Sue Smith

The American Society of Cinematographers (ASC) has chosen two honorees to be feted for their body of work at the 33rd ASC Awards for Outstanding Achievement. Robert Richardson, ASC will receive the ASC Lifetime Achievement Award, and Jeff Jur, ASC will be bestowed the org’s Career Achievement in Television Award. The presentations will be made at the annual ASC Awards gala on February 9, 2019, at the Ray Dolby Ballroom at Hollywood & Highland. The event will also pay tribute to the society’s centennial in 2019. ASC President Kees van Oostrum notes, “Celebrating the accomplishments of exceptionally talented cinematographers like Bob Richardson for his innovative approach to feature films, and Jeff Jur for his brilliant interpretations in the world of television drama, is especially important in today’s day and age of cinematography. As we celebrate our 100th anniversary, I cannot imagine better role models, as both have inspired us, and their work continues to embolden the next generation of cinematographers.” Richardson’s extensive career has spanned nearly four decades and counting. Along the way, he has garnered three Academy Awards® for his cinematography on Hugo (2012), The Aviator (2005), and JFK (1992), in addition to six Oscar® nominations (The Hateful Eight, Django Unchained, Inglourious Basterds, Snow Falling on Cedars, Born on the Fourth of July, Platoon) and four BAFTAs (Hugo, Inglourious Basterds, The Aviator, Platoon). He has worked alongside some of the most renowned director’s in cinema, including Oliver Stone, Martin Scorsese, and Quentin Tarantino. His most recent film is A Private War, in select theaters now, with Once Upon a Time in Hollywood slated for release next year. Richardson began shooting documentaries in the 1980s. His photography on Crossfire for an English TV station caught the eye of Stone, who enlisted Richardson for Salvador. That led to Platoon, and the beginning of a prolific credit list that includes Wall Street, The Doors, A Few Good Men, Natural Born Killers, Casino, Nixon, The Horse Whisperer, both Kill Bill movies, The Good Shepherd, Eat Pray Love, and Live by Night, among others. Born in Massachusetts, Richardson fell in love with movies and studied at the Rhode Island School of Design, before advancing to the American Film Institute in the late 1970s. He apprenticed with such legendary cinematographers as Sven Nykvist, ASC, FSF and Nestor Almendros, ASC, and continues to amass feature and documentary credits, demonstrating amazing artistry in everything he shoots. Jur has received numerous accolades for his wide range of television credits. He collected Emmy® Awards for his artistry on HBO’s Carnivale (2004) and for HBO’s Bessie (2016), in addition to another nomination for Carnivale in 2005. Jur’s work has also been recognized by the ASC, having won Outstanding Achievement Awards for the Showtime movie Last Call (2003) and Carnivale (2004), and earning nominations for Carnivale (2006), ABC’s Flashforward (2010), and Bessie. Jur studied film at Columbia College in Chicago. After school, he stayed in Chicago, where he was a gaffer and assistant cameraman on commercials, industrial films and documentaries. He photographed a number of American Playhouse telefilms, including Any Friend of Nicholas Nickleby Is a Friend of Mine from 1980 to 1984. In between TV projects, he went on to shoot feature films, such as Dirty Dancing, The Big Picture, The Last Seduction, How Stella Got Her Groove Back, Panic, Joy Ride, and My Big Fat Greek Wedding, among others. Jur’s prolific resume includes episodes of the series Invasion (ABC), Dirty Sexy Money (ABC), Perception (TNT), Dexter (Showtime), Resurrection (ABC), Halt & Catch Fire (AMC), Colony (USA), The Catch (ABC), Westworld (HBO), Lodge 49 (AMC), and How to Get Away With Murder (ABC). He also has an impressive list of television movies from Running Mates (HBO), Zooman (Showtime), Murder: Live! (NBC), and First Time Felon (HBO), to Alone (Showtime), On Thin Ice (Lifetime), and Reconstruction (NBC). For information regarding the 33rd ASC Awards, visit www.theasc.com or call 323-969-4333.

RED Digital Cinema announced it is further simplifying its product portfolio with the availability of the DSMC2® DRAGON-X™ 5K S35 camera. RED also announced the DSMC2 PRODUCTION MODULE and DSMC2 PRODUCTION KIT, which are coming soon in early 2019. The DSMC2 DRAGON-X camera uses the award-winning DRAGON sensor technology found in many of RED’s legacy cameras with a evolved sensor board to enable RED’s enhanced image processing pipeline (IPP2) in camera. In addition to IPP2, the DRAGON-X provides 16.5 stops of dynamic range, 5K resolution up to 96 fps in full format and 120 fps at 5K 2.4:1. Consistent with the rest of RED’s DSMC2 line-up, DRAGON-X offers 300 MB/s data transfer speeds and simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHD/HR. The new DSMC2 DRAGON-X is priced at $14,950 / €13,800 / £12,100 and is also available as a fully-configured kit priced at $19,950 / €18,400 / £16,150. The kit includes: • 480GB RED MINI-MAG • Canon lens mount • RED DSMC2 Touch LCD 4.7” Monitor • RED DSMC2 Outrigger Handle • RED V-Lock I/O Expander • Two IDX DUO-C98 batteries with VL-2X charger • G-Technology ev Series RED MINI-MAG Reader • Sigma 18-35mm F1.8 DC HSM Art Lens • Nanuk heavy-duty camera case Both the camera and kit are available today at red.com or through RED’s Authorized Dealers. RED also announced the new DSMC2 PRODUCTION MODULE. Designed for professional shooting configurations, this accessory mounts directly to the DSMC2 camera body and incorporates an industry standard V-Lock mount with integrated battery mount and P-Tap for 12V accessories. The module delivers a comprehensive array of video, XLR audio, power, and communication connections, including support for 3-pin 24V accessories. It has a smaller form factor and is more lightweight than RED’s REDVOLT EXPANDER with a battery module. The DSMC2 PRODUCTION MODULE is available for order and is expected to ship in early 2019 for $4,750 / €4,350 / £3,800. It will also be available as a DSMC2 PRODUCTION KIT that will include: • DSMC2 PRODUCTION MODULE • PRODUCTION HANDLE • DSMC2 PRODUCTION TOP PLATE The DSMC2 PRODUCTION KIT is also available for order and is expected to ship in early 2019 for $6,500 / €5,950 / £5,200. SCARLET-W owners may upgrade to DSMC2 DRAGON-X for $4,950 / €4,600 / £4,050 through RED Authorized Dealers or directly from RED.

