Sue Smith

The feature documentary NO SUBTITLES NECESSARY: LASZLO AND VILMOS will have its Chicago premiere at the GENE SISKEL FILM CENTER, Saturday, February 7; in Greece at the 11th THESSALONIKI DOCUMENTARY FESTIVAL from March 13-22; at the HONG KONG INTERNATIONAL FILM FESTIVAL from March 22 – April 13; and the BUENOS AIRES INTERNATIONAL INDEPENDENT FILM FESTIVAL which runs March 25 – April 4. Director James Chressanthis, ASC will present the film in Greece. The feature documentary, which premiered as an official selection of the 61st Annual Cannes International Film Festival in May 2008, tracks a 50-year journey portraying the artistry and triumph of the great cinematographers Laszlo Kovacs, ASC and Vilmos Zsigmond, ASC. With film school equipment, they shoot the Soviet crackdown of the 1956 Hungarian Revolution. Beginning with their arrival in the United States as political refugees from Hungary in February 1957, they struggled in Hollywood, finally breaking into the mainstream with their pivotal contribution to the "American New Wave” with films like Easy Rider, McCabe & Mrs. Miller, Five Easy Pieces, Paper Moon, Scarecrow, Deliverance, Close Encounters of the Third Kind and the The Deer Hunter. In December 2008, the film was awarded the BEST DOCUMENTARY FILM AWARD at the SANTA FE FILM FESTIVAL following upon standing room only screenings at the 16th Plus Camerimage International Festival in Poland. In November, the film played to a standing room only sell-out crowd at the Los Angeles County Museum of Art (LACMA). Actor-director Peter Fonda and director Richard Donner joined Zsigmond and Chressanthis for a lively question and answer session moderated by journalist Bob Fisher. The same night the film played to a packed theater at the Starz–Denver Film Festival. The film which just finished its run at the 2009 PALM SPRINGS INT’L FILM FESTIVAL is also screening at the 2009 SEDONA INT’L FILM FESTIVAL February 27 and March 1. For more information on upcoming screenings, visit the corresponding websites: GENE SISKEL FILM CENTER – CHICAGO – February 7, 2009 at 7:30 PM School of the Art Institute of Chicago Vilmos Zsigmond, ASC and director James Chressanthis, ASC presenting 164 N. State Street Chicago, IL http://www.fletch.com/eventnsnps.html SEDONA INTERNATIONAL FILM FESTIVAL – Friday, February 27 at 9:45 PM, and Sunday, March 1 at 9:00 AM Director James Chressanthis, ASC presenting http://www.sedonafilmfestival.com/ THESSALONIKI INTERNATIONAL DOCUMENTARY FILM FESTIVAL March 13-22, 2009 Screening Times TBD Vilmos Zsigmond, ASC and director James Chressanthis, ASC presenting English: http://www.filmfestival.gr/default.aspx?page=759 Greek: http://www.filmfestival.gr/default.aspx?la...GR&page=448 HONG KONG INTERNATIONAL FILM FESTIVAL 22 March – 13 April 2009 Producer Kian Soleimapour presenting Screening Times TBD http://www.hkiff.org.hk/ BUENOS AIRES INTERNATIONAL INDEPENDENT FILM FESTIVAL 25 March – April 5, 2009 Screening Times TBD http://www.bafici.gov.ar/ “I am very happy that this film will have a broader audience,” says producer/director James Chressanthis, who is also a cinematographer and a member of the American Society of Cinematographers (ASC). “It’s a terrific honor to be invited to screen at Camerimage, Santa Fe, Palm Springs, Hong Kong and Thessaloniki. The LACMA screening was a joy, 600 seats filled and people standing across the back to watch the film. There was also poetic justice in this film premiering at Cannes, Laszlo shot Easy Rider, an ultra low budget, counter culture film that was a favorite with critics and fans at Cannes in 1969. Since our Cannes premiere the film has been steadily gaining an audience, especially with young viewers. It was Easy Rider which finally opened doors for Laszlo in Hollywood and then in turn, launched the career of his artistic brother Vilmos Zsigmond. They became legends in their own time.”

The American Society of Cinematographers (ASC) has named the 2009 recipients of the ASC Burton Stone Heritage Award for outstanding achievement in student filmmaking. Nathan Levine-Heaney from Florida State University took the top prize in the Graduate category, and Aaron Dunson from the University of North Carolina School of the Arts won in the Undergraduate competition. Their awards will be presented here during the 23rd Annual ASC Outstanding Achievement Awards celebration on February 15, at the Hyatt Regency Century Plaza Hotel. “These students have demonstrated an ability to create images for their films that visually evoke the emotions of the story in a collaborative environment,” says ASC President Daryn Okada.. “The ASC designed this award to encourage talented student filmmakers to pursue careers in cinematography. Several past winners are now working in the industry and following their dreams.” Also receiving honorable mentions for their submissions were graduate students Andrew Russo (University of Southern California) and Amanda Treyz (American Film Institute), as well as Golnar Fakhrai (California State University, Long Beach), and Jeffrey S. Taylor (University of North Carolina School of the Arts) who are pursuing undergraduate degrees. Applicants for the Heritage Award must be either in their final year of film school or a recent graduate. Their submissions must be accompanied by a written recommendation from a film school chair, dean or teacher. Entries were judged by a jury of ASC members. Each year, the ASC Heritage Award is rededicated to the memory of a different industry professional who contributed to the art and craft of cinematography. “Bud Stone was an eternal ally and friend to cinematographers both young and old,” notes Isidore Mankofsky, ASC, chairman of the Student Awards Committee. “He had an unwavering appreciation for the role that cinematographers play in the collaborative art of visual storytelling. He also made incomparable contributions to supporting cinematographers and raising their public profile.” Stone worked his way up through the ranks at several film labs in New York and New Jersey before being named president of Deluxe Laboratories in 1976. He served in that role until 1994, when he retired. In 1996, the Academy of Motion Picture Arts and Sciences presented the prestigious John A. Bonner Medal of Commendation to Stone “in appreciation for outstanding service and dedication in upholding the highest standards of the industry.” Stone was also an honorary member of the ASC, and served as chairman of the Outstanding Achievement Awards Committee for 17 years. Stone died on April 18, 2008. The 23rd Annual ASC Awards will be preceded by an open house with the honorees and nominees at Mole Richardson on February 14, beginning at 11 a.m. The ASC was founded in 1919 for the purpose of advancing the art and craft of cinematography. For additional information about the ASC Awards, visit www.theasc.com.

