Sue Smith

FotoKem, a leader in digital and film post production, was the facility of choice for providing comprehensive creative and technical services from pre-production through final deliverables on the critically acclaimed Star Wars: The Last Jedi from Disney/Lucasfilm. The facility built technically advanced solutions that supported the creative team through their interplanetary production from dailies to color grade. Services included a customized workflow for dailies, editorial and VFX support, conform, and a color pipeline that incorporated all camera formats (film and file based) while adhering to critical studio guidelines. Working collaboratively with key creatives – including director Rian Johnson; cinematographer Steve Yedlin, ASC; producer Ram Bergman; Lucasfilm’s Head of Post Production Pippa Anderson; and Lucasfilm’s Director of Post Production Mike Blanchard – the post process allowed them to operate with speed and flexibility while enabling maximum creative freedom served by the technology. The filmmakers behind The Last Jedi had an ambitious vision for the second installment in the sequel trilogy. FotoKem was engaged prior to the beginning of principal photography, and devised an intricate workflow tailored to accommodate the goals of production. A remote post production facility was assembled near-set in London where film technician Simone Appleby expertly operated two real-time film scanners, digitizing up to 15,000 feet a day of 35mm footage at slightly above 4K resolution. Supported by a highly secure network, FotoKem nextLAB® systems ingested the digitized film and file-based camera footage, providing “scan-once instant access” to everything, and creating a singular workflow for every unit’s footage. By the end of production, over one petabyte of data was managed by FotoKem’s nextLAB®, enabling the filmmakers, visual effects teams, editors, and studio executives to securely and easily share large volumes of assets for any part of the workflow. Johnson said, “For me, it’s simple – FotoKem helped me tell the story I was hoping to tell. They invented solutions and made it easy for us to work the way we wanted to work.” Bergman added, “I worked with FotoKem previously and knew their capabilities. This project clearly required a high level of support to handle global locations with multiple units and production partners. We had a lot of requirements at this scale to create a consistent workflow for all the teams utilizing the footage, from production viewing dailies to the specific editorial deliverables, visual effects plates, marketing, and finishing, with no delays or security concerns.” Before shooting began, Yedlin worked with FotoKem’s film and digital lab to create specialized scanner profiles and custom Look Up Tables (LUTs). FotoKem implemented the algorithms devised by Yedlin into their nextLAB® software to obtain a seamless match between digital footage and film scans. Yedlin also received full-resolution stills which served as a communication funnel for color and quality control checks. This color workflow was devised in collaboration with FotoKem color scientist Joseph Slomka, and executed by nextLAB® software developer Eric Cameron and dailies colorist Jon Rocke, who were on site throughout the entire production. “With the knowledge of an HDR deliverable, we set to work to make sure the look captured on set matched the vision of the filmmakers and was carried throughout the workflow for the ultimate control of color from camera to screen,” noted Slomka. Yedlin observed, “As cinematographers, we work hard to create looks, and FotoKem made it possible for me to take control of each step in the process and know exactly what was happening. The color science support I received made true image control a realized concept.” Calibrated 4K monitoring and the high availability SAN on site managed by nextLAB® created a world where visual effects and editorial could instantly access full fidelity footage during and after production. Through the nextLAB® interface, these teams could procure footage, pull shots as needed, and maintain exact color and metadata integration between any step. For the color grade, FotoKem colorist Walter Volpatto fine-tuned raw images, as well as those from ILM, with Johnson and Yedlin using the color and imaging pipeline established from day one. FotoKem also set up remote grading suites at Skywalker Sound and Disney so the teams could work during the sound mix, and later grading for HDR and other specialty theatrical deliverables. “The film emulation LUT that Steve (Yedlin) created carried nuances he wanted in the final image and he was mindful of this while shooting, lighting both the film and digital scenes so that minimal manipulation was required in the color grade,” Volpatto explained. “Steve’s mastery of lighting for both formats, as well as his extensive understanding of color science, helped to make the blended footage look more cohesive.” Volpatto also oversaw the HDR pass and IMAX® versions. Ultimately, multiple deliverables were created by FotoKem including standard DCP, HDR10, Dolby Vision™, HLG, 3D (in standard, stereo Dolby and 2D Dolby HDR), and home video formats. FotoKem worked with IMAX to align the color science pipeline with their Xenon and laser DCPs and 15-perf 70mm prints as well. Mike Brodersen, FotoKem’s Chief Strategy Officer, said, “Our incredible team’s objective from the beginning of this project was to provide a process for the creatives to flourish, without worrying about the technology. It’s not every day that we would ship scanners to remote locations and integrate a real-time post environment that would rival many permanent installations. Our approach combined decades of film and digital expertise, intense artistry, and exceptional post production workflow knowledge. We are honored that they entrusted us in this endeavor and grateful to be part of this iconic project.”

