Sue Smith

American Society of Cinematographers Reveals Television Awards Nominees LOS ANGELES, December 16, 2010 — The American Society of Cinematographers (ASC) has announced nominees in the two television categories of the 25th Annual Outstanding Achievement Awards competition. The awards ceremony will be held here on February 13 at the Hollywood & Highland Grand Ballroom. Nominees in the Television Episodic Series/Pilot Category are Eagle Egilsson for “Shell Game”/ DARK BLUE (TNT); Jonathan Freeman, ASC for “Home” / BOARDWALK EMPIRE (HBO); Christopher Manley, ASC for “Blowing Smoke” / MAD MEN (AMC); Kramer Morgenthau, ASC for “Family Limitation” / BOARDWALK EMPIRE; David Stockton for the NIKITA pilot (CW); Michael Wale, CSC for “Shield” / SMALLVILLE (CW); and Glen Winter, CSC for “Abandoned”/ SMALLVILLE. The finalists in the Television Movie/Miniseries category are David Gribble, ACS for JESSE STONE: NO REMORSE (CBS); Jon Joffin for “Episode 2”/ ALICE (Syfy) and Stephen Windon, ACS for “Okinawa” / THE PACIFIC (HBO). “Our members who judged these competitions were impressed by the brilliant and artful cinematography done this year,” says ASC Awards Chairman Richard Crudo. “Two of these talented individuals will claim top honors, but they are all winners. All of the nominees have earned the admiration of their peers.” Freeman and Winter each have four previous nominations. Freeman was tapped for PRINCE STREET, STRANGE JUSTICE and TAKEN, and a win in 2005 for the telefilm HOMELAND SECURITY. Winter’s nominations have all been for SMALLVILLE, including one win in 2008. This is the fourth nomination for Egilsson, who won the 2010 ASC Award for an episode of DARK BLUE after earning two earlier nods for CSI: MIAMI. Collecting their third nominations this year are Manley (THREAT MATRIX, CSI: NEW YORK) and Morgenthau (LIFE ON MARS, THE FIVE PEOPLE YOU MEET IN HEAVEN). Stockton and Joffin earn their second nods from the ASC, with Stockton winning in 2008 for ELEVENTH HOUR and Joffin’s prior nod for THE ANDROMEDA STRAIN. Gribble, Wale and Windon are all first-time ASC nominees. “The level of artistry and innovation in television cinematography has never been higher than it is now," says ASC president Michael Goi. "Narrowing down the field to these nominees was difficult given the general excellence of the submissions." 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.

straight 8 film Competition Coming to 2011 Slamdance; Deadline for entries is December 6 LOS ANGELES, November 23, 2010—The international Super 8 competition straight 8 and Slamdance Film Festival are collaborating to bring new, unedited Super 8 films to Park City, Utah, in January 2011. The deadline to enter is December 6. The competition entails shooting one Kodak Super 8 film cartridge, which participants receive upon entering. Filmmakers shoot their project on this single roll, and return the cartridge, unedited and unprocessed by December 13. Soho Film Lab then processes the submissions, a straight 8/Slamdance jury judges the entries, and then screens the best of the raw story telling captured by these daring, emerging filmmakers. “This couldn’t be a better festival for our program,” says Ed Sayers, founder of straight 8. “We are thrilled to be offering filmmakers such a brilliant opportunity in North America to have their work be seen for the first time.” This is the first time that straight 8 will have a premiere screening in North America. Other straight 8 events take place throughout the year at Cannes, Sheffield, Rome, and London. The screening will take place during the Slamdance Film Festival, which runs January 20-27, 2011. Kodak is supporting straight 8 by offering entrants the choice of four Super 8 film stocks, including their latest KODAK Ektachrome 100D Color Reversal Film 7285 and KODAK VISION3 200T Color Negative Film 7213, both introduced earlier this year; KODAK VISION2 200T Color Negative Film 7217; and the black-and-white KODAK TRI-X Reversal Film 7266. “The theme of this year's Slamdance is ‘All is Not Lost,’ which fits perfectly with the straight 8 ethos: one super 8 cartridge, no editing,” adds Sayers. “The straight 8/Slamdance jury will keep this theme in mind when selecting the films for the screening.” “This is such a great opportunity to showcase authentic and fun independent filmmaking at its finest,” says Peter Baxter, Slamdance co-founder and president. For more information about straight 8 or to enter their Slamdance competition, go to www.straight8.net. All films submitted for the Slamdance screening will also be eligible for straight 8 2011 as a whole, and could also be screened at the organization’s other events. About straight 8:straight 8 began in 1999 when a bunch of friends tried to make a short film on one cartridge of Kodak Super 8 with only in-camera editing. Everyone who entered had their film shown. Now straight 8 receives submissions from all over the world and presents screenings at Cannes, on TV, as well as other international locations. For images, screeners, logos or press quotes contact Will Cummock: +44 (0) 7952 542425, helpingout@straight8.net. (Please note: the correct way to print the name of our event: straight 8 – no capitals, one space!) straight 8’s mission is to get the greatest possible variety of people making films and creating opportunities for their work to be seen for the first time with a huge audience. #

KODAK Fellowship Recipient Revealed At AMIA/IASA Conference PHILADELPHIA, November 5, 2010 — The KODAK Fellowship Award was presented today to Marissa Haddock at the Awards and Scholars Luncheon at the 2010 joint conference of the Association of Moving Image Archivists (AMIA) and the International Association of Sound and Audiovisual Archives (IASA) in Philadelphia. “This fellowship is designed to encourage and provide tangible support for deserving film students who are interested in pursuing careers as moving image archivists,” says Rick Utley, vice president of PRO-TEK, a subsidiary for Kodak's Entertainment Imaging Division. “With nine out of the previous 11 recipients currently working in the industry, this program has proved to be a success.” As part of the fellowship, Haddock will participate in a four week internship which includes hands-on training at PRO-TEK, Chace Audio by Deluxe, and at FotoKem’s digital and photochemical lab. Haddock is currently completing the Certificate Program at the L. Jeffery Selznick School of Film Preservation, and has been working as a graduate assistant at the Rochester Institute of Technology Munsell Color Science Laboratory. “One of the most valuable ways to learn is by doing, this (internship) will be an invaluable step in beginning my career in film preservation with an emphasis on technical issues,” says Haddock. Kodak is a major sponsor and active participant at the conference, running November 2-6. More than 700 of the world’s leading motion picture film and sound archivists are gathered to discuss where convergence is possible, to communicate standards, and to share mutual solutions and opportunities. As a Gold Sponsor of the AMIA Conference, Kodak exclusively hosted the opening night reception. “We are proud this year to once again have the opportunity to support and take part in the AMIA/IASA conference,” says Jonathan Barlow, worldwide product manager for Kodak’s Entertainment Imaging Division. “The restoration and preservation communities are great film advocates who understand the unmatched archival attributes of film. Their work has been invaluable in the preservation of these educational, historical and cultural moving image resources for future generations.” Follow Kodak on Facebook at http://www.facebook.com/KodakMotionPictureFilm, or 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 on Kodak and film preservation, visit www.kodak.com/go/motion. About AMIA The Association of Moving Image Archivists (AMIA) is a nonprofit professional association established to advance the field of moving image archiving by fostering cooperation among individuals and organizations concerned with the acquisition, description, preservation, exhibition and use of moving image materials. For more information on AMIA and the 2010 AMIA/IASA Conference, go to www.amianet.org