Kodak will present a fireside chat at the Slamdance film festival in Utah with eminent cinematographer John Bailey, ASC ("As Good as it Gets," "The Big Chill," "The Accidental Tourist") on January 16. The discussion will center on Bailey’s work on "Brief Interviews with Hideous Men" and "The Greatest," which are both in the dramatic competition at the Sundance film festival running concurrently. Bailey shot the two independent movies on Kodak 35mm motion picture film – both on limited budgets. "Brief Interviews with Hideous Men" stars Julianne Nicholson and marks actor John Krasinski’s directorial debut. Director Shana Feste’s "The Greatest" stars Susan Sarandon and Pierce Brosnan. Bailey will share his professional experiences shooting each of these films in 35 mm anamorphic format with traditional answer printing. He will offer his insights on achieving that big-budget look for smaller productions as well. “John Bailey continues to capture a broad range of subjects and breadth of movie genres on motion picture film, highlighting the ability of this advanced technology for capturing superior images,” says Michael Morelli, vice president and general manager of Kodak’s motion picture business in North and South America. “His work also shows that film is a very affordable medium for a wide range of production budgets.” Kodak will also co-sponsor a new online program this year with Slamdance, which will make movies screening at the festival available for real-time, paid downloads through the Indieroad.net Web site (www.Indieroad.net/Slamdance). Filmmakers will share in the revenue generated through this new program. Visitors to the Kodak Web page (www.kodak.com/go/motion) will also be able to link easily and directly to Indieroad. For more information, visit www.kodak.com/go/motion.

LOS ANGELES, January 7, 2009 ? The Curious Case of Benjamin Button photographed by Claudio Miranda; The Dark Knight shot by Wally Pfister, ASC; The Reader by Chris Menges, BSC and Roger Deakins, ASC, BSC; Revolutionary Road by Deakins; and Slumdog Millionaire from Anthony Dod Mantle, BSC are the finalists in the feature film category of the 23rd Annual American Society of Cinematographers (ASC) Outstanding Achievement Awards competition. The winner will be named during the awards celebration here at the Hyatt Regency Century Plaza Hotel on February 15. ?This annual celebration is our way of letting our colleagues from around the world know that their peers in the ASC recognize their inherent visual talent and spirited ability to get compelling stories on the screen in this collaborative art form,? says ASC President Daryn Okada. ?We also hope this celebration inspires generations of filmmakers to follow their dreams.? These are the eighth and ninth nominations for Deakins who earned top honors in 1995 for The Shawshank Redemption and in 2002 for The Man Who Wasn?t There. It?s the fourth nomination for Menges, the second for Pfister, and the first for Dod Mantle and Miranda. ?Artful cinematography is generally meant to be transparent to audiences but there are countless visual nuances that help to create a sense of time and place, while evoking emotional responses that are in tune with the intentions of the actors and directors,? says ASC Awards Committee Chairman Michael Goi, ASC. ?In the opinion of their peers, who considered hundreds of movies, these five extraordinarily talented individuals have set the contemporary standard for artful cinematography in a very competitive field.? The ASC was founded in January 1919, by 15 charter members who were dedicated to advancing the new art and craft of filmmaking. There are some 300 active and 150 associate members from allied sectors of the motion picture and television industries. For more information about the 23nd Annual ASC Outstanding Achievement awards, visit the ASC Web site (www.theasc.com) or call 323-969-4333. # (Editor?s note: Roger Deakins, ASC, BSC and Chris Menges, BSC share the cinematography credit and ASC nomination for The Reader.) Media Contacts: Lisa Muldowney / Sally Christgau 760-438-5250 lisam@ccspr.com / sallyc@ccspr.com Editorial contacts only. Please see end of release for reader contact

The American Society of Cinematographers (ASC) has announced nominees in the two television categories of the 23rd Annual ASC Outstanding Achievement Awards competition. The winner will be announced during the awards gala on February 15, here at the Hyatt Regency Century Plaza Hotel. Nominees vying for top honors in the TV movie/miniseries/pilot category are Oliver Bokelberg, BVK for ?Breakdown,? the pilot of My Own Worst Enemy (NBC); Michael Bonvillain, ASC for the Fringe pilot (FOX); Jon Joffin for ?Night One? of The Andromeda Strain (A&E); Kramer Morgenthau, ASC for the pilot of Life on Mars (ABC); and David Stockon for ?Resurrection,? the pilot of Eleventh Hour (CBS). Nominees in the episodic television category are Nelson Cragg for CSI: Crime Scene Investigation / ?For Gedda? (CBS); Ousama Rawi, CSC, BSC for The Tudors / ?Episode 2.1? (Showtime); Stephen Reizes, CSC for Flashpoint / ?Who?s George?? (CBS); Gale Tattersall for House M.D. / ?House?s Head? (FOX); and Glen Winter, CSC for Smallville / ?Fracture? (CW). ?Selecting these finalists out of the many imaginative entries was a challenging decision for our members,? says ASC President Daryn Okada. ?These talented cinematographers have elevated the visual palette of television and have earned the admiration of their peers.? Winter is the only nominee who has previously earned an ASC Outstanding Achievement Award. He claimed top honors in the episodic competition for Smallville in 2008, and earned another nomination for the series in 2006. Bonvillain has earned two previous ASC nominations, and Bokelberg, Morgenthau, and Tatersall have each been nominated once before. The rest are first-time nominees. Cragg was previously honored by the ASC with the Conrad L. Hall ASC Heritage Award in 2004, which is presented annually to a student filmmaker. ?This event is a celebration rather than a competition,? says Michael Goi, ASC, chairman of the organization?s Awards Committee. ?We hope it inspires other talented cinematographers to pursue their dreams and fosters a broader appreciation of the unique role that cinematographers play in the collaborative art of filmmaking.? The ASC was chartered in 1919, with the purpose of advancing the evolving art and craft of telling stories with moving images. There are some 300 ASC members from around the world today, and 150 associate members from allied sectors of the industry. For information about the 23rd Annual ASC Outstanding Achievement Awards call 323-969-4333 or visit www.theasc.com.