Panavision has named Dan Hammond, a longtime creative solutions technologist in the industry, as vice president and general manager of Panavision Hollywood. Hammond will be responsible for overseeing daily operations at the facility, and working with the Hollywood team to leverage the exceptional camera systems, optics, service and support that Panavision customers have come to expect. Hammond is a Panavision veteran, who worked at the company between 1989 and 2008 in various departments, including training, technical marketing, and sales. Most recently he was at Production Resource Group (PRG), expanding his technical services skills. Hammond is active with industry organizations, and is an associate member of the American Society of Cinematographers (ASC), as well as a member of the Academy of Television Arts and Sciences (ATAS) and Association of Independent Commercial Producers (AICP). “Dan has a broad range of strengths in developing technology solutions, and extensive experience providing production studios, cinematographers and directors with the products and services they need on a global level,” said Michael George, Panavision’s chief operating officers, to whom Hammond will directly report. “We are excited to have him back with the team at Panavision.” Hammond added, “Service, innovation, and growth are always the top priority at Panavision. I look forward to continuing to work with filmmakers to provide creative solutions and further expanding Panavision Hollywood’s offerings to the production community.” For more information, visit www.panavision.com.

The Association of Moving Image Archivists (AMIA) has announced a robust program for its annual conference, which brings together over 600 experts to share perspectives on the latest methodologies and technologies being used in the acquisition, preservation, restoration, exhibition and use of audiovisual media. The event runs Nov. 30 to Dec. 2 at the InterContinental New Orleans, and is preceded by two days of workshops, including a Community Archiving Fair, a Hack Day, and a presentation of The Reel Thing, a technical symposium that explores recent restoration projects. A detailed schedule and session descriptions can be found on the AMIA conference website: www.amiaconference.net. Over 40 seminars will address topics such as the management of efficient transfer and migration workflows; strategies for licensing archives; updates on tools and processes in annotation, metadata, and modeling; approaches for handling and protecting rare elements; and case studies on the preservation of important analog and digital collections. Screenings will include AMIA’s Archival Screening Night – a program of rarely seen clips from archives around the world; “Dawson City: Frozen in Time” followed by a Q&A with director Bill Morrison; and “Reel Bad Arabs: How Hollywood Vilifies a People,” a documentary offering devastating insights into the origins of stereotypic images and their development at key points in U.S. history. This year, AMIA shines a spotlight on efforts being made to preserve and provide access to underrepresented archives. Specialists from Smithsonian’s National Museum of African American History and Culture, the Asian/Pacific American Institute, Israel Film Archive, Jack G. Shaheen Collection and the Shoah Foundation, to name a few, will share their experiences and offer their expertise. Highlights include: · The New Preservationists: How Documentary Filmmakers are Excavating Rare Media Artifacts to Tell Their Stories – A new emphasis on archival-based programming from Netflix, Amazon, HBO, Hulu, ESPN, and other international players has shined a new light on archives. With Academy Award® and Emmy®-nominated filmmaker Robert Stone and Peabody Award-winning filmmaker Shola Lynch, this session will explore the craft of the archive-inspired film and show how these projects themselves are vehicles for preservation efforts. · Reel News: Broadcast Videotape and the Historical Record of Resistance – A significant portion of moving image records from U.S.-based social movements in the 20th century, including the struggle for African American, Chicano/a, LGBTQ, and civil and human rights, exists on endangered 2-inch videotape. This panel will screen footage and illuminate the vital, socially relevant content emended on tapes, while providing attendees with strategies for developing initiatives at their own institutions for preserving this material and presenting it to the public. · Let the Computer and the Public do the Metadata Work! – The American Archive of Public Broadcasting (AAPB), with Pop Up Archive, has created more than 71,000 transcripts of historic public broadcasting recordings using the open source Kaldi speech-to-text software. At this panel, WGBH will share a game called FixIt to crowdsource correction of speech-to-text generated transcripts, and panelists will discuss potential computational linguistic tools and methodologies to enhance discoverability of digital media collections. · The Great Migration: A Public Digitization Workflow – The Great Migration is a public digitization program initiated by the Smithsonian Institution's National Museum of African American History and Culture (NMAAHC). Visitors are invited to bring their home movies, on any format, to the museum and have them inspected and digitally scanned by NMAAHC media preservation staff. This session highlights how museum preservation efforts and public education coalesce, revealing basic steps for personal digital archiving while building the nation's largest research collection of African American home movies. “Every year, AMIA’s annual conference brings together the largest gathering of the restoration/preservation community who are making incredible progress in their work to ensure treasures from the past are accessible for the future,” said AMIA President Andrea Kalas. “AMIA members are the cultural caretakers of important audiovisual media, and this event marks an incomparable opportunity to learn and connect with a worldwide contingency of professionals in the field.” To register, visit the AMIA Conference website for full details: http://www.amiaconference.net/

