak imaging products, technologies and services for the entertainment industry, visit www.kodak.com/go/motion, or follow Kodak on Facebook (www.facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm) and YouTube (www.youtube.com/KodakShootFilm).

Groundbreaking technology will enable IMAX® film-based screens over 80 feet and dome theatres to deliver the highest-quality digital content available for the first time ever NEW YORK -IMAX Corporation (NYSE: IMAX; TSX: IMX) and Eastman Kodak Company (NYSE: EK) announced today a relationship that will broaden the application of digital cinema technologies in theatres and enhance the consumer's movie-going experience. The companies announced that IMAX has licensed from Kodak certain exclusive rights in the digital cinema field to a portfolio of more than 50 patent families covering fundamental laser projection technology. IMAX also licensed from Kodak certain exclusive rights in the digital cinema field to a broader range of Kodak patents covering complementary technologies useful for laser projection products. While the agreement is royalty bearing to Kodak, the specific terms of the deal were not announced. IMAX's licensing of Kodak's revolutionary laser projection technology and patents will enable IMAX, for the first time ever, to deliver the highest-quality digital content available to IMAX® film-based screens larger than 80 feet and to dome theatres. This technology also will allow IMAX to distribute content with greater efficiency to the company's global theatre network. "This Kodak intellectual property is truly cutting edge, and will be used by IMAX's esteemed Technology Group to enhance the cinematic experience for consumers, enable the application of digital technology in our larger and institutional theatres, and make being in business with IMAX even easier and more profitable," said IMAX CEO Richard L. Gelfond. "It is a testament to Kodak's strong heritage in film and tradition of excellence that we believe this deal further differentiates IMAX in terms of innovation and technological advancement in large-screen cinematic experiences." IMAX expects to introduce the new laser-projection technology by the second half of 2013 and that it will provide the company's largest screen and dome customers - which have previously only had access to analog film - with a full array of digital content, which often includes Hollywood's biggest IMAX DMR® titles. Kodak engineers will work closely with IMAX engineers over the next 18 months to assist with the implementation of the technology into the IMAX product family. "We are delighted to be licensing our technology to a company as innovative as IMAX," said Kim Snyder, President, Entertainment Imaging, and Vice President, Eastman Kodak Company. "Because this technology produces the deepest blacks, and the brightest 3D of any system demonstrated to date, it will truly make the movies more exciting for consumers, and that creates a strong value proposition for the studios and exhibitors as well. That's the ultimate measure of this relationship. We look forward to working with the IMAX team to make this vision a reality." Today's announcement follows IMAX's September 2010 equity investment in Laser Light Engines (LLE), an initiative centered around developing technology to illuminate existing digital screens to IMAX standards. The Kodak technology is expected to extend these efforts and allow the illumination of IMAX 80-to-100-foot screens and domes with a brightness and clarity not currently attainable in these formats. The solution will also consume less power, last longer and have a wider color gamut when compared with existing technology. "This license, combined with LLE and IMAX's own intellectual property, puts us at the forefront of laser-based projection and will provide moviegoers, exhibitors and filmmakers around the world the level of quality for which the IMAX® brand is known," said Gelfond. About Kodak Entertainment Imaging For over a hundred years, Kodak has been providing tools for the creative community to tell their stories in motion, and is focused on bringing the best in imaging capabilities to its customers. The world's most celebrated movies, popular TV shows, cutting-edge music videos, effective commercials, and revealing documentaries are photographed on Kodak film. For information on Kodak's film, digital and hybrid motion imaging products, services and technology solutions, visit www.kodak.com/go/motion, or follow Kodak on Facebook (www.facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm) and YouTube (www.youtube.com/KodakShootFilm). About IMAX Corporation IMAX Corporation is one of the world's leading entertainment and technology companies, specializing in the creation and delivery of premium, awe-inspiring entertainment experiences. With a growing suite of cutting-edge motion picture and sound technologies, and a globally recognized entertainment brand, IMAX is singularly situated at the convergence of the entertainment industry, innovation and the digital media world. The industry's top filmmakers and studios are utilizing IMAX theatres to connect with audiences in extraordinary ways, and as such, the IMAX network is among