Four students – one from each major region of the world – have been named first-place winners in the 2010 edition of the annual Kodak Film School 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 are: - Joshua Nitschke from California State University-Northridge for the United States/Canada region; - Massimo Bettarelli from CUEC-UNAM in Mexico for the Latin American region; - Mihai Marius Apopei from the National University of Theatre and Cinematography “I.L.Caragiale” in Romania for Europe-Africa-Middle East region; - Yuki Ukibe from the Japan Academy of Moving Images for the Asia-Pacific region. The winners will receive a trip, courtesy of Kodak, to the 2011 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 also participate in networking sessions and other activities which are part of the festival. For the second consecutive year, John Bailey, ASC (As Good as it Gets, Accidental Tourist) judged the entries. “We are grateful to John for contributing his artful eye and experience to nurturing the next generation of filmmakers,” says Johanna Gravelle, Worldwide Image Capture marketing director for Kodak’s Entertainment Imaging Division. “Our goal is to foster new talent, and all of the students who enter benefit from John’s insights and feedback. This competition and its prizes are just one of many ways that Kodak supports students and film schools around the world.” The winners of this year’s Kodak Film School Competition tackled a diverse range of subject matter. Bettarelli’s Los Trashumantes tells the tale of three Mexican filmmakers obsessed with filming Pancho Villa during the Mexican Revolution. In Apopei’s Close Encounters of the Third Reich, a Romanian medic in search of his unit befriends a wounded German officer in the midst of war-torn Europe. Nitschke’s Misdirection follows a famous magician’s grandson as he discovers his grandfather's greatest, yet dangerous, secret. In Ukibe’s Wish You Were Here, an active, young girl living in very quiet village befriends a recluse and develops a father-daughter-like relationship. Second place winners were also named in each region. These recipients receive a $2,000 Kodak film product grant. They are: Sam Lebel-Wong from Ryerson University in Canada for The Memory Merchant; Marcelo Martins Santiago from the Universidade Estácio de Sá in Brazil for Blue Exile; Ehud Hermony from The Sam Spiegel Film & Television School in Jerusalem for Guided Tour; and Liu You Nian from the Beijing Film Academy in China for Sunshine Fraud. The Kodak Film School 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 Competition, visit www.kodak.com/go/filmschoolcompetition. For more information on Kodak motion picture film products and services, visit www.kodak.com/go/motion.

SEALE,O’SHEA AND KIRKLAND TABBED FOR ASC TRIBUTES LOS ANGELES, October 21, 2010 – John Seale, ASC, ACS, Michael D. O’Shea, ASC and Douglas Kirkland will be honored by their peers during the 25th American Society of Cinematographers Outstanding Achievement Awards celebration here at the Hyatt Regency Century Plaza Hotel on February 13, 2011. “John Seale, Michael O’Shea and Douglas Kirkland have earned the admiration of our members for their significant contributions to the artistry of image making, be it motion pictures or still photography,” says ASC President Michael Goi. Seale will receive the ASC International Award, which is presented annually to a foreign cinematographer in recognition of extraordinary achievements in films produced for the global cinema. O’Shea will receive the ASC Career Achievement in Television Award. Kirkland will receive the 2011 ASC Presidents Award, which is presented to individuals who have made significant contributions to the art form. “John, Michael, and Douglas still have their best years ahead of them,” says ASC Awards Committee Chairman Richard Crudo, “but they have earned and deserve this recognition. They are role models for the next generation.” Seale was born and raised in Australia, where he was a cowboy in the Outback before launching his career as a news film and documentary cameraman. Seale has earned more than 40 feature film cinematography credits since 1976. He won an Oscar® for The English Patient (1996) and received additional nominations for Witness (1985), Rain Man (1988) and Cold Mountain (2003). His other memorable films include Children of a Lesser God, The Mosquito Coast, Dead Poets Society, Gorilla’s in the Mist: The Story of Dian Fossey, Harry Potter and the Sorcerer’s Stone, Poseidon and the upcoming movie The Tourist. Seale was inducted into the Australian Cinematographers Society Hall of Fame in 1997. O’Shea was born and raised in Los Angeles, where he began his career working as a laborer on the Warner Bros. lot while he was a college student. O’Shea has compiled an impressive array of cinematography credits for episodic series and television movies and miniseries. He won an Emmy® for CSI: Miami in 2003 and other nominations for the episodic series Doogie Howser, M.D. in 1992 and Relativity in 1997, and for the television movies To Love, Honor and Deceive in 1997 and The ‘60s in 1999. Kirkland was born and raised in Toronto, Canada. During the 1960s and ‘70s, he was a staff photographer for Look and Life magazines which featured his portraits of Jack Nicholson, Marilyn Monroe, Morgan Freeman, Marlene Dietrich, Brigitte Bardot, Judy Garland, Sophia Loren, Charlie Chaplin and many other iconic movie stars. Kirkland was also a still photographer during the production of more than 100 motion pictures, including Butch Cassidy and the Sundance Kid, Out of Africa, 2001: A Space Odyssey and Moulin Rouge. His pictures have been featured in newspapers, magazines and books around the world. Portraits that Kirkland has taken of more than 200 cinematographers have also been featured in industry publications. For information regarding the 25th Annual 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.

LOS ANGELES, October 11, 2010– Roger Deakins, ASC, BSC will receive the 2011 American Society of Cinematographers (ASC) Lifetime Achievement Award. The presentation will be made during the 25th Annual ASC Outstanding Achievement Awards celebration here at the Hyatt Regency Century Plaza Hotel on February 13, 2011. “The Lifetime Achievement Award is a reflection of the impact that a cinematographer has made on the art of filmmaking rather than the capping of a career,” says ASC President Michael Goi. “It is our way of acknowledging a true artist in his prime. Roger Deakins raises the artistic profile of our profession with every movie and he will continue to do so for many years.” Deakins has earned Oscar® nominations for The Shawshank Redemption (1994), Fargo (1996), Kundun (1997), O Brother, Where Art Thou? (2000), The Man Who Wasn’t There (2001), The Assassination of Jesse James and the Coward Robert Ford (2007), No Country for Old Men (2007) and The Reader (shared with Chris Menges, ASC, BSC, 2008). His peers nominated all eight of those films and Revolutionary Road (2008) for ASC Outstanding Achievement Awards for feature film cinematography. Deakins claimed top ASC honors for The Shawshank Redemption and The Man Who Wasn’t There. “I had mixed emotions when I was told about this recognition,” Deakins says. “To be honest, I am flattered, but I also feel like I am only just getting started. I'm enjoying what I do more than I ever have and there seems to be so much more I want to do. I feel like I’m getting this award about halfway through my career. It is great to realize that my colleagues watch my work and get something out of it.” ASC Awards Committee Chairman Richard Crudo observes, “Roger Deakins overcame formidable obstacles during the dawn of his career and went on to help create some of the most memorable films of our times. Roger has inspired young and older filmmakers to pursue what sometimes seems like impossible dreams.” Deakins blazed a non-traditional career path. He was born and raised in the seaside town of Torquay in Devon, England. As a boy, Deakin's passion was for painting but when he enrolled in the Bath Academy of Art his interest shifted to photography. When Deakins wasn’t taking pictures, he was in the darkroom processing film and making prints. After a brief stint as a professional photographer Deakins continued his education at the National Film School in London. Deakins estimates that over three years he shot more than 15 films for student directors, both dramatic films and documentaries ranging from 30 to 90 minutes each. After graduation, he primarily spent the first seven years of his career shooting documentaries, the first of which required him to play the role of crew member as well as director/cameraman during a nine-month yacht race around the world. Deakins went on to work on many documentaries for British television, which included films on the liberation wars in Rhodesia (now Zimbabwe) and Eritrea, a study of mental patients within the UK National Health Service, and the life of the Nuba people of Southern Sudan. His first of some 50 narrative film credits was in 1983 for Another Time, Another Place, which aired on Channel 4 in England. “I've always chosen to work on films that are more than entertainment,” he says. “I believe film can also be provocative and send audiences home thinking.” Deakins has collaborated with an impressive array of directors, including Sam Mendes, Martin Scorsese, Ron Howard, Norman Jewison, Ed Zwick, Andrew Dominik and Michael Apted. True Grit, which is slated for release in December, is his 11th co-venture with brothers Ethan and Joel Coen at the helm. For information regarding the 25th Annual Outstanding Achievement Awards visit www.theasc.com or call 323-969-4333. # About The American Society of CinematographersThe 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