Continuing 25 years of support, Panavision once again celebrates the art and craft of moving pictures with filmmakers at the Camerimage International Film Festival of Cinematography, which runs November 11 - 18 in Bydgoszcz, Poland. This year, Panavision hosts a masterclass with Oscar®-winner John Toll, ASC, and a workshop on large-format filmmaking. http://www.panavision.com/panavision-brings-millennium-dxl-camera-and-large-format-lenses-camerimage-2017 On Nov. 14 in the MCK, Panavision Day begins with the workshop, "The Beauty of 8K Large-Format" from 11:00 – 13:00. Peter Deming, ASC recently wrapped production on The New Mutants, utilizing the Panavision Millennium DXL 8K camera and lenses to create stunning visuals for the next X-Men installment. A screening of The New Mutants trailer be will explored by Panavision’s VP of Optical Engineering Dan Sasaki, Senior VP of Innovation Michael Cioni, and Light Iron supervising colorist Ian Vertovec. They will discuss the unique advantages of 8K capture, high-resolution creative control, and how ultra-high resolution is one of the best-kept secrets for producing even better imagery. Toll, who is this year’s Camerimage Lifetime Achievement Award recipient, will participate in a moderated conversation from 14:00 – 16:30. The two-time Oscar®-winner (Legends of the Fall, Braveheart) will discuss excerpts from his films, share anecdotes from the set, and answer questions from the audience. At the Camerimage exhibition area in the Opera Nova, Panavision will have Millennium DXLs on display for festival attendees to get hands-on with the camera. The new HDR OLED Primo Viewfinder, the advanced PX-Pro color spectrum filter, and a selection of innovative large-format and anamorphic Panavision lenses also will be showcased alongside the Panavision System 65mm film camera used to shoot Murder on the Orient Express. The iconic tale of mystery aboard the legendary train, directed by Kenneth Branagh and shot by Haris Zambarloukos, ASC, GSC, will screen on the opening night of Camerimage. Adjacent to the Panavision exhibit, the Light Iron Theater will screen DXL footage in HDR format; Panalux will demonstrate their new underwater light, the AmphiTube product range, which features a bi-color LED solution designed for both wet and dry environments; and LEE Filters, celebrating 50 years in business, will showcase their next-generation neutral density PanaND filters.

Irvine, CA — Nov. 6, 2017. RED Digital Cinema will be showcasing its new cinematic Full Frame sensor for WEAPON cameras, MONSTRO™ 8K VV, at the 25th Camerimage International Film Festival in Bydgoszcz, Poland, from November 11-18. The MONSTRO 8K VV sensor is an evolutionary step beyond the DRAGON 8K VV sensor with improvements in image quality including dynamic range and shadow detail. A WEAPON with MONSTRO 8K VV sensor offers 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. Festival attendees visiting RED’s stand in the Opera Nova Main Foyer will have the opportunity to handle the company’s latest DSMC2® cameras, including WEAPON 8K VV, WEAPON 8K S35 and EPIC-W 8K S35. RED cameras will also be on display at Leica, Cooke, Zeiss, Angeniuex, Hawk and Panavision stands. An official sponsor of Camerimage, RED will also host two seminars at the festival. On Nov. 13, cinematographers Christopher Probst, ASC and Markus Förderer, BVK will discuss “The Future of Digital Formats.” From music videos to feature films and original TV series, Christopher and Markus will share their process for evaluating tools, and approach to choosing a camera and lenses. Attendees will also learn how their progressive filmmaking, combined with the high resolution, large format and flexibility of RED cameras, helped to produce the desired results for their latest endeavors. The seminar will take place at 16:30 in the Miejskie Centrum Kultury (MCK). On Nov. 15, Light Iron Colorist Ian Vertovec and RED’s Dan Duran will discuss RED’s "High Resolution Image Processing Pipeline.” Attendees will learn about the color science behind RED’s Image Processing Pipeline (IPP2), which offers a completely overhauled workflow experience featuring enhancements such as better management of challenging colors, an improved demosaicing algorithm, smoother highlight roll-off, and more. Light Iron will also be featuring modern high resolution workflow, HDR, and its unique color grade used in the Netflix original series, GLOW. The seminar will take place at 16:45 in the Miejskie Centrum Kultury (MCK).