the most important and successful theatrical distribution platforms for major event films around the globe. The Company's new digital projection and sound systems - combined with a growing blockbuster film slate - are fueling the rapid expansion of the IMAX network in established markets such as North America, Western Europe, and Japan, as well as emerging markets such as China and Russia. IMAX theaters deliver the world's best cinematic presentations using proprietary IMAX®, IMAX 3D®, and IMAX DMR® (Digital Re-Mastering) technologies. IMAX DMR enables virtually any motion picture to be transformed into the unparalleled image and sound quality of The IMAX Experience®. IMAX is headquartered in New York, Toronto and Los Angeles, with offices in London, Tokyo, Beijing and Shanghai. As of June 30, 2011, there were 560 IMAX theatres (417 commercial multiplex, 25 commercial destination and 118 institutional) operating in 46 countries. IMAX®, IMAX® 3D, IMAX DMR®, Experience It In IMAX®, An IMAX 3D Experience® and The IMAX Experience® are trademarks of IMAX Corporation. More information about the Company can be found at www.imax.com. You may also connect with IMAX on Facebook (www.facebook.com/imax), Twitter (www.twitter.com/imax) and YouTube (www.youtube.com/imaxmovies). This press release contains forward looking statements that are based on IMAX management's assumptions and existing information and involve certain risks and uncertainties which could cause actual results to differ materially from future results expressed or implied by such forward looking statements. Important factors that could affect these statements include, but are not limited to, general economic, market or business conditions, including the length and severity of the current economic downturn, the opportunities that may be presented to and pursued by IMAX, competitive actions by other companies, the performance of IMAX DMR films, conditions in the in-home and out-of home entertainment industries, the signing of theatre system agreements, changes in law or regulations, conditions, changes and developments in the commercial exhibition industry, the failure to convert theatre system backlog into revenue, new business initiatives, investments and operations in foreign jurisdictions and any future international expansion, foreign currency fluctuations and IMAX's prior restatements and the related litigation. These factors and other risks and uncertainties are discussed in IMAX's most recent Annual Report on Form 10-K and most recent Quarterly Reports on Form 10-Q. # # # Media Contacts: Lisa Muldowney / Chris Purse 760.212.4130 / 818.303.8088 lisa@ignite.bz / chris@ignite.bz

John Bailey, ASC received the Kodak Mentorship Award this past weekend in recognition of his dedication to educate the next generation of filmmakers in the art and craft of cinematography throughout his professional career and personal endeavors. The honor was presented to Bailey during the International Cinematographers Guild’s (ICG) honorees luncheon on September 23, celebrating the Emerging Cinematographer Awards winners. Bailey earned his first narrative credit in 1978 and has subsequently compiled more than 70 cinematography credits for such memorable films as 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, and Country Strong. In 2001, he received the Society of Camera Operators’ (SOC) Presidents Award, and shared the award for best artistic contribution at the 1985 Cannes Film Festival for his work on Mishima: A Life in Four Chapters. In addition to his ongoing, illustrious career, Bailey is an ardent mentor to the next generation of filmmakers. He frequently participates in cinematography workshops, panels, seminars and screenings. He has been a Kodak Cinematographer in Residence at UCLA, and has judged the Kodak Film School cinematography competition multiple times. He recently returned from a trip to East Africa with the Academy International Outreach program, and comments, “Our group gave workshops and seminars in regions that have a very embryonic film culture. The challenge and opportunity to talk to young people who have compelling personal and deeply emotional stories to tell, but who have the barest of technical equipment, was especially stimulating and rewarding. Being able to offer practical, even make-do improvised tools, as well as fresh insights to young filmmakers who desperately need them, is so rewarding; This kind of ad hoc environment also throws us back to our own less privileged early days and challenges us to think afresh. Keeping fresh and searching out new ways of working is as important for us established filmmakers as it is for newly emerging ones." Currently, he is an active member of the ASC Board, and authors a blog on the organization’s website on topics of interest and concern to him, ranging from art, photography and cinematography to aesthetics and creative inspiration. Kodak has been a sponsor of the ICG ECAs since the inaugural event began in 1996. Former ICG President and Emmy®-nominated DP George Spiro Dibie, ASC was the first recipient of the Kodak Mentorship Award. For more information on Kodak motion picture products and services, visit www.kodak.com/go/motion.