The American Society of Cinematographers (ASC) has announced a call for entries in the 2011 William A. Fraker Heritage Award competition for outstanding artistic achievement in student filmmaking. The award is dedicated annually to the memory of a cinematographer who made extraordinary contributions to advancing the art form. The award will be presented during the 25th Annual ASC Outstanding Achievement Awards celebration, which will be held here at the Hyatt Regency Century Plaza Hotel on February 13, 2011. The ASC established the annual Heritage Award to recognize talented undergraduate and graduate or recently graduated (within one year) cinematography students. Educational institutions may submit up to two qualified students for each category (undergraduate and graduate/recent graduate). Films will be evaluated by a jury of ASC members who will judge the students’ execution of artful cinematography and effective creation of images that augment the visions of the directors and performances by the actors. The deadline for submitting entries is November 1 by noon (PST). “Billy Fraker was a wonderful human being in addition to being an amazingly talented cinematographer,” says Richard Crudo, ASC, chairman of the Outstanding Achievement Awards Committee. “His films made an indelible impression on the art of filmmaking. He also inspired and supported countless numbers of aspiring filmmakers to follow their dreams.” Fraker earned Oscar® nominations for Looking for Mr. Goodbar (1977), Heaven Can Wait (1978), 1941 (1979), WarGames (1983) and Murphy’s Romance (1985), and for creating in-camera visual effects for 1941. A short list of his other memorable cinematography credits includes Rosemary’s Baby, Bullitt, Paint Your Wagon, Tombstone, and Rules of Engagement When his colleagues honored him with an ASC Lifetime Achievement Award in 2000 Fraker said, “I can’t think of a greater honor than being recognized by your peers.” ASC President Michael Goi says, “Calling William Fraker a legend in his own time is an understatement. He was a modern day Shakespeare who told stories with moving images instead of words. Billy also played a vital role in guiding the ASC into the 21st century.” Fraker joined the U.S. Navy during World War II. When the war ended, the G.I. Bill of Rights enabled Fraker to enroll in the cinema studies program at the University of Southern California. After graduation, he spent around seven years working as a freelance still photographer and shooting 16 mm industrial films and pick-up shots for movies for $25 apiece. Fraker was a camera loader on The Lone Ranger television series in 1962. He earned the first of his some 50 cinematography credits in 1966 on the television series The Adventures of Ozzie and Harriett, and shot his first mainstream feature, The President’s Analyst, in 1967. Fraker eventually served three terms as president of the ASC, and was invited to be a member of the British Society of Cinematographers (BSC). He died on May 31 this year. For more information and to download an application, visit www.theasc.com or call 323-969-4333.

Chemical Wedding, in partnership with the American Society of Cinematographers (ASC), announces the Toland ASC Digital Assistant for the iPhone or iPod Touch. ASC President Michael Goi explains, “While researching the right tech company to partner with on this project, Chemical Wedding's intelligent design of Helios and Artemis resonated with our members as having the kind of quality and craft people have come to associate with the ASC. With this venture and more to follow, the ASC is expanding its outreach and influence to future cinematographers and working professionals by creating tools that reflect how we work today.” The Toland ASC Digital Assistant was named after renowned ASC member Gregg Toland, whose innovative use of lighting and techniques made him one of the true masters of the art form and a legend among cinematographers. Goi says, “It is entirely appropriate to name this application in honor of Gregg Toland, one of cinema’s most groundbreaking artists.” He is best known for his revolutionary cinematography in Citizen Kane, which has inspired filmmakers all over the world. The Toland ASC Digital Assistant is an application that takes portions of the well-revered American Cinematographer Manual and provides instant solutions to the technical concerns of cinematography. The ASC Manual has been the key resource for cinematographers around the world for decades and serves as a technical guide, designed to work through the detailed process of cinematography. Award-winning cinematographer Fred Elmes, ASC, whose work boasts over 50 films including Eraserhead, Blue Velvet and The Ice Storm, played an important role in testing the application and providing valuable feedback to developers, “Toland puts the American Cinematographer Manual into your pocket. When a shot gets complicated, and you need to make a quick change, it’s wonderful to pull out Toland to be certain you’re doing the right thing. Other programs do similar things, but Toland does it best because it’s all under one roof.” Nic Sadler, cinematographer and lead product designer for Chemical Wedding explains, “Rather than having to enter specific data to answer questions, Toland is designed to track your choices as you make them. As you change the camera speed, you will instantly get feedback on how this affects running time and exposure. When you change lenses, you will see the Depth of Field and Field of View update in real time. Toland then allows you to log all this information to build comprehensive camera reports. Simply put, all of the information is in one place making the technical part of the job much easier.” Toland’s integrated features include: a comprehensive database of cameras and lenses; exposure calculator covering camera speed, shutter angle and filter factor; running time and footage calculator; flicker free warning indicator; depth of field calculator with focus marks; angle of view indicator and full camera data logging which can be exported and emailed. The Toland ASC Digital Assistant is now available worldwide through iTunes.