The 13th annual Hollywood Professional Association (HPA) Awards took place tonight, honoring the accomplishments of industry luminaries, behind-the-scenes artists and outstanding engineering teams. The HPA Awards set the bar for creative and technical achievement, recognizing individuals and companies for outstanding contributions made in the creation of feature films, television, commercials, and entertainment content enjoyed around the world. Awards were given to talented individuals and teams working in twelve creative craft categories, including color grading, sound, editing and visual effects for commercials, television and feature film. Victoria Alonso, EVP Production of Marvel, was honored with the HPA Charles S. Swartz Award, and special awards were presented for Engineering Excellence. The many social movements, including #metoo, of the past year that effectively harnessed the power of technology to bring positive change to our industry were also acknowledged during the show. The winners of the 2018 HPA Awards are: Creative Categories Outstanding Color Grading – Feature Film WINNER: “Alpha” Maxine Gervais // Technicolor – Hollywood “Avengers: Infinity War” Steven J. Scott, Charles Bunnag // Technicolor – Hollywood “Red Sparrow” Dave Hussey // Company 3 “The Shape of Water” Chris Wallace // Deluxe – Toronto “The Greatest Showman” Tim Stipan // Company 3 Outstanding Color Grading – Television WINNER: “The Crown – Paterfamilias" Asa Shoul // Molinare “Damnation – Sam Riley’s Body” Paul Allia // Picture Shop “The Marvelous Mrs. Maisel – Pilot” Steven Bodner // Light Iron “Game of Thrones – Beyond the Wall” Joe Finley // Sim “The Crossing – Pilot” Tony Smith // Picture Shop Outstanding Color Grading – Commercial WINNER (TIE): Volkswagen – "Kids’ Dreams" Adam Scott // The Mill WINNER (TIE): Zara – "Spring/Summer 2018 Main" Tim Masick // Company 3 Bottega Veneta – "Spring/Summer 2018 Trailer" Tim Masick // Company 3 Tile – "Lost Panda" Tom Poole // Company 3 Audi – "Final Breath" Sofie Borup // Company 3 Outstanding Editing – Feature Film Sponsored by Blackmagic Design WINNER: “A Quiet Place” Christopher Tellefsen, ACE “Coco” Steve Bloom “You Were Never Really Here” Joe Bini “Mission: Impossible – Fallout” Eddie Hamilton, ACE “Believer” Demian Fenton Outstanding Editing – Television (30 Minutes and Under) Sponsored by Blackmagic Design WINNER: “VICE – After the Fall” Kelly Kendrick // Vice “The End of the F***ing World – Episode One” Mike Jones “Vida – Episode 6” JoAnne Yarrow “Barry – Chapter Eight: Know Your Truth" Kyle Reiter “Vice Principals –The Union of the Wizard and The Warrior" Justin Bourret Outstanding Editing – Television (Over 30 Minutes) Sponsored by Blackmagic Design WINNER: “The Defiant Ones – Part 2” Doug Pray, Lasse Järvi “Stranger Things – Chapter Nine: The Gate” Kevin D. Ross, ACE “Game of Thrones – The Dragon and the Wolf” Crispin Green “Westworld – The Passenger” Anna Hauger, Mako Kamitsuna, MPEG, Andrew Seklir, ACE “Counterpart – The Crossing" Dana E. Glauberman, ACE Outstanding Sound – Feature Film WINNER: “The Shape of Water” Christian Cooke, Brad Zoern, Nelson Ferreira, Nathan Robitaille // Deluxe - Toronto “Ant-Man and The Wasp” Katy Wood, Addison Teague, Juan Peralta, Tom Johnson // Skywalker Sound “Avengers: Infinity War” Shannon Mills, Tom Johnson, Juan Peralta, Dan Laurie // Skywalker Sound “Blade Runner 2049” Mark Mangini, Ron Bartlett, Theo Green, Doug Hemphill, Mac Ruth // Formosa Group “Black Panther” Benjamin A. Burtt, Steve Boeddeker, Brandon Proctor // Skywalker Sound Outstanding Sound – Television WINNER: “Altered Carbon – Out of The Past” Brett Hinton, Mark Allen, Owen Granich-Young, Andy King, Keith Rogers // Atomic Sound “Yellowstone – Daybreak” Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. “Waco – Operation Showtime” Craig Mann, Kelly Oxford, Laura Wiest, Karen Vassar Triest, David Brownlow, Beau Borders // Technicolor – Hollywood “Dark – Secret” Alexander Würtz, Achim Hofmann, Jorg Elsner, Christian Bichoff // ARRI Media GmbH Ansgar Frerich // Basis Berlin “Yellowstone – Kill the Messenger” Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. Outstanding Sound – Commercial WINNER: OXFAM – “The Heist No One is Talking About” Neil Johnson // Factory Studios KIA – “Fueled by Youth” Nathan Dubin // Margarita Mix SANE – “Let Me Talk” Anthony Moore, Jack Hallett // Factory Studios Monster – “Opportunity Roars” Tom Jucarone // Sound Lounge ICRC – “Hope” Anthony Moore // Factory Studios Outstanding Visual Effects – Feature Film WINNER: “Avengers: Infinity War” Matt Aitken, Charles Tait, Paul Story, Sidney Kombo-Kintombo, Marvyn Young // Weta Digital “Maze Runner: The Death Cure” R. Christopher White, Daniel Macarin, Phillip Leonhardt, Paul Ramsden, Jeremy Fort // Weta Digital “Blade Runner 2049” Richard Clegg, Axel Akesson, Wesley Chandler, Stefano Carta, Ian Cooke-Grimes // MPC “Rampage” Erik Winquist, Benjamin Pickering, Stephen Unterfranz, Thrain Shadbolt, David Clayton // Weta Digital “Thor: Ragnarok” Kyle McCulloch, Alexis Wajsbrot, Ben Loch, Harry Bardak // Framestore Outstanding Visual Effects – Television (Under 13 Episodes) WINNER: “Game of Thrones – Beyond The Wall” Joe Bauer, Steve Kullback, Ted Rae // HBO Eric Carney // The Third Floor David Ramos // El Ranchito “Altered Carbon – Out of The Past” Everett Burrell, Tony Meagher, Steve Moncur, Christine Lemon, Paul Jones // DNEG “Outlander – Eye of The Storm” Richard Briscoe // Outlander Production Daniel Norlund, Filip Orrby // Goodbye Kansas Aladino Debert, Greg Teegarden // Digital Domain “Black Mirror – Metalhead" Russell McLean // House of Tomorrow Michael Bell, Pete Levy, Steven Godfrey, Stafford Lawrence // DNEG “Westworld – The Passenger” Jay Worth, Bruce Branit // Deep Water FX Bobo Skipper // Important Looking Pirates Kama Moiha // COSA VFX Mike Enriquez // DNEG Outstanding Visual Effects – Television (Over 13 Episodes) WINNER: “Agents of SHIELD – Orientation: Part 1” Mark Kolpack, Sabrina Arnold // Marvel Kevin Yuille, David Rey, Hnedel Maximore // FuseFX “Supergirl – For Good” Armen V. Kevorkian, Gevork Babityan, Kris Cabrera, Jerry Chalupnik, Jason Shulman // Encore VFX “Hawaii Five-O – A’ole e ‘olelo mai ana ke ahi ua ana ia” Adam Avitabile, Daniel Toomey, Michael Kirylo, Ryan Smolarek, Wayne Hollingsworth // Picture Shop “Legends of Tomorrow – The Good, The Bad and The Cuddly” Armen V. Kevorkian, Andranik Taranyan, Jason Shulman, Dan Aprea, Lycee Anaya // Encore VFX “NCIS: LA – A Line in the Sand/Ninguna Salida" Dylan Chudzynski, Michael Carter, Joe Suzuki, Jacob Kuhne // DigitalFilm Tree The following special awards, which were previously announced, were also presented this evening: HPA Engineering Excellence Award The winners of the 2018 HPA Award for Engineering Excellence are: · Blackmagic Design - DaVinci Resolve 15 DaVinci Resolve 15, released at NAB this year, offers a major step forward for the post-production workflow, a significant shift in technically and creatively matched toolsets as well as overall efficiency. The platform, designed to provide a full suite of post-production tools, from ingest to delivery, directly integrated in a single ecosystem, includes significant improvements in quality, functionality and time to delivery. Exchange formats, translation and conform can be eliminated, and last-minute change efficiently managed for feature film, episodic TV and short form productions. · Canon - Visual and Technical Monitoring of HDR Images Canon has seen the need for not only visually seeing HDR images on set, in editorial, and in finishing but also for engineering tools to know exact values of the HDR images and its pixels; compare SDR and HDR images; compare different HDR deliverable systems; out of gamut warnings; and connection to various manufacturers camera metadata. This complete system from Canon ensures that HDR and SDR image creation is easily and accurately be accomplished. · Cinnafilm, Inc. – PixelStrings PixelStrings is a cloud-based video conversion service focusing on ultimate playback quality for media. Leveraging the award-winning framerate conversion, retiming, artifact/noise/telecine correction, and transcode technologies from Cinnafilm, this PaaS enables the mass creation of best-possible video versions while leveraging infinite, GPU-enabled cloud compute power. The platform is a growing hub of other best-of-breed media technologies and is a simple pay-as-you-use toolset available 24/7 though a browser. PixelStings enables the freedom of a predictable OpEx process. · IBM Aspera & Telestream - Telestream Vantage with Lightspeed Live Capture IBM Aspera and Telestream have developed a game-changing solution for high-speed capture and production of live, broadcast quality video from remote locations for faster production turnaround. The API integration of Aspera’s FASPStream streaming technology with Telestream Vantage and Lightspeed Live enables open-file workflows so production teams can work on live video feeds from remote locations in real time, with dramatically lower costs compared to satellite delivery, fiber or on-location production and more flexible deployment options. The HPA Engineering Excellence Award is recognized as one of the most important technology honors in the industry, spotlighting companies and individuals who draw upon technical and creative ingenuity to develop breakthrough technologies. Submissions for this peer-judged award may include products or processes and must represent a step forward for its industry beneficiaries. Honorable Mention was awarded to Samsung for Samsung Onyx. Charles S. Swartz Award The Charles S. Swartz Award is awarded to a person, group, or company that has made a significant artistic, technological, business or educational impact across diverse aspects of the media industry. The award recognizes broad, impactful and lasting contributions that have advanced and/or provided some unique purpose to the larger media content ecosystem. This year’s honoree is Victoria Alonso, respected producer and Executive Vice President, Production for Marvel Studios. More information about the HPA Awards and the Hollywood Professional Association can be found at http://www.hpaonline.com/. The HPA Awards, which are produced by Homerun Entertainment, are made possible through the generous sponsorship of Diamond Title Sponsor Blackmagic Design; Platinum Sponsor IMAX; Bronze Sponsors Avid and Sony Pictures Post; and Foundation Members Avid, Dolby, EFILM, Encore, and Stereo D.

Panavision, a world-class provider of state-of-the art optics, camera systems, lighting, filters, and post production services, will showcase an array of advancements in optics at their Lens Bar at EnergaCamerimage International Film Festival of Cinematography, which runs November 10-17 in Bydgoszcz, Poland. Panavision will also host a conversation with Camerimage Lifetime Achievement recipient Witold Sobocinski, PSC, and explore the benefits of an HDR workflow. Panavision’s workshops will be held on Nov. 13, beginning with the much-anticipated conversation with Sobocinski in the MCK at 11.00. The renowned cinematographer’s credits include “Frantic,” the Oscar®-nominated “The Promised Land,” “The Wedding,” and “O-Bi, O-Ba – The End of Civilization.” He will be joined by his grandsons Piotr Sobocinski Jr. (“Bogowie”) and Michal Sobocinski (“The Art of Loving”) who carry on the family’s cinematic legacy. At 14:00, Panavision will present “Cinematic Change: HDR for Cinematographers.” With 4K HDR as the viewing standard, Panavision experts will discuss how cinematographers can remain in control of their images throughout the workflow based on knowledge of the various post-production options. In the Opera Nova, Panavision’s popular Lens Bar will include demonstrations of the latest large-format and anamorphic lenses available, as well as previews of upcoming, innovative glass options: PanaSpeed – A large-format update of the classic Primo look. At T1.4, PanaSpeed are the fastest large-format lenses available today. T Series – A set of unique anamorphic glass that includes high contrast, well-balanced aberration control, excellent glare resistance, tightly controlled anamorphic squeeze ratio, and minimal breathing. H Series – A traditionally designed spherical lens set with a glamorous, rounded, soft roll-off, giving a pleasing tonal quality to the skin. Created with true vintage glass and coating, these lenses offer slightly elevated blacks for softer contrast. High speeds separate subject and background with a smooth edge transition, allowing subject to appear naturally placed within the depth of the image. Ultra Vista – Coming in 2019, this lens is a series of large-format anamorphic optics. Using a custom 1.6x squeeze, Ultra Vista covers the full height of the 8K sensor in the DXL and presents an ultra-widescreen 2.76:1 aspect ratio along with a classic elliptical bokeh and Panavision horizontal flare. Primo X - Also available in 2019, this lens will make its mark as the first cinema lens specially designed for use on drones and gimbals. They are fully sealed, weather proof, and counterbalanced to be aerodynamic, and able to easily maintain a proper center of gravity. Primo X lenses come in two primes – 14mm (T3.1) and 24mm (T1.6) – and one 24-70mm zoom (T2.8). Additionally, Panavision’s Millennium DXL2 8K camera will be on display for hands-on demonstrations. A premier, large-format imaging ecosystem, the DXL2 offers 16 stops of dynamic range with unmatched shadow detail, a native ISO setting of 1600, and 12-bit ProRes XQ up to 120 fps. At 10 pounds (4.5 kilos), it is the lightest large-format studio camera available, offering wireless controls, a directly editable workflow option (D2E), and Light Iron Color 2 (LiColor2), among other features. The DXL2 has become a top camera of choice for cinematographers and camera crews working on features, television, commercials and music videos. Panavision will also share the newly created DXL-M accessory kit, available in Q4 2018. Designed to work with RED Digital Cinema DSMC2 cameras, it delivers the popular features of the DXL to RED MONSTRO, GEMINI, and HELIUM sensors, such as the DXL menu system (via an app for the iPhone), LiColor2, motorized lenses, wireless timecode (ACN), and the Primo HDR viewfinder. Panavision LCND will make its European debut at Camerimage. The cinema’s first dynamically adjustable liquid crystal neutral density filter instantly adjusts up to six individual stops with a single click or ramp – a significant departure from traditional approaches to front-of-lens filters, which require carrying a set and manually swapping individual NDs based on changing light. LCND starts at 0.3 and goes through 0.6, 0.9, 1.2, 1.5, to 1.8. It is expected to be available in 2019. Panalux, a Panavision company, will also be set up in the Opera Nova providing demonstrations of a variety of lighting setups and formats made possible with a wide range of lighting equipment and control systems. Award-winning LEE Filters, also a Panavision company, will showcase their range of next-generation filters, including their latest products, the Zircon Filter range for LED control and the CineND, neutral density.