Award-winning writer-producer-director Christopher Nolan will receive the American Society of Cinematographers (ASC) Board of Governors Award, which is presented annually to an individual who has made significant contributions to advancing the art of filmmaking. Nolan will be feted during the 23rd Annual ASC Outstanding Achievement Awards celebration on February 15, here at the Hyatt Regency Century Plaza Hotel. ?Chris Nolan is infused with talent with which he masterfully uses to collaboratively create memorable motion pictures," says ASC President Daryn Okada. ?His quest for superlative images to tell stories has earned the admiration of our members.? Previous recipients of the ASC Board of Governors includes Gregory Peck, Steven Spielberg, Martin Scorsese, Robert Wise, Francis Ford Coppola, Robert Altman, Warren Beatty, Stanley Donen, Norman Jewison, Irwin Winkler, Sydney Pollack, Ron Howard, and Annette Bening, among others. ?Chris Nolan combines classic filmmaking techniques and new technology in ways that are inspiring for the next generation of filmmakers,? says Michael Goi, ASC, chairman of the organization?s Awards Committee. Nolan has earned a diverse range of credits, including such memorable films as Memento, Insomnia, Batman Begins, The Prestige and The Dark Knight, a run-away hit at the 2008 box office which earned rave reviews from critics. ?Chris is an amazingly talented and collaborative director, who brings out the best in everyone around him,? says Wally Pfister, ASC, the cinematographer who was by Nolan?s side during the aforementioned feature films. Nolan was born in London. His father is English and his mother is a United States citizen. He was an avid movie fan and Super 8 mm film hobbyist during his youth in London and Chicago. One of his Super 8 films aired on the PBS affiliate in Chicago. Nolan was an English literature major at University College in London, where he met his future wife and co-producer Emma Thomas. They were both members of the university?s film society, which arranged screenings of classic motion pictures for students. Nolan and Thomas subsequently collaborated on the production of Following, a black-and-white 16 mm film that won an award at Slamdance and other festivals in 1999. At that point, Nolan was already working on the script for Memento, which was based on a short story written by his brother Jonah. ?I saw a film while I was Slamdance and decided that I had to meet the guy who shot it,? Nolan recalls. ?During my first conversation with Wally (Pfister), I decided I wanted to work with him. We know each other better today, but our relationship hasn?t changed. There is a synergy that affects our ability to translate ideas into images.? The ASC was chartered in 1919, with the purpose of advancing the evolving art and craft of telling stories with moving images. There are some 300 ASC members from around the world today, and 150 associate members from allied sectors of the industry. For information about the 23rd Annual ASC Outstanding Achievement Awards call 323-969-4333 or visit www.theasc.com.

LaserPacific Media Corporation has announced the formation of a new team and business unit to focus on digital motion picture mastering and ?re-mastering.? With this expanded capability, LaserPacific CEO Brian Burr also announced the appointment of Ron Burdett as general manager of the mastering unit, and Lou Levinson as the supervising colorist ? mastering, among others. Burr asserted that the company has added some of the industry?s most capable and accomplished operations and creative talent to its team. ?There is no doubt that Ron Burdett brings incredible perspective and experience to the task of creating motion picture masters with more than 25 years as a post production industry pioneer,? he says. ?Ron literally helped invent the mastering business. ?Having a world-class talent such as Lou Levinson lead our creative efforts allows us to keep the needs and viewpoint of the creative community firmly in our sights. While technology will be an important component of our service delivery, and we certainly intend to bring our unique color management and innovation legacy to this space, having an expert such as Lou guide our creative hand as we make technology decisions will truly put the focus on our customer?s product.? LaserPacific?s entry to this business compliments its already fully-staffed and integrated digital intermediate, home video delivery and motion picture trailer operations, and anticipates the industry?s current focus on re-mastering for Blu-ray and the creation of other high-quality digital masters. In explaining the strategy behind the expansion of LaserPacific?s mastering capabilities, President Leon Silverman says, ?LaserPacific is fully engaged and ready to meet the coming challenge of helping to prepare motion picture libraries for the era of digital file-based deliveries and to create suitable masters for new digital distribution opportunities. To that end, we have expanded our team to include some of the industry?s most-seasoned and accomplished operations and creative talent as we continue to build out infrastructure and capability to meet the demand.? Burdett, who recently received a Lifetime Achievement Award from the Hollywood Post Alliance, is known for the leadership roles he has played in post production for more than 25 years. As founder and owner of Sunset Digital, he helped to create the modern motion picture mastering and restoration industry infrastructure. He also led efforts to create digital authoring and encoding facilities for DVD and other new digital media as well as building one of the industry?s first digital cinema mastering environments. ?To be part of LaserPacific with its history of technical excellence and innovation, backed by Kodak which is so important to our industry, is a great career highlight,? says Burdett. ?We are building a team with capabilities that are second to none, and to have someone of the caliber and talent of Lou Levinson to lead our creative efforts is powerful.? Levinson, the world-famous colorist?s colorist, received an MFA from the Art Institute of Chicago. He has distinguished himself over his career as someone whose creative eye and point of view has helped to guide the likes of directors Steven Spielberg and Paul Thomas Anderson, cinematographers Vittorio Storaro, AIC, ASC, Janusz Kaminski, Allen Daviau, ASC, and many others as they created digital masters of their cinematic images. His considerable credits include digital masters for such important, culturally iconic motion pictures as Apocalypse Now, E.T. the Extra-Terrestrial, Saving Private Ryan, Forrest Gump, Schindler?s List, Jurassic Park, Indiana Jones and the Last Crusade, and many others. Levinson has played a number of important leadership roles within the industry including helping to create the Standard Test Evaluation Materials (SteM), which served as the definitive reference for the evaluation of digital cinema systems and standards. In addition, Levinson chairs the Digital Intermediate Sub-Committee of the American Society of Cinematographers Technology Committee where he plays a pivotal role. His contributions to what has become the de-facto industry color metadata system, the ASC CDL (Color Decision List), are widely acknowledged. ?I am honored and excited to join LaserPacific and to help them create a team and a creative/technology point of view at this very important time in our industry,? Levinson says. ?The film-based images of our industry need to be prepared for new digital technologies and I am proud to help LaserPacific and Kodak ensure that those images are true to their creative intent and represented in the highest possible quality.? Additionally, LaserPacific has also brought on important members to this new unit, including mastering colorist Tom Forletta, who has 13 years of mastering experience specializing in both motion picture and television titles such as digital restoration on titles such as Remains of the Day, Bugsy and the digital re-mastering of the original Star Trek television series adds another level of depth to this growing team. Forletta joins such seasoned colorists as LaserPacific?s senior digital intermediate colorists Dave Cole and Mike Sowa, who will participate in the mastering operations. Cole?s credits include Lord of the Rings and King Kong; Sowa provided his mastering skills on Brokeback Mountain, Pleasantville and the Austin Powers series. Sowa is a protégée of Levinson, whom he worked alongside at the industry-pioneering High Definition Center at Universal Studios. Also joining the expanded new unit is veteran quality assurance specialist Fred Johannsen and David Houck, who will head mastering client services. Johannsen comes to LaserPacific with significant experience in quality control and total quality management, specifically geared to the QC of master and element deliveries for many post facilities over the past 10 years. Houck has 20 years of post production experience and has looked after mastering clients and motion picture library servicing work for many of the major Hollywood studios. Burr, who in addition to his role as CEO of the company also oversees company operations as the company?s chief operation officer, sums up LaserPacific?s aggressive mastering moves when he says, ?It should be apparent by the team we are building and the infrastructure we are creating that we intend to be a significant, world-class player in the mastering and ?re-mastering? business. As a Kodak company, it is essential for us to play a leadership role in preserving our film heritage for the future.?