Proceeds from Sales of Sculptures & Assemblages to Benefit City of Hope Writer-director Matt Reeves (War for the Planet of the Apes, Dawn of the Planet of the Apes, Cloverfield), Oscar®-nominated cinematographer Jeff Cronenweth, ASC (The Girl with the Dragon Tattoo, The Social Network), and cinematographer Ernie Holzman, ASC (Without a Trace, Cora Unashamed, Thirtysomething) present “Ernie Holzman: Life ReFocused,” an art show celebrating film cameras and lenses from the 20th century. The event takes place on November 12, from 4 – 7 p.m. at RED Studios Hollywood, where assemblages and sculptures created by Holzman will be for sale, as well as a rare print of the iconic set of Alfred Hitchcock's "Rear Window.” All proceeds benefit cancer research at City of Hope. After being diagnosed with Stage IV non-Hodgkin’s lymphoma in 2011, Holzman underwent surgery and two rounds of chemotherapy. Unable to work, a good friend gifted Holzman with a collection of vintage filmmaking equipment. The cinematographer deconstructed every camera and lens, and was ultimately inspired by the aesthetic beauty and elegance of the equipment, which had been commonplace in his career, to create art. By selling the pieces he has designed, Holzman wants to “pay it forward” and acknowledge the life-saving work of Dr. Barry Rosenbloom at Tower Oncology. Holzman told American Cinematographer magazine, “The opportunity to create art, and ultimately have this showing, has not only been enormously healing for me, but has given my life greater meaning than I have ever known.” City of Hope is a world leader in the research and treatment of cancer, diabetes, and other serious diseases. They deliver scientific miracles that make lives whole again. Founded in 1913, City of Hope is one of only 49 comprehensive cancer centers in the nation, as designated by the National Cancer Institute. The event is open to the public. RED Studios Hollywood is located at 864 N. Cahuenga Blvd, Los Angeles, 90038. No RSVP is necessary to attend.

A refreshed RED Tools app from RED Digital Cinema® is available now from the Apple App Store and available for the first time on Google Play for Android devices. RED Tools is a multipurpose toolkit designed for use by filmmakers and cinematographers with RED’s DSMC2® and DSMC® cameras. Within the free app, camera operators will find Light and Dark modes for different shooting environments plus a selection of convenient tools that aid camera set-up for: Crop Factor, Recording Time, Flicker-Free Video, Depth of Field, Panning Speed and Exposure in 11 languages including English, Simplified Chinese, German, Japanese, French, Spanish, and more. For more information, visit www.red.com.

The Association of Moving Image Archivists (AMIA) announces that Dennis Doros, co-owner of Milestone Films, has been elected president of the international association by AMIA members. Doros will be inducted into office at the annual AMIA Conference in New Orleans (Nov. 29 – Dec. 2), when he will begin a two-year term. He succeeds Andrea Kalas, who has led the organization forward for the past two years. AMIA members have also elected three new directors to the Board of Governors: Casey Davis Kaufman, senior project manager for the WGBH Media Library and Archives and project manager for the American Archive of Public Broadcasting; Andrea Leigh, moving image processing unit head at the Library of Congress National Audio Visual Conservation Center; and Yvonne Ng, senior archivist at WITNESS, an organization that supports people using video to protect human rights. They join board members Jayson Wall of The Walt Disney Studios, consultant and doctoral student Lauren Sorensen, doctoral student/field scholar Melissa Dollman, John Polito of Audio Mechanics, and Teague Schneiter from the Academy of Motion Picture Arts and Sciences. AMIA is the world’s largest professional organization dedicated to the acquisition, description, preservation, restoration, exhibition and use of audiovisual media. The association’s programs help members stay abreast of the latest methods and technologies, ensuring that our cultural treasures are accessible for future generations. The AMIA membership includes archivists, educators, librarians, digital asset managers, technologists, collectors, genealogists, filmmakers, historians, consultants, studio executives, environmentalists, distributors, and broadcasters from around the world — all of whom are actively engaged in the art and science of media preservation and presentation. Doros comments, “I am deeply honored to have the opportunity to serve AMIA, an organization that has meant so much to me both personally and professionally. The friendships, connections, and camaraderie I have found here have helped me discover, research, and preserve some of the most challenging and rewarding projects of my career. I am inspired on a daily basis by this passionate and supportive international community. I know that working together, we can bring greater diversity, fairness, and outreach to our field while saving a lot of great moving images for generations to come.” Doros began his career at Kino International in 1984, where he was responsible for restoring Erich von Stroheim’s Queen Kelly and Raoul Walsh’s Sadie Thompson, both starring Gloria Swanson. In 1990, he co-founded Milestone Films with his wife, Amy Heller. Working with film archives and labs around the world, they have restored and distributed a wide range of independent films that include works by Shirley Clarke, Charles Burnett, Margot Benacerraf, Billy Woodberry, Kathleen Collins, Marcel Ophuls, and Kent Mackenzie. Filmmakers Martin Scorsese, Barbara Kopple, Steven Soderbergh, Thelma Schoonmaker, and author Sherman Alexie have worked with Milestone to promote special restoration projects. For the past 12 years, Doros has been a consultant to Turner Classic Movies (TCM). Doros and Heller have been awarded the National Society of Film Critics’ Film Heritage Award five times and first Special Archival Award; the International Film Seminars’ Leo Award; the NY Film Critics Circle’s Special Award twice; the LA Film Critics’ first Legacy of Cinema Award; and a Film Preservation Honors award from Anthology Film Archives. Doros served three terms on the AMIA Board of Directors, and was the 2016 winner of AMIA’s William S. O’Farrell Volunteer Award in recognition of his contributions to the field. For more information, visit www.amianet.org.