Kodak Names Graeme Parcher to Manage Strategic Global Accounts for Entertainment Imaging Division LOS ANGELES, September 8, 2010 – Eastman Kodak Company announces that Graeme Parcher will be joining the company as worldwide general manager of Strategic Accounts and Distribution, and vice president of its Entertainment Imaging Division. Parcher, former group vice president for Fujifilm North America, will be responsible for key account management for the motion picture studios and major labs worldwide. He will also oversee the company’s global print film franchise. He will be located in Kodak’s Hollywood, California, headquarters. The appointment becomes effective October 4, 2010. “Graeme is a proven leader who brings a wealth of strategic and operational experience to this new role,” says Kimberly Snyder, president of Entertainment Imaging and vice president of Eastman Kodak Company. “He has strong ties to our customer community and we are very excited to welcome such a well-rounded, veteran executive to the Kodak team.” Parcher, who began his career as an assistant cameraman, spent four years in marketing and sales at Panavision Canada. He joined Fujifilm in 2000, and was named vice president of Fujifilm Canada in 2006. For the last two years, Parcher has led Fujifilm’s North American Motion Picture Division’s sales, marketing and operations. In his new Kodak role, Parcher will negotiate and manage the company’s contracts with the five major motion picture studios, and the two biggest laboratory accounts. He will also develop long-term strategies to support revenue and earnings objectives for Kodak’s motion picture print film business. Parcher is a board member of the Will Rogers Motion Picture Pioneers. He is also a member of Sheridan College School of Advanced Television and Film Educational Advisory Committee; the Society of Motion Picture and Television Engineers (SMPTE); and the Canadian Society of Cinematographers (CSC). “It’s an honor to be given the opportunity to lead such an important piece of Kodak’s business – especially at such an exciting and dynamic time in the industry,” Parcher said. “I look forward to doing all I can to reinforce Kodak’s strong market position, and also to working with a team of professionals whose devotion to the customer is paramount.” # 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 television, feature film, commercial, music video, documentary and exhibition industries. For more information on KODAK VISION3 film, visit www.kodak.com/go/motion, with links to ongoing podcasts and blogs on products and services from Kodak.

A touring program of about 60 independently produced documentaries is traveling to almost 25 countries worldwide, where U.S. filmmakers and film experts will introduce the films and conduct seminars and workshops on filmmaking and emergent media at U.S. embassies, international film festivals, universities and other venues. Curated and administered by the University Film and Video Association, the American Documentary Showcase (AMDOCs) is funded by the U. S. Department of State’s Bureau of Educational and Cultural Affairs. “People around the world have enthusiastically responded to documentaries in the Showcase, because film speaks a universal language,” says Project Director Betsy McLane, Ph.D. “These films offer a broad, diversified look at life in the United States and the values of a democratic society as seen by independent American filmmakers.” Films chosen for the 2010 Showcase have earned Oscar® and Emmy® nominations and awards at Sundance, Tribeca and other film festivals. The documentaries cover diverse topics ranging from the story of a Puerto Rican American Muslim hip-hop star (”New Muslim Cool”) to the integration of immigrants into a rural Southern town (”Welcome to Shelbyville”); from the aftermath of Hurricane Katrina (”Trouble the Waters”) and the effects of mountain-top coal mining (”Burning the Future”) to the story of two expatriates from communist Hungary who became iconic Hollywood filmmakers (”No Subtitles Necessary”). The 2010 American Documentary Showcase is scheduled to travel to Angola, Bahrain, Bangladesh, Burma, China, Columbia, Ecuador, Egypt, Honduras, Kenya, Mongolia, Morocco, Nigeria, Namibia, Paraguay, Poland, Russia, Rwanda, Turkey, Ukraine, Uzbekistan, Venezuela, Vietnam and Zimbabwe. For more information, visit www.ufva.org/showcase.

Influential OnFilm Campaign Archive Launches on Kodak Website An online archive of Kodak’s OnFilm campaign has been created and is now live on Kodak’s website at www.kodak.com/go/onfilm. Beginning in 1988, OnFilm ads were conceived as a way for Kodak to highlight the art of filmmaking through philosophical and inspirational remarks from cinematographers. Over 250 filmmakers have been featured, and their commentaries exemplify each individual’s pursuit of excellence and commitment to the art and craft of storytelling. Today, the archive goes back to 2005 with plans to eventually include everyone featured in the campaign. Some of the passionate comments come from such venerable filmmakers as Guillermo Navarro, Steven Bochco, Jack Cardiff, Dion Beebe, Tom Stern, Frederick Wiseman, Emmanuel Lubezki, Christopher Nolan, Stuart Dryburgh, Raoul Coutard and Chris Menges, among many others. “The initial objective at the genesis of the campaign was to interview members across the entire film community,” says Judy Doherty, Kodak’s marketing director for the Americas. “Since the inception of OnFilm, that has been an ongoing goal: to continue that legacy and to build on this heritage for many years to come.” For more information about Kodak’s motion picture products and services, visit www.kodak.com/go/motion. Join Kodak on Facebook at www.facebook.com/KodakMotionPictureFilm, and on Twitter @Kodak_ShootFilm.

The 2010 recipients of the Kodak Scholarship Program were announced and honored during a reception at the University Film and Video Association Conference (UFVA) at Champlain College in Vermont on August 11. Kodak’s annual, global competition is designed to recognize superior filmmaking skills and creativity of the next generation. The student winners, as judged by Emmy®-winning documentary cinematographer Buddy Squires, hail from schools across the U.S. and Europe. “The talent and originality of these young filmmakers is a good sign for the future,” says Squires. “The ideas in these films are engaging, and the execution of those ideas reveals a strong sense of visual storytelling. Getting a glimpse into tomorrow’s great filmmaking was a true pleasure.” The winners and respective prizes are: • Gold Award for Excellence in the Craft of Filmmaking: Guy Godfree from the American Film Institute for the film Revelations. The award includes a $5,000 Kodak motion picture film product grant and a $1,000 cash award. Revelations is about a young priest called to deal with a trailer park resident who has been behaving oddly, only to discover the resident is also a priest, and that the two are not alone. • Silver Award for Excellence in the Craft of Filmmaking: Edit Blaumann from the University of Theatre, Film and Television in Budapest for Lesson. Blaumann receives a Kodak motion picture film grant valued at $4,000. Lesson follows a young girl who is failing mathematics and trying to discover what that means for herself, her parents and her teacher. • Bronze Award for Excellence in the Craft of Filmmaking: Wonjung Bae from Columbia College Chicago for Made in Makanda. The award comes with a grant of $3,000 in Kodak motion picture film. Bae’s black-and-white documentary chronicles the days of a master Krenovian-style woodworker, as he wanders an Illinois forest in search of fallen trees to make his minimalist furniture pieces. • Honorable Mention for Excellence in the Craft of Filmmaking: Soraya Burtnett from the University of California–Los Angeles for Counting Backwards, and Leandro Ferrao from Lusofona University in Lisbon, Portugal, for Act of Life. Both Honorable Mention awards include a $2,000 grant for Kodak motion picture film. “There is a vast pool of talented, emerging filmmakers, and this is one way for Kodak to recognize their hard work and creativity,” says Kodak’s Worldwide Education Segment Manager Johanna Gravelle. “Our goal is to support the next generation, and the film schools and faculty who foster their careers. In addition to the scholarships, Kodak’s sponsorship of the UFVA conference provides opportunities to listen to the needs of professors and students, as well as to join conversations about the best way to educate future filmmakers, so they can succeed in a competitive industry. Our commitment to the future of quality filmmaking is unwavering.” 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. In addition to Squires, Wenhwa Tsao, graduate program director for the Film & Video Department at Columbia College Chicago, and Kodak cinematographer Randy Tack assessed the entries. Kodak’s activities during the UFVA conference include panels on Super 8 filmmaking and the truth about 35 mm – separating hype from facts; Super 16 mm and Super 8 workshops led by Tack; and a presentation on why film remains the gold standard of image capture. Kodak is also showcasing the company’s social networking sites, online tools, mobile applications, and other resources available to students and educators. 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.