LOS ANGELES, October 29, 2008 ? Donald McAlpine, ASC, ACS will receive the 2009 American Society of Cinematographers (ASC) International Achievement Award. The tribute is presented annually to a cinematographer who has made significant and enduring contributions to the global art of filmmaking. He will be feted during the 23rd Annual ASC Outstanding Achievement Awards here on February 15, at the Century Plaza Hotel. McAlpine has compiled an eclectic range of some 50 narrative credits during the past 35 years, including such memorable films as Moulin Rouge!, which earned an Oscar nomination in 2002, Breaker Morant, Predator, Down and Out in Beverly Hills, Patriot Games, Peter Pan, The Time Machine, Clear and Present Danger, Mrs. Doubtfire and The Chronicles of Narnia: The Lion, the Witch and The Wardrobe. X-Men Origins: Wolverine is slated for release by 20th Century-Fox in April 2009. ?Don McAlpine is an innovative filmmaker who approaches each film with an invigorating vision that is always a refreshing exemplification of the art of visual storytelling,? says ASC President Daryn Okada. ?Whether he is shooting a musical, a film based on popular fairytales, a comedy or a dark drama, his cinematography invariably transports audiences to the times and places where the stories occur, and subtleties in his images help amplify the emotional tone. Don achieves all this while being a wonderful gentleman and collaborator.? McAlpine is the first Australian recipient of the ASC International Achievement Award. The previous honorees were Freddie Young, BSC; Jack Cardiff, BSC; Gabriel Figueroa, AMC; Henri Alekan, Raoul Coutard, Freddie Francis, BSC; Giuseppe Rotunno, ASC, AIC; Oswald Morris, BSC; Billy Williams, BSC, Douglas Slocombe, BSC, Witold Sobocinski, PSC, Miroslav Ondricek, ASC, ACK, Tonino Delli Colli, AIC, Gilbert Taylor, BSC, Michael Ballhaus, ASC and Walter Lassally, BSC. ?This tribute is an expression of our admiration for Don McAlpine both as a human being and as an artful filmmaker,? says Michael Goi, ASC, chairman of the organization?s Awards Committee. ?His determination to follow his muse makes him a role model for every aspiring filmmaker who has a seemingly impossible dream.? McAlpine has blazed an extraordinarily unconventional career path. He was born in 1934 in a rural town in the South Wales province of Australia where his father was a banker. After graduating from high school, McAlpine earned the money to take a four-week boat tour to Europe by working as a sharecropper on a wheat farm. He spent a year exploring the continent while supporting himself by working at odd jobs. After returning home, McAlpine enrolled in college as a physical education and science major. Several of his teachers were coaches for Australian teams competing in the 1956 Olympics. McAlpine launched his cinematography career by shooting slow-motion films that the coaches used to analyze techniques of athletes on their teams. After graduation, McAlpine taught at a rural school in Parkes, Australia, where he produced 8 mm training films that were used by gym teachers. During a field trip to Sydney, he took a group of students to visit the new national television network. On a whim, McAlpine applied for a job as a television news film stringer. They gave him 400 feet of 16 mm black-and-white film and told him to shoot and send them a story. There was a big railroad center in Parkes that was converting from steam to diesel engines. McAlpine shot a news story documenting how that transition affected the lives of people who worked for the railroad. That got him a job as a TV news stringer. He subsequently became a full-time news photographer for the Australian Broadcasting Channel. McAlpine took the next steps on his career path when the national government organized Film Australia, which produced 35 mm color film documentaries. A few of his short drama films caught Bruce Beresford?s eyes. In 1972, the director recruited McAlpine to collaborate with him on the production of the feature film The Adventures of Barry McKenzie. McAlpine recalls, ?I felt like I had come home.? His career took another giant step forward in 1982, beginning with a 3 a.m. phone call from Paul Mazursky. Three Australian films, My Brilliant Career, The Getting of Wisdom and Breaker Morant, had opened on cinema screens in Manhattan during a two-week period. Mazursky noticed that McAlpine had shot all three of those films. During their first conversation, he asked McAlpine to meet him in Greece to scout locations for Tempest. McAlpine?s career shifted into high gear after he collaborated with Mazursky on the making of Tempest. In 1984, he shot Harry & Son, which was directed by and featured Paul Newman in a leading role. The following year, McAlpine got his first opportunity to shoot a film on Hollywood studio sound stages when he collaborated with Mazursky on Down and Out in Beverly Hills for Disney. Commenting on his counter-culture entry into the motion picture industry, where he has literally become a shooting star, McAlpine says, ?I think cinematography is similar to composing music. You are born with an instinctive ability and accumulate knowledge and experience with each new film. It sound pretentious, but I can often hear the music while I am shooting a film. There is a tonal quality that you feel. No two cinematographers would shoot any film exactly the same way. Sometimes the differences are radical and other times they are subtle.? The ASC traces its roots to the dawn of the motion picture industry in 1913, when the Cinema Club in New York and the Static Club in Los Angeles were organized by the first generation of cinematographers, who were inventing a new language. Fifteen members of those two clubs organized the ASC in January 1919. They wrote a charter that dedicated the organization to advancing the evolving art and craft of telling stories with moving images. There are some 300 ASC members from around the world today, and 150 associate members from allied sectors of the industry. For information about the 23rd Annual ASC Outstanding Achievement Awards call 323-969-4333 or visit www.theasc.com. #