Winners Hail from AFI, LMU and USC LOS ANGELES (October 16, 2017) – The American Society of Cinematographers (ASC) announced their annual Student Heritage Award winners Saturday night during a presentation at the organization’s clubhouse in Hollywood. Three student filmmakers were singled out for demonstrating exceptional abilities in cinematography. The competition is designed to highlight the work of emerging talent, and inspire the next generation of filmmakers. The 2017 winners are: ASC Andrew Lesnie Student Heritage Award, Graduate Category Favienne Howsepian from the American Film Institute (AFI) for “Snowplow” ASC Andrew Lesnie Student Heritage Award, Undergraduate Category Logan Fulton from Loyola Marymount University (LMU) for “Widow” ASC Haskell Wexler Student Award, Documentary Category Connor Ellmann from University of Southern California (USC) for “Forever Home” A panel of ASC members judged the entries, and the winners were selected from 13 nominees. “The level of cinematography we see coming from students these days seems to get more exciting and visually challenging each year,” says ASC President Kees van Oostrum. “It’s a testament to the quality and commitment of the younger generation of cinematographers, and promises an exciting future.” The ASC student awards are named in honor of Lesnie and Wexler, revered members of the organization. Lesnie won an Oscar® for best cinematography for The Lord of the Rings: The Fellowship of the Ring. His work on Doing Time for Patsy Cline earned an ACS Award of Distinction, as well as won the Australian Film Institute and The Australian Film Critics’ awards for best cinematography. He also won the ACS Cinematographer of the Year Award twice, for You Seng and Babe. Wexler earned Academy Awards® for Who’s Afraid of Virginia Woolf? and Bound for Glory, and received additional nominations for One Flew Over the Cuckoo’s Nest (shared with Bill Butler, ASC), Matewan and Blaze. 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. The ASC Student Awards were inaugurated in 1999, with the Documentary category added in 2012. Past winners include Lisa Wiegand, ASC; Lukas Ettlin; Masanobu Takayanagi, ASC; Nelson Cragg; and Benji Bakshi, among many others who have become directors of photography or carved out careers in the filmmaking industry.

Irvine, CA — October 5, 2017. Today, RED Digital Cinema® announced a new cinematic full frame sensor for WEAPON® cameras, MONSTRO™ 8K VV. MONSTRO is an evolutionary step beyond the DRAGON 8K VV sensor with improvements in image quality including dynamic range and shadow detail. This newest camera and sensor combination, WEAPON 8K VV, offers 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. “RED’s internal sensor program continues to push the boundaries of pixel design and MONSTRO is the materialization of our relentless pursuit to make the absolute best image sensors on the planet,” says Jarred Land, president of RED Digital Cinema. “The Full Frame 8K VV MONSTRO provides unprecedented dynamic range and breathtaking color accuracy with full support for our IPP2 pipeline.” The new WEAPON will be priced at $79,500 (for the camera brain) with upgrades for carbon fiber WEAPON customers available for $29,500. MONSTRO 8K VV will replace the DRAGON 8K VV in RED’s line-up, and customers that had previously placed an order for a DRAGON 8K VV sensor will be offered this new sensor beginning today. New orders will start being fulfilled in early 2018. RED has announced a comprehensive service offering for all carbon fiber WEAPON owners called RED ARMOR-W. RED ARMOR-W offers enhanced and extended protection beyond RED ARMOR, and also includes one sensor swap each year. “‘Good’ has never been ‘good enough’ for RED,” says Land. “We put ourselves in the shoes of our customers and see how we can improve how we can support them. RED ARMOR-W builds upon the foundation of our original extended warranty program and includes giving customers the ability to move between sensors based upon their shooting needs.” Additionally, RED has made its enhanced image processing pipeline (IPP2) available in-camera with the company’s latest firmware release (v7.0) for all cameras with HELIUM and MONSTRO sensors. IPP2 offers a completely overhauled workflow experience, featuring enhancements such as smoother highlight roll-off, better management of challenging colors, an improved demosaicing algorithm, and more. Visit red.com for details or find an authorized dealer or rental house in your area.