SPY, a FotoKem company offering visual effects and post services in the Bay Area, recently contributed hundreds of visual effects shots, the digital intermediate, and 3D conversion services to Francis Ford Coppola’s latest feature film, Twixt, which recently screened at the 2011 Toronto Film Festival. SPY’s contribution broke new ground in a number of ways, including an unprecedented integration of visual effects and color grading in the conception and design of ghost effects that play an important role in the film. “Director of photography Mihai Malaimare, Jr. worked simultaneously with SPY's digital artists and DI colorist Chris Martin to develop the ghost effect that Coppola envisioned,” says Executive Producer Amy Wixson of SPY. “Because they could easily experiment and play off of each other’s work on the fly, a perfectly integrated effect was designed much more efficiently.” SPY’s team collaborated with Malaimare on the development of the ghost effect, fine tuning the illusion by desaturating the colors and adjusting the quality of the moonlight. The result is a convincing ghost that fully inhabits the environment. The work encompassed approximately 400 visual effects shots for the film. The full DI was completed with Martin under Malaimare’s supervision as well. In addition to color grading, the DI was used to match effect shots, and to desaturate and perfect extensive day-for-night scenes. SPY’s creative services with American Zoetrope also extended to the 3D aspects of the film. Coppola designed two 3D sequences into the film that were shot by Malaimare on multiple digital camera formats. SPY devised and executed the technical strategy for marrying the 2D to the 3D material. The 3D material makes up 10 percent of the final film. SPY also provided specific, unique materials needed for the new technique Coppola developed to give him the ability to change how the film plays out on demand in a screening environment. Coppola intends to execute this creative prowess in a live show, making creative choices in real time to the storyline and ending based on his sense of the live audience’s reactions. He utilized this capability via an iPad during 2011’s Comic-Con screening to huge applause, and is planning to continue this unique storytelling feature at subsequent road show screenings. “Collaborating with an iconic director like Francis Ford Coppola is a dream come true for us at SPY,” says Martin. “Francis and Mihai pushed the technology and inventively came up with new ways to tell a story. We loved the new challenges and opportunities that created. Our goal, as always, was to enable new ideas for the filmmakers with technology. This type of collaborative work continues to blur the lines between traditional categories like vfx and color grading, and the result is enhanced creative freedom for our clients.” Mike Brodersen, VP of FotoKem, adds, “SPY supported American Zoetrope with a full range of post production capabilities in a bold moviemaking experiment, and we are proud of the team for their accomplishments, both technical and creative.”

Kodak Presents an Hour with Oscar®-Nominee Ed Lachman Discussion Part of Kodak’s Support of IFP NEW YORK, September 20, 2011 — Eastman Kodak Company will present “An Hour with Ed Lachman, ASC” at IFP’s 33rd Annual Independent Film Week (formerly known as the IFP Market). The discussion with the award-winning cinematographer of such films as I’m Not There, Erin Brokovich and Far From Heaven will be held September 22 at 1 p.m. at the Elinor Bunin Monroe Film Center at 144 West 65th Street. The session is free to conference-goers. Lachman will discuss the collaborative process he has developed with various directors and the importance of style and visual storytelling. In particular, he will focus on the why he and director Todd Haynes chose Super 16mm film for the Emmy®-nominated HBO miniseries Mildred Pierce. Lachman, an Oscar® nominee for Far From Heaven, which was also directed by Haynes, was nominated for an Emmy® for his work on Mildred Pierce. “Ed Lachman is innovative filmmaker who consistently creates superior and memorable images,” says Kodak’s Anne Hubbell. “We feel privileged for the opportunity to sit down with him and find out more about his creative philosophy, practical solutions, and collaborative process.” Kodak’s support of Independent Film Week, which runs September 18-22, also includes sponsoring each day’s “In Conversations With…” sessions. Participants include co-heads of Creative Artists Agency’s Film Finance Group Micah Green and Roeg Sutherland, filmmaker/author/TV producer/critic Nelson George, Back Allie Films President Andrea Meditch, Submarine Entertainment Co-Presisent Josh Braun, as well as a panel featuring the heads of top film festivals discussing the role festivals are playing in the exhibition and distribution of independent features. For more information and a schedule of panels, visit www.independentfilmweek.com. Join Kodak on Facebook at http://www.facebook.com/KodakMotionPictureFilm, and on Twitter at @Kodak_ShootFilm. # About Kodak’s Entertainment Imaging 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 ABOUT IFP After debuting with a program in 1979 New York Film Festival, the nonprofit IFP has evolved into the nation’s oldest and largest organization of independent filmmakers, and also the premiere advocate for them. Since its start IFP has supported the production of 7,000 films and provided resources to more than 20,000 filmmakers – voices that might not otherwise have been heard. IFP fosters the development of 350 new feature and documentary films each year through its Project Forum of Independent Film Week, Independent Filmmaker Labs and projects in its fiscal sponsorship program.