The Oscar®-winning, classic motion picture The Robe has been digitally restored by Lowry Digital utilizing the company?s proprietary Lowry Process? to create pristine, new picture elements that maintain the visual intentions of the original masterpiece produced in 1953. The restored film will premiere at the Rome International Film Festival on October 30, as part of the festival?s ongoing partnership with The Film Foundation. The restoration was a collaboration between the Academy Film Archive and 20th Century Fox with funding from The Film Foundation. ?As the first CinemaScope film, The Robe represents an important milestone in cinema history,? says Schawn Belston, vice president of Asset Management and Film Preservation at 20th Century Fox. ?The restoration of the film was a unique and complicated challenge, and we chose to work with Lowry Digital because they are a clear leader in advanced image processing. The final result of their work on this film is a testament to the fact that, beyond their extraordinary digital toolbox, the people at Lowry Digital sincerely care about recreating the authenticity of the original cinematic experience.? The Robe was released in CinemaScope format, which was a new way of presenting images in a widescreen 2.55:1 aspect ratio. The biblical epic was directed by Henry Koster and photographed by Leon Shamroy, ASC, with Richard Burton, Jean Simmons and Victor Mature in starring roles. The film garnered two Academy Awards® for Best Art Direction and Costume Design among its five nominations, including ones for Best Cinematography and Best Picture. ?The Robe is the most complex and challenging restoration Lowry Digital has done to date,? says Lowry Digital?s Chief Operating Officer Mike Inchalik. ?We worked from an amazingly disparate array of elements, including original camera negative, black-and-white YCM separations, and more than a dozen different types of duplicate negative from different eras.? The elements were scanned at 4K resolution and converted to digital files using IMAGICA® film scanners that are specially designed to gently handle older, shrunken films. The images were color corrected to achieve the look of Technicolor dye-transfer prints of the era, using the Baselight? color correction system. The images were then faithfully restored using The Lowry Process?, a proprietary technique that employs complex temporal image processing to regain detail and resolution to restore consistency, and to reverse the effects of duplication like grain build-up, softening and excess contrast. Physical problems like tears, dirt, misregistration and shrinkage were also repaired. ?The Lowry Process? incorporates some extraordinarily powerful imaging algorithms that have been fine-tuned over the past nine years,? explains Inchalik. ?Even more importantly, the experience we have gained in treating a myriad of imaging problems through nearly 400 major feature film restorations proved to be essential on The Robe. We are proud to have worked on such an important project.? Lowry Digital, a subsidiary of Adlabs Films Limited and a member of the Reliance Anil Dhirubhai Ambani Group, delivered new negatives, digital data archives, and a new HD master to serve home video markets, all of which are true to the restored film. The print that will screen at the Rome Film Festival was made from these new negatives, and will be shown in its native 2.55:1 aspect ratio. ?Restoring The Robe to its original CinemaScope glory was a painstaking task and a tremendous responsibility,? says Lowry Digital?s Chief Technology Officer John Lowry. ?I doubt it would have been possible even one year ago. It required our very latest technology. We worked hand-in-hand with Schawn Belston and Michael Pogorzelski, director of the Academy Film Archive, to make the right aesthetic decisions. Using The Lowry Process?, we have also prepared the film for today?s high-definition home viewing environments, and The Robe will be ready for any format or viewing system the future brings as well.?

Robert F. ?Bobby? Liu, ASC and Isidore Mankofsky, ASC will be in the spotlight at the 23rd Annual American Society of Cinematographers Outstanding Achievement Awards here on February 15, 2009, at the Hyatt Regency Century Plaza Hotel. Liu will receive the ASC Career Achievement in Television Award and Mankofsky will receive the ASC Presidents Award. ?Bobby Liu and Isidore Mankofsky have earned the respect of their peers with their achievements as cinematographers and devotion to advancing the art form,? says ASC President Daryn Okada. ?Against all odds they achieved their aspirations of becoming cinematographers and are an inspiration to every filmmaker with unrealized dreams.? Liu was born in Shanghai in 1926. He began his career working with Chinese filmmaking pioneer Chuang Kuo Chuen. Liu subsequently earned a master?s degree in cinema studies from the University of Southern California. He returned to Taiwan and taught filmmaking before he immigrated to the United States in 1966. Liu?s Hollywood career started on the camera crews of such television classics as Gunsmoke, The Rockford Files and Columbo, where he worked with some of the industry?s top cinematographers. As a cinematographer, Liu earned Emmy nominations for Lou Grant in 1982 and Family Ties in 1989. He compiled dozens of additional credits on such television series as The Nanny, The Martin Short Show and Hardcastle & McCormick. ?My life has been one miracle after another,? says Liu. ?I?m thankful to so many of my colleagues who helped me along the way. As a boy, I never thought I?d be able to work in Hollywood, but a dream doesn?t cost anything. I?m proud of being born Chinese, but I am deeply grateful to have been adopted by this great country, the United States. I mean that from my heart. This award is another miracle.? The Career Achievement in Television Award has been presented previously to George Spiro Dibie, ASC and Donald M. Morgan, ASC. Mankofsky began his career making documentaries and shooting newsfilm at a television station in Reno, Nevada. He made over 100 educational films at Encyclopedia Britannica Educational Films before segueing into narrative filmmaking. His credits consist of over 100 films, including The Jazz Singer, The Muppet Movie, Somewhere In Time, The Burning Bed and Better Off Dead. Mankofsky earned three Emmy and three ASC Award nominations for his work on Polly, Afterburn, Davy Crockett: Rainbow in the Thunder, and Love, Lies and Murder, the latter of which took top honors in the ASC television mini-series competition in 1992. ?I?m surprised and pleased that the ASC is recognizing my body of work,? says Mankofsky. ?I came up on a different path than many, and the result is that I?ve always done things my own way. Membership in the ASC was always one of my career goals, so this honor means a lot to me.? The Presidents Award has been given to a diverse range of individuals who have made significant contributions to the art of filmmaking. Mankofsky joins a list that includes Robert Duvall; visual effects pioneers Linwood Dunn, ASC, Douglas Trumbull, and Richard Edlund, ASC; Steadicam inventor Garrett Brown; camera designers Tak Miyagishima and Albert Mayer, Jr.; filmmaker Albert Maysles; and cinematographers Guy Green, BSC, Ralph Woolsey, ASC, and Woody Omens, ASC, among others. ?Both Bobby and Isidore are more than just talented cinematographers,? says Awards Committee Chairman Michael Goi, ASC. ?They also commit a great deal of time to the ASC?s educational activities, and they work tirelessly to keep the organization strong and vital in the era of technical evolution.? The ASC was chartered in January 1919. There are currently some 300 active members of the organization who have national roots in some 20 countries. There are also 150 associate members from sectors of the industry that support the art and craft of filmmaking. Membership and associate membership is by invitation based on contributions that individuals have made to advance the art of visual storytelling. For more information, visit www.theasc.com.