Organization to Laud Russell Carpenter, Russell Boyd, Alan Caso and Stephen Lighthill at Annual Gala LOS ANGELES (October 5, 2017) – In recognition of their special contributions to the art of cinematography, the American Society of Cinematographers (ASC) has named four honorees who will be feted at the 32nd ASC Awards for Outstanding Achievement. Russell Carpenter, ASC will receive the Lifetime Achievement Award; Russell Boyd, ASC, ACS will earn the org’s International Award; Alan Caso, ASC will be bestowed the Career Achievement in Television Award; and Stephen Lighthill, ASC will take home the Presidents Award. The presentations will be made at the annual ASC awards gala on February 17, 2018, at the Ray Dolby Ballroom at Hollywood & Highland. “These artists have accomplished a compelling array of visuals throughout their careers, reaching levels of excellence that inspire cinematographers around the world,” says ASC President Kees van Oostrum. “Not only have they excelled in the art and craft of cinematography but demonstrated leadership and mentorship in their daily work on and off the set.” Carpenter received an Academy Award® for his ground-breaking work on James Cameron’s Titanic (1997), which took home a total of 11 Oscars®. The film also earned best cinematography awards for Carpenter from the ASC and Chicago Film Critics. The cinematographer began his career shooting documentaries and educational films. His breakthrough film, The Lawnmower Man (1992), demonstrated pioneering computer graphics in filmmaking. He’s gone on to photograph a range of genre films including Hard Target, True Lies, The Indian in the Cupboard, The Negotiator, Charlie’s Angels, Charlie’s Angels: Full Throttle, Parched, Awake and 21, among others. Carpenter also shoots commercials, creating compelling visuals for such brands as Lexus, AT&T and Microsoft. Most recently, he contributed his cinematographic talents to Peyton Reed’s Ant-Man, and D.J. Caruso’s xXx: Return of Xander Cage. Carpenter is currently shooting the Disney picture, Nicole, with director Marc Lawrence before moving on to the Avatar sequels for Cameron. Boyd is an Oscar® winner for his compelling visuals on Peter Weir’s Master and Commander: The Far Side of the World (2003). He reigns from a small town in Victoria, Australia, where he aspired to be a press photographer but got his start at a weekly Melbourne news program, performing a variety of tasks. After shooting numerous commercials for a production company in Sydney, Boyd transitioned to narrative filmmaking, working with Weir several times during the early days of his career. In addition to Master and Commander, the cinematographer and director have collaborated on Picnic at Hanging Rock, The Last Wave, Gallipoli, The Year of Living Dangerously, and The Way Back. Boyd’s credits also include a wide range of feature and television projects, including Tender Mercies, A Soldier’s Story, Cobb, Tin Cup, Doctor Doolittle, and Ghost Rider. Caso has compiled over 50 television credits, earning two Emmy® nominations for his work on Six Feet Under (2001), as well as nods for Into the West (2005) and George Wallace (1997). The latter also took home an ASC Award, with additional nominations bestowed by the organization for Frankenstein (2004) and Into the West. Caso’s cinematographic contributions to television have made an impact on the annals of the small screen, including The Good Old Boys, Tour of Duty, Blackout Effect, Widows, Running Mates, Master Spy: The Robert Hanssen Story, Blackbeard, Big Love, Dexter, The Americans (pilot), and Hawaii Five-O. His feature credits include First Sunday, Reindeer Games, Muppets From Space, Top of the World and Ed. He is currently directing photography on the TV series For the People for ABC, and recently shot the upcoming pilot for NBC’s Reverie. Lighthill began his career shooting network news and documentaries, including contributions to Oscar®-nominated documentary Berkeley in the ‘60s, Gimme Shelter, and CBS’ 60 Minutes. In recent years, he returned to documentaries with Boffo! Tinseltown's Bombs and Blockbusters, and The Alzheimer's Project: Caregivers. Lighthill’s credits also include independent features and television, such as PBS’ Over-Under Sideways-Down, Hot Summer Winds, Shimmer, HBO’s Vietnam War Story, Earth 2 for NBC, and Nash Bridges for CBS. His contributions to the industry include many years on the ASC Board of Governors, serving as president from 2012–2013, and the National Executive Board of the International Cinematographers Guild (ICG). In 2010, he received the Deluxe Bud Stone Award for Outstanding Educational Contributions to the Art and Craft of Cinematography from the ICG, and the 2010 SMPTE Kodak Educational Award for outstanding contributions in film production education. He is also a regular jury member at the Camerimage cinematography festival in Poland. Lighthill is currently the Senior Filmmaker in Residence: Cinematography at the American Film Institute (AFI) Conservatory. For information regarding the 32nd ASC Awards, visit www.theasc.com or call 323-969-4333.