Kodak Student Scholarship Winners Represent Five Different Countries ROCHESTER, NY, August 3, 2011 — The 2011 recipients of the Kodak Scholarship Program have been announced, and will be screened at this year’s UFVA conference in Boston, Mass. Kodak’s annual, international competition is designed to recognize superior filmmaking skills and creativity of the next generation. The 2011 student winners, as judged by renowned cinematographer Robbie Greenberg, ASC, hail from schools around the globe. “The quality of work being done by these students is outstanding,” says Greenberg. “The seriousness and poignancy of the subject matters the students explored was also impressive.” The 2011 winners are: • Gold Award for Excellence in the Craft of Filmmaking: Robert Hlozanka, from the Tomas Bata University in Zlin in the Czech Republic for The Mill. The award includes a $5,000 Kodak motion picture film product grant and a $1,500 cash tuition award. The Mill centers around a village priest who wants no secrets among his sheep. When he is forced to undergo his own confession, no one shows great mercy. • Silver Award for Excellence in the Craft of Filmmaking: Laura Good from the University of British Columbia in Canada for While I Breathe. The award includes a Kodak motion picture film grant valued at $4,000 and a $1,000 cash tuition award. While I Breathe is an intimate story about two people affected by human trafficking and how one chance meeting together changes their lives forever. • Bronze Award for Excellence in the Craft of Filmmaking: Nina Slabber from AFDA: The South African School of Motion Picture Medium and Live Performance for Cake. The award comes with a grant of $3,000 in Kodak motion picture film and a $500 cash tuition award. Slabber’s short film details a day in the life of Sarah, a young woman caring for her mother who suffers from Alzheimer’s. On this day, Sarah is preparing for a birthday celebration but when the power is cut she needs to find a way in which to finish baking a cake. • Honorable Mention for Excellence in the Craft of Filmmaking: Leonora Anzaldua-Burke from the University of Southern California in the United States for Blackbird, and Yaasib Colmenares from Centro de Capacitación Cinematográfica in Mexico for Que Importa Corazon. Both Honorable Mention awards include a $2,000 grant for Kodak motion picture film. In addition to Greenberg, the entries were judged by Wenhwa Tsao, graduate program director for the Film & Video Department at Columbia College Chicago, and Kodak’s Lorette Bayle, who is also an award-winning filmmaker. “To see the five winners from five different countries is very encouraging,” notes Johanna Gravelle. “This is just the second year that this program has accepted entries outside of the Americas, so we are thrilled to see such a vast pool of talented, emerging filmmakers in every corner of the world. We strive to support and encourage the next generation of filmmakers, and the schools and faculty who foster their careers. It is important for Kodak to be there every step of the way.” Accredited film schools from every region of the world submitted student candidates who were judged on a combination of their past work, faculty recommendations and academic achievement. Kodak introduced its worldwide film school program in 1991. Through the years, that program has grown to include a wide range of initiatives to help both students and educators enrich their knowledge and enhance their skills in the art and craft of filmmaking. For more information, visit www.kodak.com/go/education. Follow Kodak on Facebook at www.facebook.com/KodakMotionPictureFilm, and on Twitter at @Kodak_ShootFilm. # About Kodak’s Entertainment Imaging 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. About Kodak’s Educational Initiatives Kodak’s program for students and educators was launched in 1991 to help support future filmmakers and encourage excellence in the field of motion picture education. Kodak’s efforts include a range of opportunities that students and educators can utilize to enrich their knowledge of the art and craft of filmmaking, including scholarships, educational materials, product grants, workshops and discounts, in addition to sponsoring film festivals, awards, seminars and student showcases that raise the profile and awareness of emerging talent.

SnagFilms and two-time Emmy®-nominee Steven Fischer have released Old School New School, a stimulating, educational documentary exploring the nature of creativity, all within the context of creative storytelling through various crafts – including acting, cinematography, music, theater, dance and poetry. The film can be seen for free at www.snagfilms.com/films/title/old_school_new_school. In this 33-minute film, Fischer’s quest to fully realize his creative potential takes him into the lives and homes of a variety of accomplished artists. Their conversations explore three central themes: finding one's voice, security versus risk, and the definition of success. “Although the film documents a personal journey, it is one that is familiar to many aspiring artists,” says Fischer. “Showing this documentary through SnagFilms will allow everyone to benefit from the insights and wisdom so generously shared by these extraordinary individuals.” Among the luminaries who explore the genesis of creativity on-camera with Fischer are: • Emmy®-winning actor Brian Cox (Nuremberg, Frasier, L.I.E., Deadwood) • Tony Award-winning producer Emanuel Azenberg (Rent, Brighton Beach Memoirs, Lost in Yonkers) • Oscar®-nominated cinematographer William A. Fraker, ASC, BSC (Heaven Can Wait, 1941, WarGames, Bullitt, Rosemary’s Baby) • Grammy-winning jazz pianist McCoy Tyner (“Illuminations,” “The Turning Point,” “Journey,” “Infinity”) • Renowned cinematographer John Bailey, ASC (American Gigolo, Ordinary People, The Big Chill, The Accidental Tourist, In the Line of Fire) • Accomplished actor Tomas Arana (CSI, 24, Law & Order, Gladiator, Tombstone) • Actor-turned-Congressman Ben Jones (Dukes of Hazzard) • Acclaimed theater actor and professor Sam McCready • Distinguished poet James Ragan • London Time Out Award-winning improvisational dancer Kirstie Simson Fischer is a multi-award winning writer-producer noted for his artistic and socially conscious storytelling. He earned Emmy® nominations for producing the PSA Silence of Falling Leaves (2000), which he also wrote and directed, and for his cinematography on Now & Forever Yours (2007), a Civil War docu-drama also written, produced, and directed by Fischer. His credits include River of Stone (2011, Maryland Public