The American Society of Cinematographers (ASC) named the 2018 Student Heritage Award winners during a ceremony at the organization’s clubhouse in Hollywood on October 13. Three student filmmakers were honored for demonstrating exceptional abilities in cinematography based on their submitted work. The competition is designed to showcase rising talent and inspire the next generation of filmmakers. The 2018 winners are: ASC Sol Negrin Student Heritage Award – Graduate Category: Steven Breckon for A Place to Stay, American Film Institute (AFI) ASC Gerald Hirschfield Student Heritage Award – Undergraduate Category: Matthew Hayward for The Latent Image, Columbia College Chicago ASC Haskell Wexler Student Documentary Award: Alejandro Cortes Sanchez for Adrift, School of Visual Arts NYC A panel of ASC members judged the entries, and the winners were selected from 13 nominees. “The future of cinematography promises to be exciting, especially after seeing the level of work coming from this year’s submissions,” says ASC President Kees van Oostrum. “The skill and artistry of the next generation should be an inspiration to all of us who create and capture images every day.” The ASC Student Heritage Awards are unique, as they also celebrate the memory of revered cinematographers and are re-named for esteemed ASC members each year. Negrin was nominated for five Emmy Awards — three for his work on the detective drama Kojak, one for the telefilm The Last Tenant, and one for an episode of the series Baker’s Dozen. His cinematography in television commercials also earned four Clio Awards. Negrin received the ASC Presidents Award in 2010 in recognition of not only his expertise behind the camera, but for being an ambassador of the art and craft of cinematography. Hirschfeld was honored with the ASC Presidents Award in 2007. His reputation for being a precise, exacting perfectionist led to his first major feature assignment, shooting the Cold War drama Fail-Safe for director Sidney Lumet. He would go on to shoot some 40 feature films, including The Incident, Goodbye Columbus, Cotton Comes to Harlem, Diary of a Mad Housewife, Young Frankenstein, Two Minute Warning, The World’s Greatest Lover, The Bell Jar, Neighbors, My Favorite Year and To Be or Not to Be. Wexler began his career shooting documentaries and remained a passionate documentarian throughout his career. He earned an Academy Award® in 1966 for Who’s Afraid of Virginia Woolf? and a second Oscar® in 1976 for Bound for Glory. He also received nominations for One Flew Over the Cuckoo’s Nest (shared with Bill Butler, ASC), Matewan and Blaze. In 1969, Wexler wrote, directed and shot Medium Cool, which is studied by film students worldwide for its cinéma vérité style. In 1992, he was honored with the ASC Lifetime Achievement Award. Many ASC Student Heritage Award winners have gone on to have successful careers in filmmaking, and several have been invited to be ASC members themselves. For additional information about the ASC, visit www.theasc.com, and follow them on Instagram (@the_asc), or join American Cinematographer on Facebook, Twitter (@AmericanCine), and Instagram (@american_cinematographer). The 33rd Annual ASC Awards take place February 9, 2019. The student winners will be commemorated during the gala as well.

The American Society of Cinematographers (ASC) is now taking submissions for the television competition of its 33rd Annual ASC Awards for Outstanding Achievement in Cinematography. The event, which will also salute the organization’s 100th anniversary, takes place February 9, 2019, at the Ray Dolby Ballroom at Hollywood & Highland, and winners will be announced in all categories. Three categories comprise the TV awards: • Episode of a Television Series – Commercial (half hour and one hour) • Episode of a Television Series – Non-Commercial (half hour and one hour) • Motion Picture, Miniseries, or Pilot Made for TV The deadline to enter is November 5 by 5 p.m. (PT). To qualify, shows must have a premiere broadcast date in the United States between November 1, 2017, and October 31, 2018. Entry forms can be downloaded at here on the ASC website. In addition to the TV awards, the ASC gala in February will recognize the year’s best feature film cinematography, as well as lifetime honorees. For a complete timeline of the 33rd ASC Awards, visit this link.

The Hollywood Professional Association (HPA) has announced the 2018 nominees for the HPA Awards creative categories. The Awards are considered the standard bearer for creative excellence and technical innovation in an industry embracing an expanding array of groundbreaking technologies and creativity, honoring achievement and artistic excellence by individuals and teams who bring stories to life and outstanding content to audiences around the world. Launched in 2006, the HPA Awards recognize outstanding achievement in editing, sound, visual effects and color grading for work in television, commercials, and feature films. The winners of the 13th Annual HPA Awards will be announced at a gala ceremony on 15 November 2018 at the Skirball Cultural Center in Los Angeles, CA. Outstanding Color Grading – Feature Film “Avengers: Infinity War” Steven J. Scott, Charles Bunnag // Technicolor – Hollywood “Red Sparrow" Dave Hussey // Company 3 “The Shape of Water” Chris Wallace // Deluxe – Toronto “Alpha” Maxine Gervais // Technicolor – Hollywood “The Greatest Showman” Tim Stipan // Company 3 Outstanding Color Grading – Television “Damnation – Sam Riley’s Body” Paul Allia // Picture Shop “The Marvelous Mrs. Maisel – Pilot” Steven Bodner // Light Iron “The Crown – Paterfamilias" Asa Shoul // Molinare “Game of Thrones – Beyond the Wall” Joe Finley // Sim “The Crossing – Pilot” Tony Smith // Picture Shop Outstanding Color Grading – Commercial Bottega Veneta – "Spring/Summer 2018 Trailer" Tim Masick // Company 3 Tile – "Lost Panda" Tom Poole // Company 3 Volkswagen – "Kids Dream" Adam Scott // The Mill Audi – "Final Breath" Sofie Borup // Company 3 Bottega Veneta – "Spring/Summer 2018 Main" Tim Masick // Company 3 Outstanding Editing – Feature Film Sponsored by Blackmagic Design “A Quiet Place” Christopher Tellefsen, ACE “Coco” Steve Bloom “You Were Never Really Here” Joe Bini “Mission: Impossible – Fallout” Eddie Hamilton, ACE “Believer” Demian Fenton Outstanding Editing – Television (30 Minutes and Under) Sponsored by Blackmagic Design “The End of the F***ing World – Episode One” Mike Jones “Vida – Episode 6” JoAnne Yarrow “VICE – After the Fall” Kelly Kendrick // Vice “Barry – Chapter Eight: Know Your Truth" Kyle Reiter “Vice Principals –The Union of the Wizard and The Warrior" Jeff Seibenick Outstanding Editing – Television (Over 30 Minutes) Sponsored by Blackmagic Design “Stranger Things – Chapter Nine: The Gate” Kevin D. Ross, ACE “The Defiant Ones – Part 2” Doug Pray, Lasse Järvi “Game of Thrones – The Dragon and the Wolf” Crispin Green “Westworld – The Passenger” Anna Hauger, Mako Kamitsuna, MPEG, Andrew Seklir, ACE “Counterpart – The Crossing" Dana E. Glauberman, ACE Outstanding Sound – Feature Film “Ant-Man and The Wasp” Katy Wood, Addison Teague, Juan Peralta, Tom Johnson // Skywalker Sound “The Shape of Water” Christian Cooke, Brad Zoern, Nelson Ferreira, Nathan Robitaille // Deluxe - Toronto “Avengers: Infinity War” Shannon Mills, Tom Johnson, Juan Peralta, Dan Laurie // Skywalker Sound “Blade Runner 2049” Mark Mangini, Ron Bartlett, Theo Green, Doug Hemphill, Mac Ruth // Formosa Group “Black Panther” Benjamin A. Burtt, Steve Boeddeker, Brandon Proctor // Skywalker Sound Outstanding Sound – Television “Yellowstone – Daybreak” Allan Murray, Tim LeBlanc, Dean Zupancic // Warner Bros “Waco – Operation Showtime” Craig Mann, Kelly Oxford, Laura Wiest, Karen Vassar Triest, David Brownlow, Beau Borders // Technicolor – Hollywood “Dark – Secret” Alexander Wurtz, Achim Hofmann, Jorg Elsner, Ansgar Frerich, Christian Bichoff // Basis Berlin “Yellowstone – Kill the Messenger” Allan Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. “Altered Carbon – Out of The Past” Brett Hinton, Mark Allen, Owen Granich-Young, Andy King, Keith Rogers // Atomic Sound Outstanding Sound – Commercial OXFAM – “The Heist No One is Talking About” Neil Johnson // Factory Studios KIA – “Fueled by Youth" Nathan Dubin // Margarita Mix SANE – “Let Me Talk” Anthony Moore, Jack Hallett // Factory Studios Monster – “Opportunity Roars” Tom Jucarone // Sound Lounge ICRC – “Hope” Anthony Moore // Factory Studios Outstanding Visual Effects – Feature Film “Maze Runner: The Death Cure” R. Christopher White, Daniel Macarin, Philip Leonhardt, Paul Ramsden, Jeremy Fort // Weta Digital “Blade Runner 2049” Richard Clegg, Axel Akesson, Wesley Chandler, Stefano Carta, Ian Cooke-Grimes // MPC “Rampage” Erik Winquist, Benjamin Pickering, Stephen Unterfranz, Thrain Shadbolt, David Clayton // Weta Digital “Thor: Ragnarok” Kyle McCulloch, Alexis Wajsbrot, Ben Loch, Harry Bardak // Framestore “Avengers: Infinity War” Matt Aitken, David Conley, Charles Tait, Paul Story, Marvyn Young // Weta Digital Outstanding Visual Effects – Television (Under 13 Episodes) “Altered Carbon – Out of The Past” Everett Burrell, Tony Meagher, Steve Moncur, Christine Lemon, Paul Jones // DNEG “Outlander – Eye of The Storm" Richard Briscoe // Outlander Production Daniel Norlund, Filip Orrby // Goodbye Kansas Aladino Debert, Greg Teegarden // Digital Domain “Black Mirror – Metalhead" Russel McLean, Michael Bell, Pete Levy, Steven Godfrey, Stafford Lawrence // DNEG “Game of Thrones – Beyond The Wall” Joe Bauer, Steve Kullback, Ted Rae, Eric Carney // HBO David Ramos // El Ranchito “Westworld – The Passenger” Jay Worth, Bruce Branit // Deep Water FX Bobo Skipper // Important Looking Pirates Kama Moiha // COSA VFX Mike Enriquez // DNEG Outstanding Visual Effects – Television (Over 13 Episodes) “Supergirl – For Good” Armen V. Kevorkian, Gevork Babityan, Kris Cabrera, Jerry Chalupnik, Jason Shulman // Encore VFX “Agents of SHIELD – Orientation: Part 1” Mark Kolpack, Sabrina Arnold // Marvel Kevin Yuille, David Ray, Hnedel Maximore // FuseFX “Hawaii Five-O – A’ole e ‘olelo mai ana ke ahi ua ana ia” Adam Avitabile, Daniel Toomey, Michael Kirylo, Ryan Smolarek, Wayne Hollingsworth // Picture Shop “Legends of Tomorrow – The Good, The Bad and The Cuddly” Armen V. Kevorkian, Andranik Taranyan, Jason Shulman, Dan Aprea, Lycee Anaya // Encore VFX “NCIS: LA – A Line in the Sand/Ninguna Salida" Dylan Chudzynski, Michael Carter, Joe Suzuki, Jacob Kuhne // DigitalFilm Tree As previously announced, Victoria Alonso has been named the recipient of the Charles S. Swartz Award. Alonso is a respected producer and is Executive Vice President, Production for Marvel Studios. The winners of the coveted Engineering Excellence Award, Blackmagic Design (DaVinci Resolve 15), Canon (Visual and Technical Monitoring of HDR Images), Cinnafilm, Inc. (PixelStrings), and IBM Aspera & Telestream (Telestream Vantage with Lightspeed Live Capture powered by Aspera), were announced earlier this year. All awards will be bestowed at the HPA Awards gala. The HPA Awards gala ceremony is expected to be a sold-out affair and early ticket purchase is encouraged. Tickets for the HPA Awards are on sale now, online at www.hpaawards.net or by calling +1 (818) 273-1482. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com or by calling the HPA at +1 (818) 273-1482. The HPA Awards take place with the support of diamond title sponsor Blackmagic Design, platinum sponsor IMAX, bronze sponsors Avid and Sony Pictures Post Production Services, supporting sponsors Cinionic, EFILM, FuseFX, Sim, Stephen Arnold Music, and Wipster, and foundation members Avid, Dolby, Efilm, Encore, and Deluxe. For sponsorship information, contact Joyce Cataldo at jcataldo@hpaonline.com.