The Emmy-nominated documentary "No Subtitles Necessary: Laszlo & Vilmos" and the Oscar®-nominated feature "Easy Rider" will kick off the Topanga Film Festival on August 19. "No Subtitles Necessary," a film by James Chressanthis, traces the journey of renowned cinematographers Vilmos Zsigmond and Laszlo Kovacs from the 1956 Soviet invasion of their home city in Hungary to Hollywood, and their ensuing careers and brotherly friendship. The documentary has won multiple awards at film festivals around the world and premiered on PBS’ "Independent Lens" series last November. The screening of "No Subtitles" begins at 6 p.m. at the Pine Tree Circle Screening Tent, followed by "Easy Rider" at 9 p.m. at Abuelita’s restaurant (open air). "Easy Rider" remains an epic road movie in cinema history, starring Dennis Hopper and Jack Nicholson and featuring some of the most memorable open landscape footage shot by Kovacs, including scenes shot in Topanga. Hopper is also featured in "No Subtitles" talking about Kovacs and their relationship. Chressanthis and his special guests will answer questions after the screening. For tickets and more information, go to http://topangafilmfestival.com/

Kodak has posted a new webcast conversation with director/cinematographer Joaquin Baca-Asay at www.kodak.com/go/motion. In the piece, the award-winning filmmaker explores 30-second storytelling, and explains how choosing film reduces costs, elevates brands and gives him complete image control from production through post. The interview is part of an ongoing series for Kodak’s “Film. No Compromise” campaign, which features creatives from the global filmmaking industry discussing the reasons behind their format choices. The archive of webcasts includes interviews with such industry icons as Brett Ratner, Sam Bayer, Darren Aronofsky, Christine Vachon, Lance Acord, ASC and Haris Zambarloukos, BSC, among others, talking about industry-related topics. Baca-Asay has photographed and directed hundreds of commercials for such high-profile brands as Starbucks (“Express Your Love”), Volvo (“Switch”), Bank of America (“Automatic Transfer”), Nike (“Defy”) and Viagra (“Golf”). His feature credits as a cinematographer include Two Lovers, We Own the Night, Thumbsucker and P.S. He won a New York Film Critics Circle Award for his cinematography on the indie film Roger Dodger in 2002, and was nominated by the Directors Guild of America in recognition of his work on spots for CSX, Volvo and Lenscrafters in 2010. Baca-Asay’s cross-over into the music video genre also earned him an MTV Video Music Award for the Jay-Z video “99 Problems.” He is currently on the roster of Park Pictures. “The venerable filmmakers in our ‘Film. No Compromise’ campaign demand the highest image quality for their creations,” says Kodak’s Nicole Phillips, director of web marketing. “We at Kodak are committed to delivering innovative products and services to visual storytellers. As a capture medium, film is unparalleled, offering superior image quality, resolution, dynamic range and flexibility, along with proven archival qualities. These filmmakers eloquently explain how those qualities make film a crucial part of the creative process.” An upcoming “Film. No Compromise” webcast will include a conversation with three-time Oscar® nominee Wally Pfister, ASC, with more to come.

American Cinematographer Poll Names Amélie Best-Shot Film of 1998-2008 Jean-Pierre Jeunet’s Amélie, shot by Bruno Delbonnel, ASC, AFC, has been named the best-shot film of 1998-2008 in a recent online poll conducted by American Cinematographer (AC) magazine. “This is a real honor for me, especially considering the other movies in this list,” says Delbonnel. “These are some of the finest cinematographers, and I’m not sure I deserve to be among them, but I am very happy to be. They are all explorers.” The poll is a follow-up to one published in 1999 by AC, in honor of the American Society of Cinematographers’ 80th anniversary; that vote covered the best-shot movies of 1894-1997 (www.theasc.com/magazine/mar99/best/index.htm). For the new poll, AC asked its international audience of subscribers to nominate 10 films released between 1998 and 2008 that they believed had the best cinematography. A final ballot listing the 50 most popular nominees was then posted on the ASC website (www.theasc.com), and the final vote was open to the public. More than 17,000 people around the world participated. The Top 10 results are: 1. Amélie: Bruno Delbonnel, ASC, AFC (2001) 2. Children of Men: Emmanuel Lubezki, ASC, AMC (2006) 3. Saving Private Ryan: Janusz Kaminski (1998) 4. There Will Be Blood: Robert Elswit, ASC (2007) 5. No Country for Old Men: Roger Deakins, ASC, BSC (2007) 6. Fight Club: Jeff Cronenweth, ASC (1999) 7. The Dark Knight: Wally Pfister, ASC (2008) 8. Road to Perdition: Conrad L. Hall, ASC (2002) 9. Cidade de Deus (City of God): César Charlone, ABC (2002) 10. American Beauty: Conrad L. Hall, ASC (1999) “The wealth of great cinematography during this 10-year period was truly staggering, and the variety and scope of this Top 10 is the tip of the iceberg,” says Michael Goi, president of the American Society of Cinematographers. “What’s immediately evident is how international the craft of cinematography truly is, and how the ASC embraces these artists as its members, regardless of their geographical locations or the budgets they work with. It’s all about the power of the moving image to tell stories.” The 40 other nominees placed as follows: 11) The Assassination of Jesse James by the Coward Robert Ford (Deakins); 12) Tie: In the Mood for Love (Christopher Doyle, HKSC, and Mark Li Ping-bin) and Pan’s Labyrinth (Guillermo Navarro, ASC); 13) The Lord of the Rings trilogy (Andrew Lesnie, ASC, ACS); 14) Eternal Sunshine of the Spotless Mind (Ellen Kuras, ASC); 15) Gladiator (John Mathieson, BSC); 16) The Matrix (Bill Pope, ASC); 17) The Thin Red Line (John Toll, ASC); 18) The Diving Bell and The Butterfly (Kaminski); 19) Slumdog Millionaire (Anthony Dod Mantle, BSC, DFF); 20) Tie: Eyes Wide Shut (Larry Smith, BSC) and Requiem for a Dream (Matthew Libatique, ASC); 21) Kill Bill (Robert Richardson, ASC); 22) Moulin Rouge (Donald M. McAlpine, ASC, ACS); 23) The Pianist (Pawel Edelman, PSC); 24) Hero (Doyle); 25) Black Hawk Down (Slawomir Idziak, PSC); 26) O Brother, Where Art Thou? (Deakins); 27) Babel (Rodrigo Prieto, ASC, AMC); 28) Lost In Translation (Lance Acord, ASC); 29) Crouching Tiger, Hidden Dragon (Peter Pau, HKSC); 30) The Curious Case of Benjamin Button (Claudio Miranda, ASC); 31) The Man Who Wasn’t There (Deakins); 32) The New World (Lubezki); 33) Sin City (Robert Rodriguez); 34) Atonement (Seamus McGarvey, ASC, BSC); 35) Munich (Kaminski); 36) The Prestige (Pfister); 37) Memoirs of a Geisha (Dion Beebe, ASC, ACS); 38) The Aviator (Richardson); 39) Zodiac (Harris Savides, ASC); 40) The Insider (Dante Spinotti, ASC, AIC); 41) Gangs of New York (Michael Ballhaus, ASC); 42) Tie: Brokeback Mountain (Prieto) and The Fountain (Libatique); 43) The Fall (Colin Watkinson); 44) The Passion of the Christ (Caleb Deschanel, ASC); 45) Snow Falling on Cedars (Richardson); 46) House of Flying Daggers (Xiaoding Zhao); and 47) Sky Captain and the World of Tomorrow (Eric Adkins). American Cinematographer magazine will publish a feature about the Top 10 films in its August issue. The ASC was founded in 1919 for the purpose of advancing the evolving art and craft of filmmaking. There are more than 300 members today from countries around the world. ASC also has some 150 associate members from allied sectors of the motion picture and television industries. For more information about the ASC, visit www.theasc.com. #