Television/PBS), Urban Paradise (2011, Maryland Public Television/PBS), Francis Scott Key: Legacy of a Life in Service (2008, Rockbridge Academy), Freedom Dance (2007, Blue Dog Productions, Inc. / Herron Designs), Draw the Line (2006, NVCC-TV), Camp Med (2005, NVCC-TV), and This is CLEARCorps (1996, AmeriCorps). Fischer’s work has been honored by The New York Festivals, CINE, The Directors Guild of America, the Telly Awards, the Addy Awards, World Fest International Film Festival, and many others. He has taught storytelling at the college level and has spoken on creativity at ScriptDC, St. Thomas University, American University, Hollywood Shorts, Maryland Film Festival, Show off Your Shorts Film Festival, and The Creative Alliance. SnagFilms features free sponsor-supported viewing of more than 2,100 award-winning titles from some of the greatest names in film. Since its launch in July 2008, films in SnagFilms’ library have been viewed more than 18 million times. More than 400 million minutes of SnagFilms titles have been streamed across over more than 110,000 affiliated sites and webpages, including through partners such as AOL, Comcast, Hulu, the Starbucks Digital Network, Boxee, Roku, IMDb, the Miami Herald, hundreds of non-profits, special interest sites and blogs — and via a new free application for the iPad. To learn more about Old School New School, go to www.stevenfischer.net.

FotoKem – an innovative, global post production leader for the creative community – has announced that its award-winning nextLAB system is now being represented in the Midwest region by Fletcher Camera & Lenses with offices in Chicago and Detroit. Built on FotoKem’s proprietary file-based workflow software, these mobile systems are integrated, portable units that bring powerful post production capabilities to productions around the globe. They are an extension of the company’s in-house technological advancements and professional services, backed by decades of experience and knowledge, to assist with streamlining workflow from ingest to delivery and archive on set or near location. Fletcher will rent and manage the deployment of nextLAB units in the busy production areas of the Midwest, primarily Illinois, Michigan and Ohio. Fletcher will kick off this alliance with two introductory events on June 14, 2011, in Detroit. The first one is a non-technical “Producing in a Data World: Exploring Mobile Lab Services,” and the second is an intensive, hands-on training for local technicians. FotoKem has long-held a leadership role in the development and deployment of post production technologies that support storytellers. The company has been developing solutions for the industry’s transition to mobile production capabilities over the past five years, and in R&D for much longer. FotoKem’s nextLAB system, which includes custom software, a mobile ruggedized enclosure, training and technical support, was developed to service the industry’s transition to RAW and data-centric camera formats such as ARRI ALEXA, RED, Silicon Imaging, and Canon DSLR. The software securely stores media, archives to LTO, and provides quality control tools, offering access to metadata, audio syncing, color management, and transcoding. It not only streamlines the dailies process but also provides fast delivery to editorial and finishing. Launched in 2009, nextLAB Mobile won the 2010 HPA Post Alliance Award for Creativity and Innovation. It has been used on over 60 productions and is currently in deployment on features and projects in cities from Los Angeles to London. Fletcher is the Midwest's high-end camera and lens rental house featuring top-of-the-line film and digital cameras, strong relationships with the creative community, and a big picture view of how the industry is evolving in terms of mobile production services. Based on the extensive experience and close relationship that Fletcher shares with its creative clientele, they are increasingly involved with many pieces of the content creation chain, from camera through post. Four years ago, Fletcher built its own mobile system, COSMoS, that addressed the needs of productions for onset data management and editorial services. “Like FotoKem, Fletcher was among a very small number of companies that started to build the solutions for what was coming with data-centric workflows,” says Tom Fletcher, vice president of Fletcher Camera & Lenses. “When I saw where FotoKem had taken nextLAB, I immediately knew they had built something truly amazing; they get it. The nextLAB workflow improves efficiency for all types of projects—motion pictures, commercials, and television.” According to FotoKem’s nextLAB Vice President and General Manager Tom Vice, this is an ideal time to work with a company like Fletcher to support the demand and interest in file-based workflow in the Midwest. “The team at Fletcher Camera has been longtime friends of FotoKem, and we have worked closely with Tom Fletcher over the years on a wide variety of projects,” Vice says. “As an expert who has been involved with the use of emerging and evolving camera technologies, he became an early leader in mobile systems supporting file-based workflows on location, and initially created a system of his own. All of us at FotoKem are very excited about this collaboration, and see it as a great way to have an industry leader represent us in the Midwest.” Mobile systems, such as FotoKem’s nextLAB, are becoming an increasingly critical piece of the post production puzzle in an industry where acquisition tools and post production are uniquely and dynamically intertwined. More and more, post production begins on set with color management and the ability to ingest, view and sync new and varying camera technologies. FotoKem is a proven leader in these services, having supported projects around the world and under demanding time and budgetary circumstances. Megan Donnelly, director of Digital Mobile Services for Fletcher Camera & Lenses, adds, "We live in an interesting new world. The nextLAB system works intuitively with the way crew members work while also surpassing the expectations of creatives. The learning curve for clients is very seamless with FotoKem’s solution. We think customers will see it’s a must-have product once used.” Mike Brodersen, vice president of FotoKem, comments, “We could not have found a better colleague to work with than Tom and the entire Fletcher Camera organization. They are well-respected and incredibly knowledgeable partners for us in the Midwest. We look forward to working with them to help put our system directly into the productions that need it.”