Contenders for the American Society of Cinematographers (ASC) 2018 Student Heritage Awards have been unveiled today by the organization. Designed to inspire the next generation, the awards recognize graduate, undergraduate and documentary cinematography students for their exceptional work. The 13 nominees this year hail from 10 universities nationwide, and winners will be announced October 13. The ASC Student Heritage Awards also celebrate the memory of an exceptional cinematographer and are re-named each year in honor of esteemed ASC members. This year’s Undergraduate Award is named in honor of Gerald Hirschfeld, ASC and the Graduate Award honors Sol Negrin, ASC. The Documentary category is dedicated to Haskell Wexler, ASC. Finalists for this year’s student awards are: ASC Sol Negrin, ASC Student Heritage Award – Graduate Category: • Brody Anderson for Drawn Curtains, Chapman University – Dodge College • Steven Breckon for A Place to Stay, American Film Institute (AFI) • Andres Gallegos for Shoe Shiner, San Francisco State University • Yair Halper for Sauna, American Film Institute (AFI) • Heyjin Jun for Difficult People, University of Southern California (USC) School of Cinematic Arts ASC Gerald Hirschfield, ASC Student Heritage Award – Undergraduate Category: • Jack Craymer for Sonora, Chapman University – Dodge College • Matthew Hayward for The Latent Image, Columbia College Chicago • Grace Marrero for The Girl and the Bird, Florida State University (FSU) College of Motion Picture Arts • Simms Wright for Sodium Vapor Nights, University of North Carolina (UNC) School of the Arts ASC Haskell Wexler Student Documentary Award: • Alejandro Cortes Sanchez for Adrift, School of Visual Arts NYC • Rachel Lattin for Monumental, Chapman University – Dodge College • Minagi Tanaka for She Comes at Night, State University of New York at New Paltz • Xinzhong Zhao for Francis Ford Coppola’s Live Cinema, University of California Los Angeles (UCLA) Negrin was nominated for five Emmy Awards — three for his work on the detective drama Kojak, one for the telefilm The Last Tenant, and one for an episode of the series Baker’s Dozen. His cinematography in television commercials also earned four Clio Awards. Negrin received the ASC Presidents Award in 2010 in recognition of not only his expertise behind the camera, but for being an ambassador of the art and craft of cinematography. In 2007, Hirschfeld was honored with the ASC Presidents Award. His reputation for being a precise, exacting perfectionist led to his first major feature assignment, shooting the Cold War drama Fail-Safe for director Sidney Lumet. He would go on to shoot some 40 feature films, including The Incident, Goodbye Columbus, Cotton Comes to Harlem, Diary of a Mad Housewife, Young Frankenstein, Two Minute Warning, The World’s Greatest Lover, The Bell Jar, Neighbors, My Favorite Year and To Be or Not to Be. Wexler began his career shooting documentaries and remained a passionate documentarian throughout his career. He earned an Academy Award® in 1966 for Who’s Afraid of Virginia Woolf? and a second Oscar® in 1976 for Bound for Glory. He also received nominations for One Flew Over the Cuckoo’s Nest (shared with Bill Butler, ASC), Matewan and Blaze. In 1969, Wexler wrote, directed and shot Medium Cool, which is studied by film students worldwide for its cinéma vérité style. In 1992, he was honored with the ASC Lifetime Achievement Award. Many ASC Student Heritage Award winners have gone on to have successful careers in filmmaking, and several have been invited to be ASC members themselves. For additional information about the ASC, visit www.theasc.com, and follow them on Instagram (@the_asc), or join American Cinematographer on Facebook, Twitter (@AmericanCine), and Instagram (@american_cineamtographer).

Saban Capital Acquisition Corp. (NASDAQ:SCAC) (“Saban Capital Acquisition Corp.”), a publicly traded special purpose acquisition company, Panavision Inc. ("Panavision"), and Sim Video International Inc. ("Sim") announced today that the companies have entered into a definitive business combination agreement to create a premier global provider of end-to-end production and post-production services to the entertainment industry. The combined company will be well positioned to capitalize on the continued growth of content production spending and enhance the scope of service offerings to its customers. Under the terms of the business combination agreement, Panavision and Sim will become wholly-owned subsidiaries of Saban Capital Acquisition Corp. Immediately following the proposed transactions, Saban Capital Acquisition Corp. intends to change its name to Panavision Holdings Inc. (the “Company”) and is expected to continue to trade on the Nasdaq stock exchange. Headquartered in Woodland Hills, California, Panavision is an iconic designer, manufacturer and provider of high precision optics and camera technology for the entertainment industry and a leading global provider of production-critical equipment and services. Headquartered in Toronto, Canada, Sim is a leading provider of production and post-production solutions with facilities in Los Angeles, Vancouver, Atlanta, New York and Toronto. The transaction reflects a valuation for the combined entity of $622 million (inclusive of debt) or approximately 5.9x fiscal year 2018 estimated Adjusted EBITDA. The cash component of the purchase price to be paid to the equity holders of Panavision and Sim will be funded by Saban Capital Acquisition Corp.’s cash in trust, which is approximately $250 million, a $55 million private placement of common stock at $10.00 per share secured from a mix of premier institutional investors as well as an affiliate of Saban Sponsor LLC and newly raised debt financing. Upon the closing of the proposed transaction, Kim Snyder, President and Chief Executive Officer of Panavision will serve as Chairman and Chief Executive Officer, and Bill Roberts, Chief Financial Officer of Panavision, will serve in that role for the combined company. “We are excited to partner with Kim along with the Panavision and Sim teams to capitalize on the explosive growth in content spending,” commented Haim Saban, Chairman of Saban Capital Acquisition Corp. He continued, “Advancements in technology and the emergence of streaming have fundamentally changed how consumers watch and discover content. This is driving significant growth in the market for production and post-production services. This secular trend creates a tremendous opportunity for Panavision to leverage its leading technology and pursue opportunistic acquisitions to grow in a manner that is agnostic to the content creator and distribution channel.” Adam Chesnoff, President and Chief Executive Officer of Saban Capital Acquisition Corp., commented, “This transaction creates a leading global platform ideally positioned to capitalize on the rapid growth in content production. The combination of these two companies will create the foremost provider of end-to-end production and post-production services. Combining this platform with Saban’s wide-ranging global media relationships, experience in production, and successful track record of creating value for its partners, will position the Company to accelerate growth and pursue complementary acquisitions. We are excited about the potential.” “For nearly 65 years, Panavision has proudly served the entertainment industry providing cutting-edge equipment and exemplary service to support the creative vision of our customers,” says Kim Snyder, Chairman and CEO of the combined company. “This acquisition will leverage the best of Panavision’s and Sim’s resources by providing comprehensive products and services to best address the ever-adapting needs of content creators globally. These complementary companies subscribe to the same strategic vision: to support our customers as the category-defining provider of end-to-end production and post-production services.” “Combining the talent and integrated services of Sim with two of the biggest names in the business, Panavision and Saban, will accelerate our strategic plan,” added James Haggarty, President and CEO of Sim. “The resulting scale of the new combined enterprise will better serve our clients and help shape the content-creation landscape,” continued Haggarty. The respective boards of directors of Saban Capital Acquisition Corp., Panavision and Sim have unanimously approved the proposed transactions. Completion of the proposed transactions are subject to Saban Capital Acquisition Corp. stockholder approval, certain regulatory approvals and other customary closing conditions. The parties expect that the proposed transactions will be completed in the first quarter of 2019. For additional information on the proposed transaction, see Saban Capital Acquisition Corp.’s Current Report on Form 8-K, which will be filed promptly and can be obtained at the website of the U.S. Securities and Exchange Commission (“SEC”) at www.sec.gov. Deutsche Bank Securities Inc. and Goldman Sachs & Co. LLC are serving as financial advisors, capital markets advisors and private placement agents and Skadden, Arps, Slate, Meagher & Flom LLP and Dentons Canada LLP are serving as legal advisors to Saban Capital Acquisition Corp. Houlihan Lokey, Inc. is serving as financial advisor, Citi is serving as Capital Markets Advisor, and Kirkland & Ellis, LLP and Osler, Hoskin & Harcourt LLP are serving as legal advisors to Panavision. Marckenz Group Capital Advisors is serving as financial advisor and Stikeman Elliott LLP is serving as legal advisor to Sim.