Jack Green, ASC, will receive the American Society of Cinematographers (ASC) 2009 Lifetime Achievement Award. He will be feted by his peers during the 23rd Annual ASC Outstanding Achievement Awards celebration here on February 15, 2009, at the Hyatt Regency Century Plaza Hotel. ?Jack Green has earned the respect of his peers with an extraordinary body of work that is constantly evolving,? says ASC President Daryn Okada. ?His innovative cinematography has inspired other filmmakers to follow their dreams and explore new frontiers in visual storytelling. This recognition is an expression of our appreciation for what he has achieved, but we are certain that the best is yet to come.? Green earned an Oscar® nomination for Unforgiven in 1993, and an ASC Outstanding Achievement Award nomination for The Bridges of Madison County in 1996. He has compiled around 40 cinematography credits, beginning with Heartbreak Ridge in 1986, and subsequently including 11 films with Clint Eastwood as director. Some of his memorable work includes Bird, The Dead Pool, White Hunter Black Heart, A Perfect World, Twister, Midnight in the Garden of Good and Evil, Girl Interrupted, Space Cowboys, and the popular contemporary films 50 First Dates, The 40 Year Old Virgin and My Best Friend?s Girl. Green began his cinematography career as an assistant cameraman on 16 mm film projects, including industrial films, National Geographic specials, and other documentaries and commercials. He was also a stringer on ABC Television network news crews. His assignments included covering the kidnapping of Patricia Hearst, the Black Panther trials, and the assassination of Robert Kennedy at the Ambassador Hotel in Los Angeles in 1968. Green moved to Los Angeles in 1971 and spent the next 11 years working as an assistant and operator with an array of world-class cinematographers, including William A. Fraker, ASC, BSC, Donald M. Morgan, ASC, Ric Waite, ASC, Harry Stradling, Jr., ASC, Bruce Surtees, ASC, Michael Watkins, ASC and Rex Metz, ASC. ?I can?t say enough about the impact all of those cinematographers and others had on my life and career,? emphasizes Green. ?I was an operator for Bruce (Surtees) on Pale Rider (in 1985). When he lit a set, it was like watching a painter create a work of art. After four more films operating for Bruce, he told Clint Eastwood I was ready to move up to cinematographer.? Green joins a formidable list of legendary cinematographers who were previous recipients of this recognition, including George Folsey, ASC, Joseph Biroc, ASC, Stanley Cortez, ASC, Charles Lang, Jr., ASC, Phil Lathrop, ASC, Haskell Wexler, ASC, Conrad L. Hall, ASC, Gordon Willis, ASC, Sven Nykvist, ASC, Owen Roizman, ASC, Victor J. Kemper, ASC, Vilmos Zsigmond, ASC, Fraker, Vittorio Storaro, ASC, AIC, Laszlo Kovacs, ASC, Bill Butler, ASC, Michael Chapman, ASC, Fred Koenekamp, ASC, Richard Kline, ASC, Allen Daviau, ASC and Stephen H. Burum, ASC. ?Cinematography is an art, but it is also a craft,? Green observes. ?It?s like learning to mix paints to get just the right colors. You aren?t just creating looks. You are helping to tell the story by creating moods. I don?t believe in playing it safe. I would rather work on the edge and trust my instincts.? The ASC was chartered in January 1919, with the purpose of advancing the evolving art and craft of telling stories with moving images. There are some 300 ASC members from around the world today, and 150 associate members from allied sectors of the industry. For information about the 23rd Annual ASC Outstanding Achievement Awards call 323-969-4333 or visit www.theasc.com.

The American Society of Cinematographers (ASC) has dedicated the 2009 Heritage Award to the memory of Burton ?Bud? Stone, who was president of Deluxe Laboratories for 18 years. The organization has simultaneously issued a call for entries in the 23rd annual competition for undergraduate, graduate or recently graduated film school students. The deadline for submissions is November 1. The Bud Stone Heritage Award will be presented to one or more recipients during the 23rd Annual ASC Outstanding Achievement Awards on February 15, at the Hyatt Regency Century Plaza Hotel here in Los Angeles. ?Bud Stone was an influential leader in the industry who became a legend in his own time,? says ASC President Daryn Okada, ASC. ?He had an unwavering appreciation for the role that cinematographers play in the collaborative art of visual storytelling. He also made incomparable contributions to supporting cinematographers and raising their public profile.? Inaugurated in 1999, the ASC Heritage Award has been dedicated to the memory of a different cinematographer each year. This is the first year that the award will be dedicated to the memory of an extraordinary individual in the film industry. ?This tribute was a unanimous decision made by our board of directors,? says Isidore Mankofsky, chairman of the ASC Education Committee. ?Bud Stone was an honorary member of ASC, and served as chairman of the Outstanding Achievement Awards Committee for 17 years.? Stone worked his way up through the ranks at several film labs in New York and New Jersey before being named president of Deluxe Laboratories in 1976. He served in that role until 1994, when he retired. In 1996, the Academy of Motion Picture Arts and Sciences presented the prestigious John A. Bonner Medal of Commendation to Stone ?in appreciation for outstanding service and dedication in upholding the highest standards of the industry.? ?Bud Stone had a special affinity for cinematographers,? says ASC Awards Committee Chairman Michael Goi, ASC. ?Our members will forever have a special place in our hearts for Bud.? When Stone received an honorary doctorate from Florida State University in 1996, he gave the graduating class sage advice: ?There are no certain ways to succeed in life, but there are some very sure ways to fail. One certain rule for failure is to flaunt your status as an important person. The alternative is to treat everyone you meet as the most important person you know. The second rule for failure is to only do what is expected of you. The third rule is that the opposite of love is not hate. It?s indifference. Work with people who have heart and are passionate about what they do.? Stone died on April 18 at his home in Los Angeles at the age of 80. Applicants for the 2009 Bud Stone Heritage Award must be in either their final year or a recent graduate of a United States school that offers film study curricula. Requirements include a nomination by the dean, department head or a faculty member, and submission of a student film. Entries will be judged by an ASC jury who will evaluate both the artistry and skill with which the applicants tell stories with moving images that augment the visions of the directors and performances by the actors. The ASC was chartered in January 1919. There are currently some 300 active members of the ASC who have national roots in some 20 countries. There are also 150 associate members from sectors of the industry that support the art and craft of filmmaking. Membership and associate membership is by invitation based on contributions that individuals have made to advance the art of visual storytelling. For more information or to download an application, visit www.theasc.com, or call 323-969-4333. #

Pioneering motion picture technologist Gary Demos has joined Lowry Digital as senior algorithm scientist, reporting to Chief Technology Officer John Lowry. Demos received the 2006 Gordon E. Sawyer Award for lifetime technical achievement from the Academy of Motion Pictures Arts and Sciences. He was a leader in computer-generated images in the early 1970s, and began working on the processing and compression of high-resolution images by the late 1980s. ?Gary Demos has been exploring the frontiers of digital imaging for decades and his innovative technical solutions are widely recognized within our industry,? says Mike Inchalik, chief operating officer for Lowry Digital. ?He is a valuable addition to our research and development team which continues to push the boundaries of image processing as we pursue ever higher levels of picture quality.? Lowry Digital has developed and used its unique image processing technology for feature film restorations, enhancement of moving pictures for current productions, Blu-ray Disc preparation, and image recovery and repair. Most recently, the company provided custom image processing services for Journey to the Center of the Earth, the first full-length, live-action feature film shot in digital 3-D. Lowry Digital works with such companies as Walt Disney, Paramount Pictures, MGM and 20th Century Fox, and entertainment leaders including George Lucas, James Cameron and David Fincher. It has restored more than 300 feature films with output to DVD, HD, 35 mm film, digital cinema, and IMAX®. Their body of work includes Casablanca, Singing in the Rain, Sunset Boulevard, the Indiana Jones trilogy, Star Wars trilogy, and 20 films from the James Bond library. In April 2008, Lowry Digital was acquired by Reliance Big Entertainment, the flagship entertainment company of the Reliance Anil Dhirubhai Ambani Group. ?I am looking forward to collaborating with John Lowry and his team,? Demos says. ?Lowry Digital is doing innovative work that is important to the future of digital imaging science, which has been my life?s work. John is a true visionary. This is an exciting opportunity.? Demos is a graduate of the California Institute of Technology, where one of his mentors, John Whitney, Sr., was experimenting with creating abstract computer graphic films. Demos launched his career in 1972 when he created computer generated images (CGI) for a television program called Search. From 1974-1981, he was a scientist for Information International, Inc., where he contributed to the development of high-speed film scanners and recorders that were used during the production of Futureworld, Looker and Tron. Demos and John Whitney, Jr., organized Digital Productions in 1981, where they pioneered the use of a Cray supercomputer for creating digital visual effects on such projects as The Last Starfighter and 2010. In 1988, Demos founded DemoGraFX and began working on high-resolution digital image compression for moving images, and image processing and formats for high definition and beyond. Demos and his colleagues earned Technical Achievement Awards from the Academy in 1985 for breakthroughs in computer-generated imagery; in 1995 for pioneering work with digital film scanning; and in 1996 for advancements in digital film compositing systems. Demos has authored dozens of technical papers, and holds numerous patents for digital signal processing, image processing and moving image compression technologies. He has been working as an independent scientist on personal and government projects since 2004, developing new codec technology. He is also an active member in several industry technology groups. For more information, visit www.lowrydigital.com.