Kodak Presents Filmmaking Seminars at Cine Gear Expo June 3-4; Premier Panels are Free with Cine Gear Expo Registration Panelists include Bailey, Bowman, Morgenthau, Papamichael, Sebaldt, Schaefer, Schneider, Steelberg and Strasburg LOS ANGELES, May 27, 2011 — Kodak will present a series of panel discussions at the 2011 Cine Gear Expo here on the Paramount Pictures Studios lot on June 3 and 4. Topics range from the creative and philosophical decisions behind acclaimed television programs such as Boardwalk Empire, Castle, CSI, and Treme, to an in-depth conversation with master cinematographer John Bailey, and a discussion with some of today’s top creative minds on the artistic and budgetary considerations made when choosing one of the many film formats available. All of the seminars are free with admission to Cine Gear Expo. Advanced registration for the Expo can be done at no charge online at www.cinegearexpo.com until May 28, and then it will cost $20. All of the below panels will be held in the Sherry Lansing Theatre on the Paramount lot. Friday, June 3 / 6:00 -7:30 p.m. Premier Television: Today’s top television programs deliver cinematic production values and tackle tough issues and stories. Moderator David Heuring will lead a discussion to discover what philosophical approaches and creative decisions set these acclaimed programs apart. Find out what’s happening behind the scenes with director-producer Rob Bowman (Castle), Kramer Morgenthau, ASC (Boardwalk Empire), Christian Sebaldt, ASC (CSI: Crime Scene Investigation) and Ivan Strasburg, BSC (Treme, Temple Grandin) Saturday, June 4/ 11 a.m. -12:30 p.m. Inside the Mind of a Master: John Bailey, ASC: Bailey will address the changing role of the cinematographer in a one-on-one conversation with moderator David Heuring. Bailey will talk about the evolving technology behind the cinematographer's art, and how the creators and custodians of the images have been working through issues related to image capture and post manipulation as well as long term archiving. Bailey has more than 80 film and television credits including The Big Chill, American Gigolo, The Accidental Tourist, The Pope of Greenwich Village, Silverado, Cat People, Ordinary People, He's Just Not That Into You, and Country Strong. Saturday, June 4/ 3:00 -4:30 p.m. Format Choices: Life is a series of choices, and so is filmmaking. Join in an enlightening conversation about the range of film formats available to today’s filmmakers thanks to advancements in film stocks, cameras and post technologies. A panel of top professionals will relate the thought processes behind their decisions to choose Super 16, 2-perf and 3-perf 35 mm, and 65 mm. Artistic and budgetary considerations will be part of the dialogue with Phedon Papamichael, ASC (The Descendants, Ides of March, 3:10 to Yuma), Roberto Schaefer, ASC, AIC (Machine Gun Preacher, The Kite Runner, Monster’s Ball), Aaron Schneider, ASC (Get Low, Two Soldiers, Murder One), and Eric Steelberg (Up in the Air, (500) Days of Summer, Juno). Directions and additional information can be found www.cinegearexpo.com (All seminar participants are subject to availability.) For more information about Kodak, visit www.kodak.com/go/motion, or follow Kodak on Facebook at http://www.facebook.com/KodakMotionPictureFilm

Filmmaker Panel at Tribeca Explores How to Shoot Film on a Budget; Discussion Part of Kodak’s Festival Support NEW YORK, NY, April 19, 2011 —Kodak will host a panel discussion on the budgetary and aesthetic reasons for shooting on film here at the 2011 Tribeca Film Festival. An official Industry Sponsor of the festival, Kodak will host the free panel on Thursday, April 28, at 2:30 p.m., at the SVA Theater 2 (333 West 23rd Street), which is open to festival attendees and the public. Tribeca Talks: Shooting Film on a Budget will feature some of today’s most innovative filmmakers sharing why and how they told their stories on film. Panelists include cinematographer Joaquin Baca-Asay (Two Lovers), producer Karin Chien (Circumstance), director Michael Cuesta whose film Roadie screens at the Festival, and cinematographer Frank DeMarco (Hedwig and the Angry Inch).The panel will be moderated by Joshua Zeman, who produced films such as Ceremony and The Station Agent. “Kodak is always striving to improve film technology, which makes Super 16, three-perf and two-perf 35 mm formats more attractive than ever,” says Lauren Lung, vice president and general manager of Kodak’s Entertainment Imaging Division in North and South America. “Film allows independent filmmakers to work efficiently and economically, and at the same time capture the most image information for post production.” Kodak’s support of the festival extends to the Filmmaker Lounge, as well as networking opportunities designed to enhance the festivalgoer’s experience, and make possible many of the services provided to filmmakers during the festival. Now in its 10th year, the Tribeca Film Festival runs from April 20 to May 1. About Kodak 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. Join Kodak on Facebook at http://www.facebook.com/KodakMotionPictureFilm, and on Twitter at @Kodak_ShootFilm. About Tribeca Film Festival The Tribeca Film Festival was founded in 2001 by Jane Rosenthal, Craig Hatkoff, and Robert DeNiro to spur the economic and cultural revitalization of Manhattan through a celebration of film, music and culture. Tribeca is well known for being a diverse international film festival that supports emerging and established directors. The films and filmmakers at the festival represent an important cross-section of the international creative community, and its audience and attendees contribute to a flourishing industry. For more info, visit www.tribecafilm.com/festival. #

Kodak to Host Free Webinar on Format Choices Available to Filmmakers; Special Guest will be Oscar®-nominee Matthew Libatique, ASC HOLLYWOOD, March 22, 2011 –Life is a series of choices, and so is filmmaking. Join Kodak and Oscar®-nominee Matthew Libatique, ASC in an enlightening conversation about the format choices available to today’s filmmakers. This free, one-hour Webinar begins at 11 a.m. (PDT)/ 2 p.m. (EDT) on Wednesday, April 6, 2011. Space is limited, so early registration is recommended at https://kodakevents.webex.com/kodakevents/onstage/g.php?t=a&d=592559383 Participants will learn about options such as Super 16, 2-perf and 3-perf, as well as workflow choices from traditional photochemical to digital intermediate. Libatique will be on hand to share his extensive experience and observations on using a variety of formats. This Webinar also offers a unique opportunity for attendees to interact and ask questions. “Advancements in film technologies are giving filmmakers more options than ever,” says Johanna Gravelle, Worldwide Image Capture marketing director, Kodak’s Entertainment Imaging division. “Matty Libatique brings the artistic eye of a master as well as experience at every budget level. This Webinar will be a rare opportunity to learn how he approaches decisions about format and post path based on the artistic and financial parameters of the project.” Libatique has worked on a number of films with director Darren Aronofsky, including Pi, Requiem for a Dream, The Fountain and Black Swan, for which the cinematographer earned an Oscar® nomination and an Independent Spirit Award. He has also collaborated on multiple films with directors Jon Favreau, Spike Lee and Joel Schumacher. Libatique’s feature credits include Tigerland, Abandon, Phone Booth, Gothika, Never Die Alone, She Hate Me, Inside Man, The Number 23, Iron Man, Iron Man 2 and the upcoming Cowboys & Aliens. In addition to feature films, Libatique has compiled more than 100 music video and commercial credits. Choose to set the standard. Choose to save money. Choose without compromise. Choose to be a part of the dialogue, and reserve your spot now. # 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 at http://www.facebook.com/KodakMotionPictureFilm, or on Twitter at @Kodak_ShootFilm.