RED Digital Cinema will showcase its DSMC2™ camera line-up at IBC in Amsterdam from September 14 - 17. Located in Hall 13, Elicium Tower, 4th Floor, RED will feature its DSMC2 camera brain with three sensor options – MONSTRO 8K VV, HELIUM 8K S35 and GEMINI 5K S35. Additionally, RED will demonstrate an 8K workflow, covering 8K REDCODE RAW, HDR, and its enhanced image processing pipeline (IPP2). RED experts will be available to answer questions and offer insight into the possibilities for efficiently producing 8K projects. The DSMC2 camera BRAIN includes high-end frame rates and data rates regardless of the sensor chosen. RED’s modular camera system allows a shooter to configure a fully operational camera setup to meet their individual needs. RED offers a range of accessories including display and control functionality, input/output modules, mounting equipment, and methods of powering the camera. The DSMC2 camera is capable of up to 60 frames per second at 8K, offers 300 MB/s data transfer speeds, and simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHD/HR. The flexibility of RED’s modular camera designs with accompanying accessories and integration solutions can also be seen on the show floor through a variety of manufacturers, including Sigma, Cooke, Zeiss, Angenieux, Schneider Optics, Teradek, CoreSWX, Fujifilm and Motion Impossible. Projects shot on RED include the upcoming Voyage of Dr. Doolittle (Guillermo Navarro, ASC), A Million Little Pieces (Jeff Cronenweth, ASC), Maleficent 2 (Henry Braham, BSC), and King of Thieves (Danny Cohen, BSC), among many other productions, including Eighth Grade (Andrew Wehde), Mindhunter (Erik Messerschmidt), Stranger Things (Tim Ives), Godless (Steven Meizler), GLOW (Christian Sprenger), and House of Cards (David M. Dunlap), to name a few.

The American Society of Cinematographers (ASC) broke ground today on the construction of the new ASC ARRI Educational Center. The contemporary building, located behind the historic ASC Clubhouse in Hollywood, will serve as a hub for the organization’s ongoing efforts to educate the next generation of filmmakers on the art and craft of cinematography. The structure also will be home to all print and digital publications staff. The ASC ARRI Educational Center offers a modern, inspired space with offices and meeting rooms, and is slated to be completed by 2019. ASC President Kees van Oostrum was joined by ARRI Inc. President and CEO Glenn Kennel at the groundbreaking ceremony. “When the ASC was formed in 1919, our founding members pledged to foster and artistically inspire rising cinematographers,” says van Oostrum. “That mission has made us the society we are today. Through our members and initiatives, we have aggressively continued that edict. As we prepare to celebrate our 100th anniversary next year, the new ASC ARRI Educational Center symbolizes our commitment to the future and provides an excellent gathering place for the exchange of ideas.” The educational center is made possible through the patronage of ARRI, a pioneering technology company that has a longstanding relationship with the ASC and its membership. Kennel says, “ARRI’s two founders were young filmmakers who produced movies and created lighting and camera equipment to make their visions a reality. We are thrilled to continue their legacy and help create a space to inspire emerging content creators.” The ASC and ARRI previously collaborated on the launch of the International Master Class series, intensive workshops taking place around the world with acclaimed ASC members. ARRI will continue to sponsor the International Master Classes for the next decade and host various Los Angeles-based Master Classes beginning in 2019. ARRI’s Executive Board Member Dr. Joerg Pohlman notes, “Last year ARRI celebrated our centennial, so continuing to innovate side-by-side as the ASC enters into their 100th anniversary is an important collaboration for future generations. To have a hand in developing new talent and voices honors this legacy.” “If we look back on 100 years, the ASC has evolved from a professional group of cinematographers into a formidable, international presence in artistry, technology and education,” van Oostrum adds. “During the past couple of years, our educational efforts have grown tremendously, supported not only by the artistic endeavors of our membership but also through the work of our Motion Imaging Technology Council and our members’ commitment to illustrating the role of the cinematographer to the world. We are very grateful to have ARRI’s backing in so many of our educational initiatives, especially the one we are celebrating today.” The ASC began its educational mission in 1920 with the publication of its flagship magazine, American Cinematographer, which covers the artistic approaches and motion-imaging techniques of filmmakers. The society has cultivated its educational efforts over the century by establishing a number of programs to promote learning on a global basis. Its Education and Outreach Committee organizes frequent events for the benefit of filmmaking students and the general public, including week-long Master Classes taught by renowned ASC members. Additionally, the organization hosts the annual Student Heritage Awards honoring both graduate and undergraduate film students; regular camera and lighting seminars; “Coffee and Conversation” Q&A sessions analyzing the work of cinematographers on a specific project; roundtable discussions featuring panels of professionals who address a variety of topics central to the work of camera people and other industry disciplines; and a bi-annual International Cinematography Summit bringing together participants from dozens of cinematography societies from around the globe to meet, share information, and prioritize an agenda that will forward the interests of cinematographers everywhere. More recently, the ASC Vision Committee was inaugurated to promote diversity throughout the industry with a series of popular and highly engaging seminars and events devoted to nurturing an open dialogue and progressive hiring practices for women and minority filmmakers. ASC was officially chartered in January 1919. Today, the organization has some 380 members. For more information, visit www.theasc.com.

The Reel Thing, a symposium focusing on the preservation and restoration of audio visual collections, will open with the U.S. premiere of a 4K restoration of Billy Wilder’s “The Apartment” (1960), which won five Oscars including Best Picture. A recently restored version of Vittorio De Sica’s “Bicycle Thieves” will also be shown during the three-day event, which runs August 23-25 at the Academy of Motion Picture Arts and Sciences’ Linwood Dunn Theater in Hollywood. The Reel Thing offers insight into the latest preservation and restoration efforts throughout the motion picture community, and brings together experts who are using the latest technologies to make cinema’s legacy accessible for future audiences. In addition to restored screenings, this year’s program addresses topics of vital interest to preservation and restoration professionals around the globe. Case studies will examine the specifics of project restorations, and thematic sessions will look at the many challenges and solutions being utilized in real-world preservation efforts. For the full program and speaker lineup, visit www.the-reel-thing.org. Co-founded by Grover Crisp and Michael Friend, The Reel Thing was developed to address the wide range of critical issues facing archivists, technicians, asset managers and curators of image and sound. Sessions examine problems and solutions involving digital creation workflows (2K/4K/6K/8K+HDR), data storage access and recovery, image scanning and recording, image resolution metrics, traditional video and audio preservation, and restoration issues from a variety of perspectives. The Reel Thing creates a common ground for discussion and evaluation of methodologies, and deployment of both traditional and emerging technologies. The Reel Thing supports the programs and services of the Association of Moving Image Archivists (AMIA). For more information or to register, visit www.the-reel-thing.org. Discounts are available for industry groups and students.

Panavision, the entertainment industry’s leading designer, manufacturer and rental provider of high-precision optics and camera systems, has named Zoe Iltsopoulos Borys to lead the company’s Atlanta office as vice president and general manager. Borys will oversee day-to-day operations in the region, and ensure Panavision’s customers continue to receive the highest level of service to support their production needs. “Zoe is a respected partner to the cinematic community and we are pleased to have her on the team at Panavision,” said Michael George, Panavision’s chief operating officer. “Her understanding and familiarity with the needs of our customers will be an invaluable addition to our presence in the region. Filmmakers can be confident that they will continue to receive our superior service, along with our innovative Panavised camera systems and premier lenses.” Borys’ 25 years of experience in the motion picture industry includes business development for Production Resources Group (PRG), and general manager for Fletcher Camera and Lenses (now VER). This is her second turn at Panavision, having served in a marketing role at the company from 1998-2006. Throughout her career, she has been responsible for bringing innovative technology to the creative community, empowering them to bring their vision to the screen. She is also an associate member of the American Society of Cinematographers. Panavision’s Atlanta facilities, located in West Midtown and at Pinewood Studios, are the largest suppliers of camera rental equipment in the southern U.S., with a full staff of prep technicians and camera service experts. The Atlanta team has provided equipment and services to productions such as Avengers: Infinity War, Black Panther, Guardians of the Galaxy: Vol. 2, The Immortal Life of Henrietta Lacks, Baby Driver, and Pitch Perfect 3, among others.