Michael Goi Re-Elected President of American Society of Cinematographers HOLLYWOOD, June 14, 2010 – Michael Goi, ASC has been elected to serve a second term as president of the American Society of Cinematographers (ASC). The other officers are Vice Presidents Richard Crudo, Owen Roizman and John C. Flinn, III; Treasurer Matthew Leonetti; Secretary Rodney Taylor; and Sergeant at Arms Ron Garcia. Members elected to serve on the ASC Board of Governors include John Bailey, Stephen Burum, Curtis Clark, George Spiro Dibie, Richard Edlund, Stephen Lighthill, Isidore Mankofsky, Daryn Okada, Robert Primes, Nancy Schreiber, Kees Van Oostrum, Haskell Wexler and Vilmos Zsigmond. “Being elected to serve a second term as ASC president is a great honor and a privilege,” says Goi. “At a time when so much is going on in the industry, this is a tremendous vote of confidence that this body of incredible artists believes in my vision of where the ASC, and the art and craft of cinematography, is going in the future.” Goi notes that the ASC’s foremost objective is educating aspiring filmmakers and others about the art and craft of cinematography. In addition to its focus on education, the organization is actively involved in the development of motion picture technologies. It also works to promote a better understanding of the cinematographer’s contributions to the filmmaking process. Last year, the ASC partnered with the Producers Guild of America (PGA) to produce the Camera Assessment Series, a groundbreaking study of film and digital cameras currently in use for theatrical motion pictures. The society has also collaborated with industry professionals and organizations, exemplified by their recent participation in the Joint Technology Subcommittee on Previsualization with the Art Directors Guild (ADG), Visual Effects Society (VES) and PGA, which led to the formation of the Previsualization Society. The ASC recently completed the renovation and expansion of its historic Hollywood clubhouse to accommodate larger meetings of members and guests. The house was built in 1903. ASC purchased the private home and converted it to a clubhouse in 1936. “The clubhouse is where all the magic originates,” Goi adds. “It comes from the exchange of ideas we share in the casual atmosphere where the history of cinematography truly lives.” Goi is a Chicago native who studied filmmaking at Columbia College in his hometown. He launched his career shooting PBS documentaries while he was still a student. After completing his education in 1980, Goi began shooting local commercials and documentaries. He also opened a studio, where he concentrated on fashion and product still photography. Goi earned his first narrative film credit for Moonstalker in 1987. He has subsequently earned some 50 narrative credits for feature films and episodic television programs. Goi earned ASC Outstanding Achievement Awards nominations for the telefilms The Fixer (1999) and Judas (2005) and an Emmy® nomination for an episode of My Name is Earl (2009). His other credits include Witless Protection, Fingerprints, Red Water, What Matters Most, Who Killed Atlanta’s Children?, Christmas Rush, Funky Monkey, Welcome to Death Row, The Dukes, the Emmy® Award-winning documentary Fired-Up: The Story of Public Housing in Chicago, and the TV series The Wedding Bells and The Mentalist. He also recently wrote, produced, and directed the narrative film Megan is Missing. Goi is a member of both the Academy of Motion Picture Arts and Sciences and the Academy of Television Arts And Sciences, and serves on the National Executive Board of the International Cinematographers Guild. ASC was founded in 1919. There are 300-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.

Kodak has scheduled several events at the 16th annual Los Angeles Film Festival (LAFF) to create opportunities for networking and the sharing of ideas for independent filmmakers. The festival, produced by the nonprofit organization Film Independent, celebrates independent and international cinema, and runs June 17-27 here at venues in and around the downtown area. Kodak has been a sponsor of LAFF for many years, and supports a myriad of Film Independent’s programs throughout the year. Cinematographer Rodrigo Prieto, ASC, AMC will be the main attraction at this year’s Kodak Focus on June 20, at 1 p.m., at the Regal 12 cinemas. Prieto will show clips of his innovative work and offer insights into the art and craft of cinematography. He will also discuss his collaborations with an array of high-profile directors, including Ang Lee, Oliver Stone, Alejandro González Iñárritu, Spike Lee, Curtis Hanson, and Pedro Almodovar. In addition to multiple accolades, Prieto earned an Oscar® nomination in 2006 for his cinematography on Brokeback Mountain. His wide range of credits include State of Play, Broken Embraces, Babel, Alexander, 21 Grams, 25th Hour, 8 Mile, Frida, Amores Perros. His most recent endeavors, Wall Street: Money Never Sleeps and Biutiful, premiered at the Cannes Film Festival. This seminar is free with a festival ticket. (Tickets may be requested in person only at the Festival Ticket Center or at the door while supplies last.) Other events sponsored by Kodak and organized by Film Independent include Kodak Speed Dating, which offers session participants the opportunity to talk one on one with industry professionals, and Kodak 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. Previous Fast Track projects include Amreeka, Frozen River, Kabluey, Four Sheets to the Wind, Ira and Abby and After Innocence. “We are honored that the creative community continues to choose our products and services to create compelling visuals,” says Lauren Lung, Kodak’s general manager of North and South America. “We plan to continue to provide the highest-quality tools that filmmakers want far into the future. Filmmakers shouldn’t have to compromise at any stage of the filmmaking process, especially indie filmmakers trying to get their projects noticed.” 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.