The Production Equipment Rental Association (PERA) has launched a new Web site at www.peraonline.org. The site will be the primary tool for posting upcoming events, member information, industry links, stolen equipment postings, discussion forums, and much more. ?The new site will provide more member services and information to the industry,? says PERA Executive Director John Johnston. ?The home page has been improved and new features will be added frequently as we build the site out to meet the needs of members and the industry.? PERA has also opened a new national office in Manhattan at 101 West 31st Street today. This location will serve as place for meetings and consolidated communications for members. ?PERA has been listening to members and the industry since our member meeting at the National Association of Broadcasters convention in April,? Johnston adds. ?We are acting on recommendations to rebuild the organization, focus on current issues, address member needs, and increase the value of membership in PERA.? For more information about PERA, visit the website www.peraonline.org, or contact the Production Equipment Rental Association at 646-839-0430 or info@peraonline.org.

Daryn Okada, ASC has been chosen by his peers to serve a third one-year term as president of the American Society of Cinematographers (ASC). The other officers are vice presidents Michael Goi, ASC, Owen Roizman, ASC, and Richard Crudo, ASC; Treasurer Victor J. Kemper, ASC; Secretary Isidore Mankofsky, ASC; and Sergeant At Arms John Hora, ASC. The board members include Curtis Clark, ASC, Caleb Deschanel, ASC, John C. Flinn, III, ASC, William A. Fraker, ASC, BSC, Stephen Lighthill, ASC, Robert Primes, ASC, Nancy Schreiber, ASC, Dante Spinotti, ASC, AIC, and Kees Van Oostrum, ASC. "It still amazes me that 15 cinematographers met 90 years ago in Hollywood to organize the ASC as a forum where they could discuss ideas and advocate progress in the art and craft of visual storytelling,? says Okada. ?The motion picture industry was still in its infancy, and this was the first organization of its type in the world. Our members have been true to that heritage by exploring and sharing the creative utilization of new technologies for the advancement of cinematography. I feel privileged to be a part of this extraordinary group of dedicated filmmakers.? ASC membership is by invitation based upon the individual?s body of work. In 1934, the organization created an associate membership category for individuals in other sectors of the motion picture industry who have made notable contributions to advancing the art and craft of cinematography. Okada was 21 years old when he earned his first narrative film credit as a cinematographer for Nomad Riders in 1981. A short list of his subsequent credits includes Anna Karenina, Lake Placid, My Father the Hero, Dr. Doolittle 2, Cradle 2 The Grave, Mean Girls, Stick It, Just Like Heaven, Baby Mama and Harold & Kumar Escape from Guantanamo Bay. The latter two films opened first and second at the box-office on the same weekend earlier this year. The Goods: The Don Ready Story and Ghosts of Girlfriends Past will be released later this year. ?We are looking forward to a banner year,? Okada says. ?ASC has broken ground for the renovation of our historic Hollywood clubhouse, where our members and friends have met for 70 years. It contains a treasure trove of early film history and is a constant reminder of our mission. We are indebted to those who preceded us and we have an obligation to the next generation of filmmakers who will follow us.? ASC has evolved into a global organization. There are 250 active members today who have national roots in some 20 countries. There are also 150 associate members. For additional information about the ASC, visit www.theasc.com.

Kodak is hosting Stop By Shoot Film workshops on June 20 and 21 at 11 a.m. and 2:30 p.m. during Cine Gear Expo 2008 here at the Universal Studios Backlot. Classes will be offered in the 35 mm format on the latest KODAK VISION3 color negative. Stop By Shoot Film sessions are designed to provide hands-on opportunities to shoot various Kodak stocks with the latest cameras. Participants shoot their own footage under the guidance of an experienced cinematographer, and later receive a DVD of their work so they can see and learn from the results. These two-hour workshops are free but space is limited. To pre-register online, go to www.kodak.com/go/stopbyshootfilm. Participants also need to be registered for Cine Gear Expo (www.cinegearexpo.com). ?Stop By Shoot Film workshops provide an opportunity for filmmakers at all stages of their careers to experiment with the latest film tools and analyze what they created,? says Kodak?s Judy Doherty. For more than 100 years, Kodak has been providing tools for the creative community to tell their stories in motion, and is the world-class leader in providing film, digital and hybrid motion imaging products, services, and technology to the entertainment industries. For more information, visit www.kodak.com/go/motion.

Mandy Walker to Receive Kodak Vision Award at Women In Film?s Crystal + Lucy Awards Mandy Walker, ACS will receive the Kodak Vision Award for Cinematography when Women In Film celebrates the Crystal + Lucy Awards here at the Beverly Hilton Hotel on June 17. The award, which Kodak inaugurated and sponsors to recognize the role that female cinematographers play in the collaborative art of filmmaking, will be presented by Baz Luhrmann. ?Mandy Walker is a tremendous talent,? says Kodak?s Michael Morelli, vice president and worldwide general manager for Kodak?s Entertainment Imaging Division. ?She has earned this recognition with her impressive and eclectic body of work.? Walker recently completed Luhrmann?s "Australia," an epic 20th Century Fox film set during World War II that features Nicole Kidman and Hugh Jackman in leading roles. Her other notable feature credits include "Love Serenade," "The Well," "Lantana," "Australian Rules" and "Shattered Glass." Walker also shot the memorable CHANEL No. 5 commercial campaign featuring Kidman. Walker was born and raised in Australia. A dedicated movie fan, she decided that she wanted to be a cinematographer during her early teens. After completing a film studies program, Walker quickly worked her way up through the ranks of the camera crew system and earned her first feature cinematography credit at the age of 25. Her diverse body of work includes documentaries, music videos and television commercials. ?I am honored and thrilled to be receiving the Kodak Vision Award this year.? says Walker. ?I already feel I am very fortunate to be doing a job I'm passionate about, and to also be acknowledged and recognized in this way is personally very rewarding.? Previous recipients of the Kodak Vision Award include Nancy Schreiber, ASC, Sandi Sissel, ASC, Ellen Kuras, ASC, Lisa Rinzler, Amelia Vincent, ASC, Carolyn Chen, Tami Reiker, ASC, Maryse Alberti, and Uta Briesewitz, among others. Women In Film?s mission is to empower, promote and mentor women in the entertainment and media industries. For more information, visit www.wif.org. More information about Kodak is available at www.kodak.com. #