The American Society of Cinematographers (ASC) has re-elected Kees van Oostrum as president. Van Oostrum will serve his third consecutive term. The ASC Board also named its roster of officers for 2018-2019, including Bill Bennett, John Simmons and Cynthia Pusheck as vice presidents; Levie Isaacks as treasurer; David Darby as secretary; and Isidore Mankofsky as sergeant-at-arms. “During this past year at the ASC, we have been steadfastly focused on educational events, international outreach, and efforts to promote diversity and inclusion,” notes van Oostrum. “These all support our mission of loyalty, progress and artistry. As we look ahead, we plan to usher in the 100th anniversary of the ASC in a way that commemorates our heritage and positions our members to maintain a leadership role in the evolution of the art and craft of image making.” Van Oostrum initiated and chairs the ASC Master Class program, which has expanded to locations worldwide under his presidency. The Master Classes take place several times a year and are taught exclusively by ASC members. It is designed for cinematographers with an intermediate-to-advanced skill set, and incorporates practical, hands-on demonstrations of lighting and camera techniques with essential instruction in current workflow practices. The ASC Vision Committee, founded during van Oostrum’s first term, continues to organize successful symposiums that encourage diversity and inclusion on camera crews, and also offers networking opportunities. The most recent was a standing-room-only event that explored practical and progressive ideas for changing the face of the industry. The Society will continue to host more of these activities during the coming years. Van Oostrum has earned two Primetime Emmy® nominations for his work on the telefilms Miss Rose White and Return to Lonesome Dove. His peers chose the latter for a 1994 ASC Outstanding Achievement Award. Additional ASC Award nominations for his television credits came for The Burden of Proof, Medusa’s Child, and Spartacus. He also shot the Emmy®-winning documentary The Last Chance. A native of Amsterdam, van Oostrum studied at the Dutch Film Academy with an emphasis on both cinematography and directing, and went on to earn a scholarship sponsored by the Dutch government, which enabled him to enroll the American Film Institute (AFI). Van Oostrum broke into the industry shooting television documentaries for several years. He has subsequently compiled a wide range of some 80-plus credits, including movies for television and the cinema, such as Gettysburg and Gods and Generals, and occasional documentaries. He recently wrapped the final season of TV series The Fosters. The 2018-2019 Board who voted in this election include: John Bailey, Paul Cameron, Russell Carpenter, Curtis Clark, Dean Cundey, George Spiro Dibie, Stephen Lighthill, Lowell Peterson, Roberto Schaefer, John Toll, and Amelia Vincent. Alternate Board members are Karl-Walter Lindenlaub, Stephen Burum, David Darby, Charlie Lieberman, and Eric Steelberg. The ASC has over 20 committees driving the organization’s initiatives, such as the award-winning Motion Imaging Technology Council (MITC), and the Educational and Outreach committee. For additional information about the ASC, visit www.theasc.com.

Panavision’s Millennium DXL2 8K camera makes its Cine Gear Expo debut on June 1-2 at The Studios at Paramount in Los Angeles. The premier, large-format camera with a new post-centric firmware upgrade will be showcased at the Panavision booth (#S102) in Stage 17, along with four new large-format lens sets, a DXL-inspired accessories kit for RED DSMC2 cameras, and a preview of custom advancements in filter technology. “Millennium DXL2 is the cornerstone of an ever-evolving ecosystem that is designed to improve creative control across every department,” says Michael Cioni, senior vice president of Innovation at Panavision and Light Iron. “By combining the company’s expertise in optics, filters, color science, and post production with strategic partner integrations, we are able to offer filmmakers an entirely fresh image and workflow that is only available within DXL’s ecosystem.” DXL2 incorporates technological advancements based on professional input from acclaimed cinematographers, camera assistants, and post production groups. The camera offers 16 stops of dynamic range with unmatched shadow detail, a native ISO setting of 1600, and 12-bit ProRes XQ up to 120fps. New to the DXL2 is version 1.0 of a directly editable (D2E) workflow. D2E gives DITs wireless LUT and CDL look control and records all color metadata into camera-generated proxy files for instant and render-free dailies. DXL2, which is available to rent worldwide, also incorporates an updated color profile, Light Iron Color 2 (LiColor2). This latest color science provides cinematographers and DITs with a film-inspired tonal look that makes the DXL2 feel more cinematic and less digital. Panavision, renowned for its full line of top-quality optics, will also showcase the company’s large-format spherical and anamorphic lenses. Four new large-format lens sets will be on display, giving Expo attendees the unique opportunity to preview upcoming, innovative glass options: Primo X is the first cinema lens specially designed for use on drones and gimbals. They are fully sealed, weather proof, and counterbalanced to be aerodynamic, and able to easily maintain a proper center of gravity. Primo X lenses come in two primes – 14mm (T3.1) and 24mm (T1.6) – and one 24-70mm zoom (T2.8). Available in 2019. H Series is a traditionally designed spherical lens set with a glamorous, rounded, soft roll-off, giving a pleasing tonal quality to the skin. Created with true vintage glass and coating, these lenses offer slightly elevated blacks for softer contrast. High speeds separate subject and background with a smooth edge transition, allowing subject to appear naturally placed within the depth of the image. Available now. PanaSpeed is a large-format update of the classic Primo look. At T1.4, PanaSpeed will be the fastest large-format lens option available on the market. Available in Q3 2018. Ultra Vista is a series of large-format anamorphic optics. Using a custom 1.6x squeeze, Ultra Vista covers the full height of the 8K sensor in the DXL and presents an ultra-widescreen 2.76:1 aspect ratio along with a classic elliptical bokeh and Panavision horizontal flare. Available in 2019. Panavision will also be unveiling cinema’s first dynamically adjustable liquid crystal neutral density (LCND) filter. LCND instantly adjusts up to six individual stops with a single click or ramp – a significant departure from traditional approaches to front-of-lens filters, which require carrying a set and manually swapping individual NDs based on changing light. LCND starts at 0.3 and goes through 0.6, 0.9, 1.2, 1.5, to 1.8. Available in 2019. Following up on the success of DXL1 and DXL2, Panavision is launching the latest in its cinema line-up by showcasing the newly created DXL-M accessory kit. Designed to work with RED DSMC2 cameras, DXL-M marries the quality and performance of DXL with the smaller size and weight of the DSMC2. DXL-M brings popular features of DXL to RED MONSTRO, GEMINI, and HELIUM sensors, such as the DXL menu system (via an app for the iPhone), LiColor2, motorized lenses, wireless timecode (ACN), and the Primo HDR viewfinder. Available in Q4 2018. Light Iron and LEE Filters can also be found at the Panavision booth.

RED Digital Cinema will be at Cine Gear Expo this year in Los Angeles at The Studios at Paramount from June 1-2. Located at Booth S101 in Stage 17, RED will showcase its DSMC2™ camera line-up featuring its premier sensors, MONSTRO 8K VV, HELIUM 8K S35 and GEMINI 5K S35. Additionally, RED will demonstrate 8K workflow, covering 8K REDCODE RAW, HDR and image processing pipeline (IPP2). RED will also be taking attendees behind the scenes on Christopher Probst, ASC’s new short film, Epoch. On June 1 at 12:45pm and June 2 at 11:45am, Probst will break down his approach to shooting the short film, set in a post-apocalyptic world of harsh, dusty exteriors and dark desolate nights. Probst and director Rich Lee relied on the sensor qualities of the RED MONSTRO to deliver a visually compelling 13-minute narrative finished in 4K. Both sessions will take place in the Sherry Lansing Theater on the Paramount lot. For more information, visit http://www.red.com/cinegear-2018.

RED Digital Cinema is advancing its product portfolio of high-quality cameras and sensors with a focus on simplicity, price and quality for customers. Beginning today, RED’s camera line-up will be modified to include one DSMC2 camera BRAIN with three sensor options - MONSTRO 8K VV, HELIUM 8K S35 and GEMINI 5K S35. The single DSMC2 camera BRAIN includes high-end frame rates and data rates regardless of the sensor chosen and, in addition to this new value, the streamlined approach will result in a price reduction compared to RED’s previous camera line-up. “RED was founded with the desire to democratize the digital cinema camera industry by making trailblazing technology accessible to shooters everywhere,” said Jarred Land, President of RED Digital Cinema. “And that mission has never changed. With that in mind, we have been working tirelessly to become more efficient, as well as align with strategic manufacturing partners to optimize our supply chain. As a result, today I am happy to announce a simplification of our lineup with a single DSMC2 brain with multiple sensor options, as well as an overall reduction on our pricing.” RED’s DSMC2 camera BRAIN is a modular system that allows a shooter to configure a fully operational camera setup to meet their individual needs. RED offers a range of accessories including display and control functionality, Input/Output modules, mounting equipment, and methods of powering the camera. The DSMC2 camera BRAIN is capable of up to 60 frames per second at 8K, offers 300 MB/s data transfer speeds and simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHD/HR. The RED DSMC2 camera BRAIN paired with each of RED’s sensor options provides the ultimate blend of flexibility and performance. · DSMC2 with MONSTRO 8K VV offers cinematic full frame lens coverage, produces ultra-detailed 35.4 megapixel stills, and delivers 17+ stops of dynamic range for $54,500. · DSMC2 with HELIUM 8K S35 is the recipient of the highest DxO score ever, delivers 16.5+ stops of dynamic range in a Super 35 frame, and is available now for $24,500. · DSMC2 with GEMINI 5K S35 leverages dual sensitivity modes to provide creators with greater flexibility using standard mode for well-lit conditions or low light mode for darker environments priced at $19,500. RED will begin to phase out offering new sales of its EPIC-W and WEAPON camera BRAINs immediately. In addition to the changes to the camera line-up, RED will also begin offering new upgrade paths for customers looking to move from older RED camera systems or from one sensor to another. The full range of upgrade options can be found here. “We would not be where we are today without the continued support of our customers,” continues Land. “And after having many conversations with a wide range of those customers, now is also the perfect time to announce our latest loyalty programs to give them the opportunity to upgrade to the latest RED technology."