Kodak announced today the addition of two new films to its VISION3 family of motion picture products, sending another powerful message that its commitment to film is unwavering. The stock additions include a medium-speed, tungsten-balanced color negative camera film, and a color intermediate film optimized to work with digital postproduction technologies. “These new VISION3 films are the tangible results of our ongoing commitment to filmmakers,” says Kim Snyder, president of the Entertainment Imaging Division, and vice president of Eastman Kodak Company. “They were designed based on our customers’ suggestions and with the goal of increasing creative freedom and efficiencies in production and postproduction. As filmmaking technology evolves, Kodak continues to lead the way by delivering the highest-quality imaging systems, and innovative products and services for visual storytellers.” KODAK VISION3 5213/7213 is a 200-speed, tungsten-balanced film. It features extended latitude, enabling cinematographers to record more details in highlights, and delivers finer grain for natural-looking images in the darkest areas. The emulsion is optimally designed for both controlled interiors and challenging high-contrast exteriors, and is available in all formats (65 mm, 35 mm, Super 16 and Super 8). Cinematographers who have tested the film report that it records cleaner whites and deeper black tones, offers enhanced latitude, and provides richer color saturation and natural skin tones. “Kodak’s new VISION3 200T 5213 stock is a significant improvement over the already excellent VISION2 5217,” says American Society of Cinematographers President Michael Goi (The Mentalist, My Name is Earl), who tested the film. “Reds in skin tones have a noticeably more natural balance, and I felt I could almost touch the high resolution results in texture.” “This new film has an even finer grain structure with deeper black tones and richer color saturation, especially in the reds and flesh tones,” adds David Mullen, ASC (Jennifer’s Body, Akeelah and the Bee), who also tested the film. “The images were slightly sharper … and more consistent in over-exposed areas. The white tones were cleaner after the film was scanned and converted to digital files. There is also a tighter grain structure … especially when it is used for daylight exterior scenes.” KODAK VISION3 Color Digital Intermediate Film 5254/2254 is designed for use with contemporary film recorders – both laser recorders and numerous CRT recorders that are still widely used in the marketplace. The imaging characteristics of this new intermediate film enhance the speed and efficiency of DI postproduction while rendering noticeably sharper images that more faithfully represent the intentions of filmmakers. KODAK VISION3 technology, introduced in November 2007, offers increased exposure latitude and color detail with noticeably reduced grain, especially in the brightest highlights and darkest shadows. The product line also produces cleaner film-to-digital transfers for postproduction. The new 5213/7213 stock joins the highly acclaimed KODAK VISION3 500T 5219/7219 and 250D 5207/7207 camera negative films. The new intermediate film provides an improved bridge between KODAK negative films and KODAK print films. “By capturing the highest possible amount of image information, far more than any digital format, the KODAK VISION3 family of films gives the filmmaking community incomparable flexibility throughout the motion picture chain,” Snyder adds. “That translates directly to time and cost efficiencies on set and in post, and greater creative control no matter what workflow is followed. “Our customers demand the very highest image quality, and these new Kodak films help them achieve their creative visions better than any other image capture medium today,” says Snyder. “Our actions continue to demonstrate that Kodak remains committed to motion picture film, with more advances on the way.” # 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 television, feature film, commercial, music video, documentary and exhibition industries. For more information, visit www.kodak.com/go/motion, or follow us on Facebook at http://www.facebook.com/KodakMotionPictureFilm.

The KODAK Depth of Field Calculator and KODAK Contact application is now available as a free download from the iTunes App Store. The app, which is the second Kodak Cinema Tool to be released by the company this year, helps filmmakers determine the correct settings for achieving desired focus, and connects them with Kodak around the world at the touch of a button. “Filmmaking is a global industry, and our objective is to help bring useful mobile tools to the fingertips of filmmakers regardless of where and when they are shooting,” says Nicole Phillips, Kodak’s director of web marketing for the Entertainment Imaging Division. “This app is designed to provide quick, accurate information, and to help our customers connect with us, so we can provide the products and services the creative community needs to complete their projects.” The KODAK Depth of Field Calculator app has fields for entering known data – such as film format, F-stop, focal length and subject distance – and then computes the near limit, far limit, hyperfocal distance and circle of confusion. Results can be in feet or meters, and calculations can be made for any combination of remaining variables. The application also includes a KODAK Contact tool for instant access to a nearby Kodak office for product supplies, or to reach a representative to answer any preproduction, production or post questions. For more information, visit www.kodak.com/go/motion.

A panel featuring award-winning filmmakers will explore the collaborative process of achieving compelling image quality here at the 2010 Tribeca Film Festival. Eastman Kodak Company, an official Industry Sponsor of the festival, will host the free seminar on April 29, at 2 p.m., at the SVA Theater 2, which is open to festival attendees and the public. Tribeca Talks Industry: Talking With Pictures will feature some of today’s leading filmmakers relating their real-world experiences in creating the look of a film. They’ll explain how the visual style plays a significant role in defining the tone. Participants include: writer/director Lee Isaac Chung (Lucky Life), writer/director Jacob Tierney (The Trotsky), producer Jon Kilik (Babel), and cinematographers Nancy Schreiber, ASC and Lance Acord, ASC. The panel will be moderated by Brandon Harris of Filmmaker Magazine. Chung, Tierney and Schreiber also have films screening at the festival this year. “The collaboration among directors, producers and cinematographers results in images that capture and convey the emotions of a story and get projects noticed,” says Lauren Lung, vice president and general manager of Kodak’s Entertainment Imaging Division in North and South America. “These esteemed filmmakers can speak eloquently about the artistic value and cost-efficiency of spectacular image making on celluloid.” 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 ninth year, the Tribeca Film Festival runs from April 21 to May 2. The SVA Theater is located at 333 West 23rd Street, between 8th and 9th Avenues. For more information, visit http://www.tribecafilm.com/festival/

Lauren Lung has been named vice president and general manager of Kodak’s Entertainment Imaging Division in North and South America. Prior to this role, Lung was VP of Corporate Business Development and Marketing Operations, having global responsibility for the company’s business development partnerships and marketing operations. Lung assumes the responsibilities formerly held by Peter Boyce, who has taken the role of general manager for the division’s Europe, Africa and Middle East Region. Her appointment is effective immediately. She will report directly to Kimberly Snyder, president of Entertainment Imaging and vice president of Eastman Kodak Company. Lung will split her time between the division’s Hollywood headquarters and its New York City office. “Lauren is a proven and effective leader who brings a broad range of management experience in operations, sales, marketing and business development to her new role,” says Snyder. “Her ability to listen to customers will guide our ongoing innovations that have taken film technology to new levels.” Lung, 48, is an alumnus of New York University, with bachelor’s and master’s degrees from New York University’s Stern School of Business. Lung spent 18 years of her career at Hewlett Packard in a variety of sales, marketing and operations positions with progressively greater responsibility. She joined Kodak in 2005 as director of Professional Services for the company’s Graphic Communications Group. “I am looking forward to working with the creative community in the motion picture and television industries,” Lung says. “We continue to be driven by the filmmakers who want to bring their visions to the screen in more powerful and compelling ways. I look forward to working hand-in-hand with them and our partners in the industry to deliver the expertise, technology, products and solutions they have come to expect from Kodak.”