Kodak’s Support of Independent Filmmakers Widespread at Slamdance and Sundance Festivals; Highlights include Coffee with Oscar®-winner Vilmos Zsigmond; and a Panel on Shooting Low-Budget Features on Film PARK CITY, UTAH, January 19, 2011—Kodak will once again give its full support to the independent filmmaking community at the Slamdance and Sundance Film Festivals, which will run concurrently in Park City, Utah, beginning January 20. Kodak will present an extended Q&A with Oscar®-winning cinematographer Vilmos Zsigmond, ASC and producer Jack Robinette following the screening of their 1965 film Summer Children on January 24 at 7:30 p.m. here at the Treasure Mountain main screening room. Lost since 1965, 35 mm black-and-white elements of Summer Children were discovered in Canada, France, New York, and Los Angeles. The film is part of the Slamdance Special Screenings program. Kodak will also host “Coffee with Vilmos” on January 25 from 9 –10 a.m. in the main screening room at the Treasure Mountain Inn. Zsigmond, who earned an Oscar® for his cinematography on Close Encounters of the Third Kind and nominations for The Deer Hunter, The River and The Black Dahlia, will discuss his creative process. Zsigmond will offer insights on his collaborations with Steven Spielberg, Woody Allen, Brian De Palma, Michael Cimino and Robert Altman, among others. From independent features to studio pictures, Zsigmond’s career tracks the evolution of cinema over the past four decades. His recent endeavor, Louis, has attracted critical acclaim once again for contributing the black-and-white visuals to the silent film that tells the story of a Louis Armstrong as a young boy and how he acquired his first clarinet. Over at Sundance, Kodak will present the panel “Shooting Low-Budget Features on Film!” on January 25 from 10:30 a.m. -12:30 p.m. at Microcinema at New Frontier on Main. One of the most important decisions a filmmaker faces is choosing the right visual tool to best tell a story. With budgets as low as $50K, these panelists used a variety of format options, including 16mm, two-perf, three-perf, and four-perf 35mm. The panel includes 2011 Sundance Filmmakers Nekisa Cooper (producer-Pariah), Sophia Lin (producer –Take Shelter), Reed Morano (cinematographer-Little Birds), and Michael Tully (writer/director –Septien). “Contrary to the hype, film is a very affordable medium for a wide range of productions, and these panelists can speak to that first-hand,” says Lauren Lung, general manager of the Americas for Kodak’s Entertainment Imaging Division. “So many filmmakers aspire to shoot film because nothing compares to its latitude, flexibility and resolution. As we continue to advance film technology, these innovative filmmakers don’t have to make compromises to realize their vision.” Kodak will also present a product grant to the winner of the Slamdance Cinematography Award. The winner, chosen by a Slamdance jury and announced January 27, will receive 5,000 feet of Kodak motion picture film. On Main Street at the Sundance Film Festival, Women in Film will present a Kodak product grant as part of their Women in Film/The Incentives Office Grant on January 23. This award — chosen by a jury of educators, filmmakers and artists from WIF — is presented to a female director in the Sundance Film Festival Shorts Program. These are just a few of the many ways Kodak helps filmmakers get their vision from script to screen. For example, Kodak recently announced it is offering a 50-percent discount to Sundance Institute Fellows on any Kodak camera negative or reversal stock as part of their ongoing efforts to support the next generation of filmmakers. All Sundance Lab Screenwriting, Directing or Producing Fellow alumni who are beginning principal photography in 2011 on their Lab project are eligible. 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. #

Kodak is offering a 50-percent discount to Sundance Institute Fellows on any Kodak camera negative or reversal stock as part of their ongoing efforts to support the next generation of filmmakers. All Sundance Lab Screenwriting, Directing or Producing Fellow alumni who are beginning principal photography on their Lab project are eligible. The offer extends through 2011. “We are honored to be working with the Sundance Institute and their prestigious, world-renowned Lab programs and alumni,” says Lauren Lung, general manager of the Americas for Kodak’s Entertainment Imaging Division. “The Sundance Institute is dedicated to fostering talent and unique stories, and film is aesthetically unmatched by any capture medium, providing filmmakers the creative freedom to experiment and cultivate their ideas. We look forward to seeing what the next generation has to offer.” Furthermore, with Kodak film, comes Kodak support. Company representatives will also be available to consult with Fellows regarding stock choice, format, etc., as they choose the best medium for getting their vision from script to screen. “We’re thrilled to collaborate with Kodak on this new discount and support an even greater number of our filmmakers,” says Sundance Institute Producer in Residence Anne Lai. “We often see filmmakers struggle to not only get their films off the ground, but also make difficult choices on what best supports their creative vision in the face of challenging budgets. This discount will go a long way in helping them.” Filmmakers selected for Sundance Institute’s Feature Film Labs participate with what is often their first or second feature film. The Lab marks the beginning of their journey with Sundance continuing with creative and strategic support through completion of the film. Over its 30 year history, Sundance Institute’s Feature Film Program has supported an extensive list of award-winning independent films including Cherien Dabis’ Amreeka, Cary Fukunaga's Sin Nombre, Ryan Fleck and Anna Boden’s Half Nelson, Paul Thomas Anderson’s Hard Eight, Tamara Jenkins’ Slums of Beverly Hills, and Quentin Tarantino’s Reservoir Dogs. Kodak is a 2011 Sundance Institute Associate. The company participates in the Sundance Film Festival through several events. For more information, visit www.kodak.com/go/motion.