Pacific Post, a full-service editorial equipment rental and services provider, has expanded its footprint with the opening of a new 10,000 square-foot facility in Sherman Oaks. The new location offers 25 spacious Avid suites with 24/7 technical support, alongside a writer’s room and several production offices. Pacific Post has retrofit the entire site which is supported by Avid NEXIS shared storage, 1 gigabyte of dedicated fiber internet connectivity, and individually climate-controlled rooms. “We recently provided equipment and services to the editorial team on Game Over, Man! for Netflix in Sherman Oaks, and continued to receive inquiries from other productions in the area,” says Pacific Post Vice President Kristin Kumamoto. “The explosion we’ve seen in scripted production, especially for streaming platforms, prompted our decision to add this building to our offerings.” Kumamoto notes that a screening room is also near completion for accommodating multiple members of the creative team on a project. It features a 150-inch screen and JVC 4K projector for VFX reviews and an enhanced, in-house viewing experience. Additional amenities at Pacific Post Sherman Oaks include MPAA-rated security, reserved parking, a full kitchen and lounge, VoIP phone systems, a substantial electrical infrastructure. “We are laser focused on serving the needs of the editorial community,” adds Kumamoto. “This expansion provides our high level of services at one convenient location with the technical expertise that clients have come to trust here at Pacific Post.” In addition to this new state-of-the art space, Pacific Post also has facilities in Hollywood and North Hollywood. This third location at 14225 Ventura Boulevard offers a best-in-class option for productions working in the San Fernando Valley area of Los Angeles. For more information, visit www.pacpost.com.

The American Society of Cinematographers (ASC) will present “Changing the Face of the Industry” on April 21, a daylong event designed to advocate for inclusion and diversity in the industry. The symposium, which takes place at the ASC clubhouse in Hollywood, will kick off with a keynote from Dr. Stacy Smith, associate professor at the USC Annenberg School of Communication and founder/director of the Annenberg Inclusion Initiative. Two subsequent panels will look at hiring statistics and mandates, and explore ideas for cultivating more diverse crews on set. “Changing the Face of the Industry” is an initiative of the ASC Vision Committee, which was formed in January 2016 with the mission to actively support those who face more hurdles in this industry. The committee organizes inspirational events and offers scholarships alongside networking opportunities, and is headed by co-chairs John Simmons, ASC and Cynthia Pusheck, ASC. “By bringing filmmakers together, we hope to create a network that expands opportunities, raise awareness of the exceptional talent for hire, and give underrepresented crewmembers the opportunity to meet cinematographers who may one day recruit them,” notes Pusheck. Dr. Smith’s groundbreaking research at the Annenberg Inclusion Initiative (AII) examines inclusion of gender, race/ethnicity, the LGBT community, people with disabilities and mental health in storytelling across film, TV and digital platforms. The Initiative releases analyses of top-grossing films (on screen, behind the camera, executive ranks), popular music (artists, songwriters, producers), and impediments facing women and individuals from underrepresented racial/ethnic groups in the director's chair. She has authored over 100 articles, book chapters and reports, and is covered regularly in The New York Times, Los Angeles Times, CBS This Morning, NPR, and many others. Dr. Smith crafts compelling and innovative solutions to entertainment inequality. She introduced the Inclusion Rider to the entertainment industry via her 2016 TED talk and a 2014 opinion piece in The Hollywood Reporter. Frances McDormand popularized the phrase on stage at the 2018 Academy Awards®. In 2015, LA Weekly named Dr. Smith the most influential person in Los Angeles. Dr. Smith and AII have partnered with many organizations over the years, such as Universal Music Group, Google, The Harnisch Foundation, Clif Bar, Humana, Sony Pictures Entertainment, The Annenberg Foundation, and more. “We’re hopeful this event encourages camera department heads to continually evolve their mindset and practices for inclusivity,” Simmons adds. Panelists are expected to include (based on availability): • Xiomara Comrie - Local 600, National Diversity Officer & Lead Western Region Business Rep • Rebecca Rhine - Local 600, National Executive Director • Tema Staig - Women in Media, Executive Director • Alan Caso, ASC (Hawaii Five-O, Dexter) • Sarah Caplan, producer (Crazy Ex-Girlfriend, Brothers & Sisters) • Donald A. Morgan, ASC (Last Man Standing, The Ranch) • John Simmons, ASC (Roseanne) • Bradford Young, ASC (Solo: A Star Wars Story, Arrival) ASC President Kees van Oostrum says, “Finding and hiring craftspeople that reflect our diverse world at large is a necessity of inclusion. By hosting a day of networking and discussion, we hope to initiate solutions to make that easier and broaden people’s address books, so they have the contacts they need to affect change.” To register to attend the event, email ASCVision@theasc.com.

Panavision, the motion picture industry’s most respected designer, manufacturer and provider of state-of-the-art cinema lenses, high-precision camera systems and innovative post production technologies, will showcase its Millennium DXL2 8K camera at the National Association of Broadcasters (NAB) Show, which runs April 7-12 in Las Vegas. Technology leaders from Panavision and its subsidiary Light Iron will also share their vision and expertise during panel discussions throughout the conference. The DXL2 is the evolution of a unique camera ecosystem, built by Panavision based on the input of cinematographers whose feedback contributed to the DXL2’s many significant advances. Introduced in February, the DXL2 features a RED MONSTRO 8K VV sensor with 16-plus stops of dynamic range, improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using new Light Iron Color 2 science (LiColor2), which streamlines the 8K pipeline and provides quick access to high-quality RAW images. Additional features to the DXL2 include a custom-made, integrated PX-Pro color spectrum filter offering a significant increase in color separation and dramatically higher color precision to the image; a built-in Preston MDR; 24v power; and expanded direct-to-edit features. Hands-on demonstrations of the DXL2 will take place at the Vitec booth (C6025) and at Vitec Creative Solutions (C9544). NAB attendees also have a chance to hear directly from the experts and designers behind Panavision’s cameras and lenses, and post production innovator Light Iron. Several discussions will take place at the Las Vegas Convention Center (unless otherwise noted), including: Avid Customer Association Technology Open Forum Light Iron Panel Participant Jeff Sengpiehl, VP of Engineering Friday, April 6, 4:45-5:30pm Location: Avid Connect (pre-NAB conference) Wynn Las Vegas Conference Center 3131 South Las Vegas Boulevard HDR Varicam Workflow for Netflix’s The Week Of Light Iron Panel Participant Katie Fellion, Head of Business Development & Workflow Strategy Monday, April 9, 12:30-1pm Location: Panasonic booth (C3607) Made in Georgia: Shaking up the Film and Digital Media Production Landscape Panel moderated by Clark Cofer, Director of Business Development, Light Iron Monday, April 9, 3:30-4:30pm Location: S222-S223 Venice HDR Creative and Workflow for #PictureDay Music Video Panavision/Light Iron Panel Participant Michael Cioni, Sr. VP of Innovation Tuesday, April 10, 1-1:30pm Location: Sony booth (C11001) The Media Archivist vs. Entropy, or, Why On-Set Data Verification is Really Important Presented by Keenan Mock, Senior Media Archivist, Light Iron Tuesday, April 10, 3-3:20pm Location: LumaForge’s “Faster, Together” Stage (S112LMR) The Future of 8K Presented by Michael Cioni, Sr. VP of Innovation Panavision and Light Iron Wednesday, April 11, 10-10:20am Location: LumaForge’s “Faster, Together” Stage (S112LMR) Understanding Full Frame Cameras & Lenses Panavision Panel Participant Guy McVicker, Manager, Technical Marketing & Optics Wednesday, April 11, 2:00-3:15pm Location: Post Production World session (N231) For more information about the Panavision Millennium DXL2, visit www.panavision.com/dxl. For more information about Light Iron, visit www.lightiron.com

RED DIGITAL CINEMA® introduced today the new GEMINI™ 5K S35 sensor for its RED EPIC-W® camera. The GEMINI 5K S35 sensor leverages dual sensitivity modes to provide greater flexibility for a variety of shooting environments. Whether creators choose to shoot in standard mode for well-lit conditions or low light mode for darker environments, the RED EPIC-W with GEMINI 5K S35 sensor delivers incredible dynamic range and produces cinematic quality images. The GEMINI 5K S35 sensor delivers exceptional low-light performance allowing for cleaner imagery with less noise and better shadow detail. Operators can easily switch between modes through the camera’s on-screen menu with no down time. The GEMINI 5K S35 sensor offers an increased field of view at 2K and 4K resolutions compared to the higher resolution HELIUM® sensor. In addition, the sensor’s 30.72 mm x 18 mm dimensions allow for greater anamorphic lens coverage than with HELIUM or RED DRAGON® sensors. “While the GEMINI sensor was developed for low-light conditions in outer space, we quickly saw there was so much more to this sensor,” said Jarred Land, President of RED Digital Cinema. “In fact, we loved the potential of this sensor so much, we wanted to evolve it to make it have a broader appeal. As a result, the EPIC-W GEMINI now sports dual-sensitivity modes. It still has the low-light performance mode, but also has a default, standard mode that allows you to shoot in brighter conditions.” Built on the compact DSMC2® form factor, this new camera and sensor combination captures 5K full format motion at up to 96 fps along with incredibly fast data speeds of up to 275 MB/s. Additionally, it supports RED’s IPP2 enhanced image processing pipeline in camera. Like all of RED’s DSMC2 cameras, EPIC-W is able to shoot simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHD/HR recording and adheres to RED’s dedication to OBSOLESCENCE OBSOLETE®— a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled, as well as move between camera systems without having to purchase all new gear. Beginning at $24,500, the new RED EPIC-W with GEMINI 5K S35 sensor is available for purchase at select RED Authorized Dealers globally and on RED.com. Alternatively, WEAPON Carbon Fiber and RED EPIC-W 8K customers will have the option to upgrade to the GEMINI sensor at a later date. To learn more, visit www.red.com/products/epic-w.