TORONTO (September 27, 2017)—Panavision announced that Johanna Gravelle has joined the company as Canada’s national sales manager. Gravelle will be based in Toronto, and is responsible for ensuring that customers receive unparalleled service and top-notch camera and lens systems for their productions in the region. “We are truly excited to have Johanna join the Panavision team,” says Paul Mason, senior vice president and CFO of Panavision Canada. “Her invaluable experience and longstanding relationships will contribute to our progressive efforts to serve the needs of cinematographers and production companies across Canada at the highest level achievable.” Gravelle brings a wealth of entertainment industry experience to Panavision, having spent over a decade working with Kodak in both senior sales and marketing leadership roles. During her time at the company, she served as manager of Kodak Canada before making the move to lead marketing efforts in Australia, and eventually worldwide. Gravelle begins immediately while transitioning into her role alongside Panavision Canada’s Vice President/Director of Sales and Marketing Jeffrey Flowers, who after 33 years at Panavision Canada will retire at the end of 2017. Flowers career at Panavision began in the Toronto lighting department. He then went on to work as a commercial production manager before returning to Panavision. Flowers moved up the ranks through the camera department, and relocated to Vancouver where he led the regional office and ultimately transitioned to his national sales and marketing role. In 2016, Flower’s contributions to the motion picture industry were recognized by the Canadian Society of Cinematographers during the annual gala event where he was presented with the Bill Hilson Award for “outstanding service contributing to the development of the motion picture industry.” “On behalf of the entire Panavision team, I’d like to thank Jeff for his dedication and significant contributions to the company” said Panavision President and CEO Kim Snyder. “Jeff is highly respected amongst the Canadian production community and he will be greatly missed.”

The American Society of Cinematographers (ASC) Photo Gallery will re-open with a public debut on September 9 from 4 – 9 pm at the historic ASC clubhouse in Hollywood. The exhibit will feature an entirely new collection of still photographs by nine members of the organization, curated by Paris Chong, manager of Leica Gallery LA. It will remain open to the public, by appointment, during weekdays from 11 am – 4 pm. To attend the opening night or visit the exhibit, contact office@theasc.com. The ASC Photo Gallery is designed to showcase the artistic achievements of the organization’s members, which consist of 375 award-winning cinematographers from around the globe. The first exhibit opened in March to much success, prompting future editions. “Still photography is the personal expression of the artist’s voice for many of our members,” notes Lieberman, Chairman of the ASC Photo Gallery Committee. “Images have inspired thousands of cinematographers over the decades, and we hope to encourage others by sharing our works of art so we may continue to fund outreach programs that influence the next generation of filmmakers.” The ASC members participating in this new show include Antonio Calvache (Queen Sugar, Little Children), Richard Crudo (Justified, American Pie), Fred Elmes (The Night Of, Blue Velvet), Denis Lenoir (Still Alice, Uprising), Charlie Lieberman (My So-Called Life, Heroes), Karl Walter Lindenlaub (Suits, Houdini), Suki Medencevic (Stuck in the Middle, The Pixar Story), Steven Poster (Donnie Darko, Southland Tales), and Robert Primes (Felicity, My Antonia). Each cinematographer contributed five photos. The 45 images on display are printed, framed and available for purchase. The limited-edition prints are numbered, signed and certified. Unlimited Edition Box Sets will also be available. Proceeds fund the nonprofit organization’s educational initiatives. Purchases will also be offered online via the ASC Store, where some photos from the March exhibit are still available. For more information, contact office@theasc.com or call (323) 969-4333.

Organization Sets 2018 Date for Annual Awards Gala The American Society of Cinematographers (ASC) has opened its call for entries in the television categories for the 32nd Annual ASC Awards for Outstanding Achievement in Cinematography, which will be held February 17, 2018, at the Ray Dolby Ballroom at Hollywood & Highland. The ASC is now accepting submissions in three categories: (1) Episode of a Television Series – Commercial; (2) Episode of a Television Series – Non-Commercial; and (3) Motion Picture, Miniseries, or Pilot Made for TV. The deadline to enter is November 1 by 5 p.m. (PT). To qualify for the ASC TV Awards, shows must have a premiere broadcast date in the United States between November 1, 2016, and October 31, 2017. Entry forms can be downloaded on the ASC website at www.theasc.com/asc/awards/entry-forms. Winners in the television categories at the 31st ASC Awards included Fabian Wagner, ASC, BSC for Game of Thrones, Tod Campbell for Mr. Robot, and Igor Martinovic for The Night Of. In addition to the TV awards, the ASC gala in February will also honor excellence in feature film cinematography, and recognize cinematographers and filmmakers for their contributions to the art and craft of filmmaking throughout their career. For a complete timeline of the 32nd ASC Awards, visit www.theasc.com/asc/awards/dates-deadlines.