Affirming their commitment to the next generation of filmmakers and to the future of the film industry, Kodak and UCLA have named John Bailey, ASC the 2010 Kodak Cinematographer-in-Residence for the spring quarter at UCLA’s School of Theater, Film and Television (TFT). The unparalleled residency course, now in its 11th consecutive year, was inaugurated by Professor William McDonald with the support of Kodak to enhance the learning experiences of students with insight from renowned cinematographers. UCLA TFT is the only film school that offers a cinematography program such as this, where students can receive direct guidance from award-wining cinematographers including one-on-one sessions over the course of 10 weeks. The mentorship program will begin with a free screening of one of Bailey’s past works, Mishima: A Life in Four Chapters, at the James Bridges Theater in Melnitz Hall on Monday, April 19 at 8:00 p.m. The screening is free and open to the public, students, staff and faculty members. A Q&A discussion with Bailey, moderated by McDonald, will take place following the screening. “I’m thrilled John Bailey will be our 2010 Kodak Cinematographer-in-Residence,” says Teri Schwartz, dean, UCLA TFT. “I’ve had the great privilege of working with John on several films. He is enormously talented and is a splendid colleague. John will be a great inspiration not only to our TFT students, but to the entire UCLA community.” “John Bailey joins an extraordinary group of cinematographers who have shared their experiences and advice with the next generation of filmmakers who follow in their footsteps,” said McDonald. 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; and Vilmos Zsigmond, ASC. “Cinematographers tend to fly under the radar, but they are the heart and soul of the collaborative art and craft of filmmaking,” notes Michael Zakula, regional sales and marketing manager, origination products, for Kodak’s Entertainment Imaging Division. “We are privileged to have this opportunity to help nurture emerging talent through this program.” Mishima: A Life in Four Chapters is based on an original screenplay written by Paul and Leonard Schrader, adapted to Japanese by Chieko Schrader. Bailey and director Paul Schrader, who is a UCLA alumnus, collaborated on the production of the film in Tokyo in 1984. For his contribution on the film, Bailey received a Best Artistic Contribution Award at the 1985 Cannes Film Festival, an award he shared with composer Philip Glass and production designer Eiko Ishioka. Bailey earned his first long-form narrative credit in the mid-1970s, and recently completed his 70th feature film, Love Don’t Let me Down. A short list of Bailey’s memorable film credits includes 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, and The Greatest. For more information on John Bailey, ASC visit his blog: www.theasc.com/blog. For additional information about the April 19 screening of Mishima: A Life in Four Chapters, visit www.tft.ucla.edu or call 310-206-8365. Admission is free. There is a $10 parking fee. A limited number of pay-by-the-hour parking spaces are available in Lot 3 on campus.

John Bailey, ASC will judge the regional entries of the 2010 KODAK Film School Competition for the second consecutive year. The competition is designed to recognize innovative visual storytelling demonstrated by current film school students and recent graduates from the Asia Pacific region, Latin America, United States/Canada, and Europe. “We introduced this competition 11 years ago with the goal of inspiring the next generation of filmmakers,” says Johanna Gravelle, worldwide manager, Education Segment, for Kodak’s Entertainment Imaging Division. “It’s an integral part of our commitment to tomorrow’s filmmakers.” Kodak is currently accepting submissions at the national level. Finalists will be judged by Bailey, who will select one winner from each region. The prize includes a trip to the 2011 Clermont-Ferrand Short Film Festival in France, where the winners will have the opportunity to screen their films in the Kodak Short Film Showcase. They also participate in networking sessions and other activities that are part of the festival. Bailey has compiled more than 70 cinematography credits for such memorable films as American Gigolo, Ordinary People, The Big Chill, Silverado, Mishima, The Accidental Tourist, Groundhog Day, In The Line of Fire, As Good As It Gets, Incident at Loch Ness, and Brief Interviews with Hideous Men. Bailey takes an active interest in fostering the arts and in educating the next generation, and often serves on film festival juries and leads lighting workshops at film schools. He has authored a number of influential articles about technology and the impact of motion pictures on contemporary culture, and blogs on various topics for the American Society of Cinematographers (www.theasc.com/blog). “It will mean a lot to the emerging filmmakers entering this competition to know that their cinematography is being reviewed by John Bailey,” Gravelle says. “We are honored he has agreed again to lend his expertise, and assess the work of promising artists who demonstrate an ability to create images that tell stories that touch the soul.” National finalists will be selected by August 30, and regional winners will be announced by November 1. For more information, visit www.kodak.com/go/filmschoolcompetition.

Kodak, in collaboration with the University Film & Video Foundation (UFVF), is accepting entries for the 2010 Kodak Scholarship Program. The deadline for submissions is June 14. Held annually, this worldwide contest recognizes student filmmakers at the undergraduate and graduate levels who demonstrate professional filmmaking skills and creativity, with particular attention to the visual image. Accredited film schools from around the world may nominate two students for consideration. Winners will be named during the University Film & Video Association (UFVA) conference, being held August 10-14, 2010, at Champlain College in Burlington, Vermont. “Our goal is to support and encourage the next generation of filmmakers,” says Johanna Gravelle, Education Segment manager for Kodak. “We believe that the Steven Spielberg or Guillermo del Toro of tomorrow is developing an aptitude for visual storytelling in a film school today. We’re happy to foster that talent by providing a showcase for emerging filmmakers.” Prizes include KODAK motion picture product grants valued from $5,000 for the Gold winner, which also includes a $1,000 cash prize; $4,000 in film for Silver recipients and $3,000 for Bronze winners. Additionally, two Honorable Mention awards are given for $2,000 in film. As part of the competition, sample reels will be judged by a panel consisting of industry professionals and a UFVA representative. The judges will also evaluate the students’ faculty recommendations and academic achievements. For more information or to download a nomination form, visit www.kodak.com/go/scholarships.

Lowry Digital, a subsidiary of Reliance MediaWorks Ltd. - India’s fastest growing film and entertainment services company and a member of the Reliance ADA Group - collaborated with groundbreaking-director James Cameron on his Oscar®-winning 20th Century Fox 3-D feature film, Avatar. The company applied their proprietary digital image processing to enhance the imagery in the film. “Lowry Digital’s innovative processing helped us create the wholly immersive world that Jim imagined,” says Jon Landau, COO at Cameron’s Lightstorm Entertainment and producer on Avatar. “We brought Lowry in to clean up and enhance live-action scenes where necessary, allowing us to present 3-D images with unprecedented quality. “Lowry’s work on Avatar is an extension of a very good relationship with Lightstorm and James Cameron,” adds Landau. “It’s a collaboration that goes beyond the traditional vendor-client relationship. Lowry listens to us in order to understand our needs, and then steps up and creates solutions that previously did not exist.” Cameron had previously entrusted his images to Lowry Digital for enhancement on a number of projects, including Aliens of the Deep, Last Mysteries of the Titanic, and the high-definition home video releases of Terminator, Aliens and True Lies. For the stunning 3-D imagery in Avatar, Cameron and Landau asked Lowry to adapt and apply new image processing techniques under tough time constraints. Anil Arjun, CEO, Reliance MediaWorks, comments, “Lowry Digital’s mission is to develop and deliver innovative, superior quality services for worldwide entertainment markets based on their advancements in image processing science. We are thrilled that Lowry Digital was selected by a true Hollywood visionary like James Cameron for this landmark 3-D film. The success of this creative combination was witnessed through Avatar’s winning of technical accolades at the Oscars®.” Lowry Digital established a special 24x7 pipeline of data technicians and image processing experts who worked non-stop through the final two months of the movie using a render farm of more than 400 custom-built computers and more than a petabyte of high-speed data storage. “We are proud to partner again with Jim, who is well known for his extraordinary eye and his penchant for pushing the technology envelope,” says Lowry Digital Executive Vice President Mike Inchalik. “Avatar is innovative on so many fronts. Jim came to us because he knows we are also trailblazers, with the skills, experience and technology to embark on just such an adventure. “To achieve the truly immersive experience Jim desired for Avatar, the picture quality bar was set extremely high,” adds Inchalik. “But that’s only half the story. In addition to the challenging quality goal, there were so many pixels to process, and so little time.” Lowry Digital’s other credits include digital image enhancement on such first-run feature films as The Curious Case of Benjamin Button and Zodiac, and hundreds of top-shelf feature film restorations, including The Robe, Casablanca, the James Bond library, classic Disney animated films such as Bambi, Lady and the Tramp, and Sleeping Beauty, as well as the Star Wars and Indiana Jones trilogies.