Victor J. Kemper, ASC has been named Kodak Cinematographer in Residence during the spring quarter at the University of California Los Angeles (UCLA) School of Theater, Film and Television. The annual residency program was inaugurated by Professor William McDonald in 2000, and is sponsored by Kodak. The program will begin with a screening of one of Kemper?s memorable films THE JERK. The comedy, starring Steve Martin and directed by Carl Reiner, will screen at the James Bridges Theater on the UCLA campus in Westwood on Monday, April 28, at 8 p.m. Kemper will discuss the visual grammar for the classic film and answer questions posed by McDonald and the audience. The public is invited to join faculty and students for this free screening. ?Victor Kemper is an innovative filmmaker with an extraordinary body of work,? McDonald says. ?This program provides a unique opportunity for our students to gain insights into the art and craft of lighting from a uniquely talented cinematographer.? Kemper compiled 60 narrative film credits between 1970 and 2005, including such diverse and memorable features as THEY MIGHT BE GIANTS, THE CANDIDATE, LAST OF THE RED HOT LOVERS, DOG DAY AFTERNOON, SLAP SHOT, OH GOD!, EYES OF LAURA MARS, COMA, THE LAST TYCOON, AUTHOR! AUTHOR!, and BEETHOVEN. His body of work also includes such memorable television films as THE ATLANTA CHILD MURDERS miniseries, KOJAK: THE PRICE OF JUSTICE and ON GOLDEN POND. His peers in the American Society of Cinematographers recognized Kemper?s extraordinary contributions to advancing the art of visual storytelling when he was presented with the coveted ASC Lifetime Achievement Award in 1998. ?Part of being a cinematographer is learning the craft, but there is also something which whispers in your ear and tells you to move the camera a foot in a particular direction, while putting a face in shadows and a sparkle in someone?s eyes,? says Kemper. ?That talent is innate, but you also need to learn the craft and how to work with the director, production designer, cast, crew and everyone else who is part of the collaborative process.? Kemper blazed a non-conventional career path. He was born and raised in Newark, New Jersey. After graduating from Seton Hall University, Kemper was hired by a television station in his home state. He operated a sound boom, repaired cameras, mixed sound, and was a technical director for live programs produced in the studio. In 1954, Kemper joined EUE, a leading TV commercial production company in New York as a video camera operator. He subsequently went to work as an assistant cameraman and operator on narrative features with Arthur Ornitz and other top cinematographers. Kemper earned his first cinematography credit for HUSBANDS in 1964. ?The New York Union assigned me to be a standby cinematographer for Aldo Tonti, who was the cinematographer,? Kemper recalls. ?When he decided to leave the picture after a week, John Cassavetes gave me a chance to step into the breach. What a tremendous break that was for me, getting to shoot my first film with an incredibly talented director.? Kemper joins a distinguished list of participants in the Kodak Cinematographers in Residence annual program, including Dean Cundey, ASC, Allen Daviau, ASC, Conrad Hall, ASC, Owen Roizman, ASC, Laszlo Kovacs, ASC, Roger Deakins, ASC, BSC, Joan Churchill, ASC and Stephen H. Burum, ASC. ?Victor Kemper is a uniquely talented cinematographer who has made an indelible impression on the art of filmmaking,? says Michael Morelli, vice president and worldwide general manager for Kodak?s Entertainment Imaging Division. ?This is an extraordinary opportunity for the next generation of filmmakers to learn from a legendary master of the art and craft.? For more information about the April 28 screening of THE JERK, visit www.tft.ucla.edu or call 310-206-8365. Admission is free. There is an $8 parking fee. For more information about Kodak, visit www.kodak.com/go/motion. #

Cineric, Inc. has been selected by the Nederlands Filmmuseum to preserve for posterity 24 historically-noteworthy feature films from the institution?s collection over the next four years. The venture is part of the Dutch government?s Images for the Future project grants to audiovisual institutions in that country. The Filmmuseum houses the largest and most important film library in the Netherlands, which includes the history of Dutch cinema produced from the silent era through today. Sandra den Hamer, managing director of the Filmmuseum and former director of the International Film Festival Rotterdam, along with Images for the Future Project Manager Emjay Rechsteiner and Curator Giovanna Fossati, finalized plans for the endeavor last week at Cineric?s Manhattan facility. After a worldwide search for ideal preservation facilities, the Filmmuseum provisionally awarded Images for the Future contracts in December to Cineric and the Amsterdam-based company Haghefilm Conservation. Cineric, which continues to grow its international business, will be responsible for producing archival separation masters for two dozen of the most significant Dutch color films, beginning with Jenny (1958), the first Dutch color feature film, and Op De Hollandse Toer (1973), an extremely popular cult comedy. ?We?re honored to be entrusted with these cultural treasures and collaborate with the Nederlands Filmmuseum,? says Cineric President Balazs Nyari. ?Our experience in restoring and preserving important cinematic assets is unsurpassed, and we look forward to putting the tremendous power of our technology and expertise into this monumental undertaking.? Nyari adds that producing separation masters is considered the best way to preserve color films because the black-and-white records of the film?s color information on polyester film stock are proven to not fade over time. Cineric plans to utilize their most advanced photochemical and/or digital processes based on the assessment of existing materials. The Nederlands Filmmuseum has an internationally recognized collection of film titles. During the next seven years, the Images for the Future project will secure a core collection of Dutch audiovisual heritage for the future by restoring, conserving, and digitizing hundreds of thousands of hours of film, video and audio materials, as well as millions of photos from various national archives. Cineric, a company renowned in the field of film preservation and restoration, has been serving major motion picture archives in the United States for over 25 years. Projects recently completed at Cineric include a 4K digital restoration of Dr. Strangelove for Sony Pictures Entertainment and The King and I from rare 55 mm negatives for Twentieth Century Fox. The company also provides complete motion picture film services, offering scanning, recording, video-to-film, specialized image processing, optical printing, titles, special effects, and digital intermediate and related services. For more information on Cineric, visit www.cineric.com. For more on the Images for the Future project, visit www.imagesforthefuture.org/en.