Panavision, a global leader in optics and camera systems, will explore the beauty of 8K large format in an eye-opening presentation at SXSW on March 13 at 11:00 a.m. at the Vimeo Theater. Attendees to the interactive discussion will learn about the symbiotic relationship between full-frame imaging devices and large-format optics, and how these tools can help improve production value while remaining cost effective. The session will also present clips that demonstrate the benefits of 8K capture and how ultra-high resolution equates to more creative control. Panavision’s Dan Sasaki, a revered optical engineer who has developed and customized lenses for such films as “Dunkirk,” “The Hateful Eight,” and “Saving Private Ryan,” will lead the presentation. Joining him will be Panavision’s Aaron Kroger, director of digital camera systems, and Light Iron Senior Colorist Sean Dunckley. Sasaki developed many of Panavision’s popular anamorphic and large-format lenses. Since joining the company in 1986, he has designed and customized optics for many award-winning cinematographers, including Steve Yedlin, ASC (“Star Wars: The Last Jedi”); Haris Zambarloukos, BSC, GSC (“Murder on the Orient Express”); and Rachel Morrison, ASC (“Black Panther”), to name just a few. Kroger began his career at Light Iron, where he was instrumental in designing the facility’s Outpost mobile post lab as well as training camera crews how to use them on-set. He supported Steven Spielberg’s “Lincoln,” several seasons of “Criminal Minds,” 3D features such as “The Amazing Spider-Man,” and dozens of movies. After Light Iron was acquired by Panavision, Kroger joined the team that created the Millennium DXL camera and has been instrumental in demonstrating the new camera to cinematographers, directors, and studio executives. Dunckley has collaborated with some of the industry's top talent working on features, commercials, and television shows. His credits include Dan Fogelman’s upcoming feature “Life Itself,” past SXSW selections “Patti Cake$,” “Lucky,” and “Kelly & Cal,” and this year’s Oscar-nominated short “Heroin(e).” He has also colored music videos for John Mellencamp, Dr. John, and Beyoncé. Panavision recently introduced the Millennium DXL2, a next-generation, large-format 8K camera that is at the core of a complete imaging ecosystem designed from filmmakers’ perspectives. The DXL2 seamlessly incorporates Panavision’s unmatched optics and camera architecture, the RED MONSTRO 8K VV sensor, and Light Iron Color 2 science (LiColor2). Festival-goers must have a Platinum or Film Badge to attend. To register for SXSW, visit www.sxsw.com.

The American Society of Cinematographers (ASC) has named Eric Rodli as executive director, effective immediately. In his new role, Rodli will be responsible for driving initiatives that uphold the mission of the organization – to advance the art and science of cinematography – and creating a supportive community for its members. Rodli, an ASC associate member since 2001, has served six years as co-chair of the ASC Motion Imaging Technology Council’s Cinema Display Committee, dedicated to exploring new technologies and providing guidance on enhancing the moviegoing experience in service to the filmmaker’s creative intent. He co-authored the committee’s 2016 white paper, “Cinema Display Evaluation Plan and Test Protocol,” which explores the key image quality parameters of dynamic range, color space and overall luminance, as well as suggesting testing parameters. Rodli also has been a member of the Academy of Motion Picture Arts and Sciences Task Force on Content Preservation, and has participated in numerous industry panels ranging on topics from digital media distribution to projection. “We are thrilled to have someone of Eric’s caliber propelling the vision of our organization to new levels,” says ASC President Kees van Oostrum. “As the ASC nears its 100th anniversary, it’s important that we build on the legacy of our founders and continue to support the membership creatively, as well as encourage and educate the next generation of cinematographers. Eric has both the industry and creative relationships to augment our efforts.” Rodli’s career includes extensive experience as an executive in the entertainment technology industry with management roles in start-ups and large corporations. He served as president at Iwerks Entertainment, Bexel and Kodak’s motion picture film division, and most recently as CFO of BeBop Technologies. Rodli has worked on numerous creative and technical initiatives across multiple industry sectors, dating back to pioneering the use of the first generation of HD cameras, as well as 3D projection, digital streaming technology, and laser projection systems. His strategic and hands-on experience in the imaging chain has fueled his belief that technology should serve the artist. “I’m honored to be on board at the ASC to cultivate the progress of artists whom I admire for their outstanding contributions to so many indelible images,” says Rodli. “Throughout my career, I’ve been fortunate to work with many cinematographers in various capacities and am constantly awestruck by their impactful aptitude, techniques and creativity. I look forward to working with the board and advocating for the members.” Focused on education, the ASC hosts many programs, including the ASC Master Classes, Student Heritage Awards, Coffee and Conversation Q&As with cinematographers, and panel discussions by the Education and Outreach Committee. The award-winning efforts of the ASC Motion Imaging Technology Council (MITC) since 2003 have shaped the standards and practices of cinematography for digital workflows, with the group and its committees working closely with the Academy’s Sci-Tech Council and SMPTE. The ASC Vision Committee also holds events to foster diversity and equality on camera crews.

Panavision (Stand 502) is introducing the new Millennium DXL2 8K camera here at BSC Expo 2018, running Feb. 2-3 at Battersea Evolution. The large-format camera is the heart of a complete imaging ecosystem designed from filmmakers’ perspectives, seamlessly incorporating Panavision’s unmatched optics and camera architecture, the RED MONSTRO 8K VV sensor, and Light Iron color2 science (LiColor2). The DXL2 builds on the success of the Millennium DXL and benefits from Panavision’s unique and storied partnership with cinematographers, whose real-world experience and input are manifested in the DXL2’s many significant advances. “The Millennium DXL2 8K camera system was conceived with the goal of maximum creative control from the moment of capture through delivery and display,” says Michael Cioni, senior VP of Innovation at Panavision and Light Iron. “Panavision’s vast inventory of advanced large-format and anamorphic optics combined with RED’s MONSTRO imager expands what’s possible, allowing filmmakers to create radically inventive and powerfully cinematic images, customized for the needs of the project and the vision of creative teams.” As a camera and lens manufacturer that also serves filmmakers as a trusted rental house, Panavision is uniquely positioned to respond to the needs of the community. Since its introduction, the DXL has been used on over 20 feature films, and countless television shows, commercials and music videos. Oscar® nominee John Schwartzman, ASC photographed two features on the DXL and is among those who have tested the DXL2, providing input that has guided the design. Schwartzman says, “When you take an 8K image and super-sample it, it only gets better. It’s absolutely beautiful to look at. For me, the Millennium DXL2 is a no-brainer. It’s something I would use on anything. It does it all. And in fact, I’m currently planning to shoot my next feature with it.” The RED MONSTRO 8K VV sensor in the DXL2 offers a healthy 16-plus stops of dynamic range with improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using Light Iron color science. An integrated PX-Pro color spectrum filter custom-made for the DXL offers a significant increase in color separation and dramatically higher color precision to the image. Built-in Preston MDR, 24v power and expanded direct-to-edit features are also standard equipment on the DXL2. An anamorphic flare attachment (AFA) offers a convenient, controllable method of introducing flare with spherical lenses. New to the DXL2, LiColor2 streamlines the 8K pipeline, smoothly handling the workflow and offering convenient and quick access to high-quality RAW images, accommodating direct to edit without delays. “We are proud to provide an ecosystem of tools that gives filmmakers more choices to express their vision,” adds Panavision CEO and President Kim Snyder. “We have been listening to feedback from cinematographers and the results of our collaboration are directly manifested in the DXL2. We remain committed to continuous technological development and are excited to bring this new camera to market.” The Millennium DXL2 will be presented at the Panavision booth (Stand 502) alongside a showcase of the company’s large-format and anamorphic optics, as well as the latest products and solutions from Panalux, Light Iron and Panavision Grip and Remote Systems. Also at BSC Expo, Panavision presents “The Beauty of Large Format 8K” at 14:00 on Feb. 2 in the seminar room. The session will offer a preliminary introduction to the DXL2 while taking a deep dive into the relationship between resolution and large-format optics. Cioni will guide the discussion and present clips that demonstrate the benefits of 8K capture and how ultra-high resolution equates to creative control with smoother imagery. DXL2 cameras are available now to rent exclusively from Panavision on a worldwide basis. For more information, visit www.panavision.com/dxl.

RED Digital Cinema® is showcasing its latest sensor technology, MONSTRO 8K VV, on Stand 426 at the BSC Expo, running Feb. 2-3 at the Battersea Evolution. MONSTRO is an evolutionary step in large-format sensor technology with improvements in image quality including dynamic range and shadow detail. The new cinematic, full-frame WEAPON® camera with the MONSTRO™ 8K VV sensor that launched in October 2017 is now available for purchase. On Feb. 2 at 11:15 in the Seminar Room, RED and Mission Digital are hosting a conversation with Chris Ross, BSC and Mission Digital Managing Director Mark Purvis. They will discuss the shooting of FX’s flagship show Trust, directed by Danny Boyle and starring Donald Sutherland, Hilary Swank and Brendan Fraser. Attendees can learn how Ross and the post-production team approached the creative and technical aspects of one of the biggest television shows to be shot in the UK. RED will also host a premier seminar with CHEAT colourist Toby Tomkins and Panavision Senior Vice President of Innovation Michael Cioni on “The Benefits of 8K RAW Workflow in High Resolution TV Delivery.” The event will take place Feb. 2 at 15:15 in the Seminar Room. The two will discuss using an 8K RAW workflow on feature films, as well as the recently released Netflix original TV series The End of the F***ing World. The series was shot on RED WEAPON 8K S35 by cinematographers Justin Brown and Ben Fordesman with Tomkins handling final color. Tomkins will share his insights and approach to managing high-resolution workflows and explain the value of RED's new Image Processing Pipeline (IPP2). RED’s newest camera and sensor combination, WEAPON 8K VV, offers cinematic full frame lens coverage, captures 8K full format motion at up to 60 fps, produces ultra-detailed 35.4 megapixel stills, and delivers incredibly fast data speeds – up to 300 MB/s. And like all of RED’s DSMC2 cameras, WEAPON shoots simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHD/HR recording and adheres to the company’s dedication to OBSOLESCENCE OBSOLETE® – a core operating principle that allows current RED owners to upgrade their technology as innovations are unveiled and move between camera systems without having to purchase all new gear.