The ASC Technology Committee has been renamed the ASC Motion Imaging Technology Council. Established in 2003, the Committee has helped organize efforts to study and assess subjects ranging from digital cameras and lens optics to motion imaging workflows, advanced color management, virtual production techniques digital archiving and more recently virtual reality. “During our past 14 years of proactive motion picture and TV industry engagement, the ASC Technology Committee has played a significant leadership role in guiding the evolution and development of key motion imaging technologies to better support our filmmaking art form,” notes Chairman Curtis Clark, ASC. “Many of our industry partners and supporters, along with users of our technologies, have suggested that the Committee’s name does not sufficiently convey the scope and influence that our activities have had on important motion imaging technology developments,” he continues. “In response to that input and after careful consideration, we have decided to change the Committee’s name to the ASC Motion Imaging Technology Council (MITC) — or ‘My Tech.’ We believe this better represents the expanded scope of the work we are doing and our widely recognized role as industry leaders — influencing the advancement of motion imaging technologies in ways that best serve the creative interests of filmmakers while emphasizing the cinematographer’s contribution to the art form.” Clark adds, “Our Subcommittees will now be designated Committees of the ASC Motion Imaging Technology Council. We will continue to encourage our Committees to work in a coordinated manner, combining their expertise on topics of wide interest and concern, including ACES, HDR, digital motion picture camera developments, look management, virtual production techniques, lens developments, DI, motion imaging workflows, projection and display technologies, archiving, as well as advanced imaging.” MITC’s latest reports on a variety of technological issues will be published on in the September issue of the SMPTE Motion Imaging Journal as part of the 2017 SMPTE Progress Report. For a full roster of ASC MITC Committees, visit: www.theasc.com/asc/committees/ascmitc

Los Angeles Edition of Symposium to Address Confluence of Film Restoration and Digital Technologies in Service of Future-Proofing Cinema’s Legacies for Generations to Come The Reel Thing, a symposium dedicated to addressing the preservation and restoration of audio visual collections, will open with the U.S. premiere of a new restoration of the Oscar®-nominated 1960 film “La Verite” (“The Truth”). Two additional new 4K restorations also will be shown during The Reel Thing, including the U.S. premiere of Howard Hawks’ “Scarface” and the world premiere of Alex Cox’s “Sid and Nancy.” The Reel Thing takes place August 24 - 26 at the Academy of Motion Picture Arts and Sciences’ Linwood Dunn Theater in Hollywood. The event 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. Registration is now open, with discounts for industry groups and students, at www.the-reel-thing.org. In addition to restored screenings at The Reel Thing, this year’s program addresses vital topics of interest to preservation and restoration professionals around the globe, including sessions on the role of artificial intelligence (AI) in repairing assets; the explosion of digital formats and how to manage deliverables; optical sound recovery; and modern workflow solutions for safeguarding projects. Case studies will examine the restoration of “Scarface” (1932), the silent film “Behind the Door” (1919), and “The Ballad of Gregorio Cortez” (1982). An in-depth look at how ACES was used to reformat and archive “The Troop” rounds out these discussions. Speakers are expected to include Nicholas Bergh, End Point Audio; film director Marcus Dillistone; Miki Fukushima, Paramount Digital Archive; Mike Inchalik, PurePix Images; Wojtek Janio, MTI Film; Inna Kozlov, Algosoft Tech USA; Jim Lindner, Media Matters LLC; Josef Lindner, Academy Film Archive, AMPAS; Simon Lund, Cineric, Inc.; Andy Maltz, Science and Technology Council, AMPAS; Alexander Petukhov, University of Georgia; Michael Pogorzelski, Academy Film Archive, AMPAS; Peter Schade, NBCUniversal; Linda Tadic, Digital Bedrock; Sean Vilbert, Paramount Digital Archive; and Jason Wall, Metromedia Radio.* An opening night reception will be followed by the screening of “La Verite.” Directed by acclaimed French director Henri-Georges Clouzot and starring Brigitte Bardot, “La Verite” follows the trial of a young French woman (Bardot) accused of her lover’s murder. The film was nominated for an Academy Award® for Best Foreign Language Film, and was a box office hit in France. “La Verite” was digitally restored at 4K by Sony Pictures Entertainment in partnership with The Film Foundation and RT Features. Created and co-founded by Grover Crisp and Michael Friend, The Reel Thing supports the programs and services of the Association of Moving Image Archivists (AMIA). For more information and to register for The Reel Thing, go to www.the-reel-thing.org.

This professional package includes everything cinematographers need to start shooting, including lens, media, batteries, software and more. RED Digital Cinema® announced today that its RED RAVEN® Camera Kit is now available exclusively through Apple.com and available to demo at select Apple Retail Stores. This complete handheld camera package features a diverse assortment of components from some of the industry’s top brands, including: RED RAVEN 4.5K camera BRAIN RED DSMC2® Touch LCD 4.7” Monitor RED DSMC2 Outrigger Handle RED V-Lock I/O Expander RED 120 GB RED MINI-MAG® 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 Nanuk heavy-duty camera case Final Cut Pro X foolcontrol iOS app for RAVEN Camera Kit The RED RAVEN Camera Kit is available for $14,999.95. Customers can buy this package or learn more at Apple.com and select Apple Retail Stores. “We are very excited to work with Apple on the launch of the RED RAVEN Camera Kit, available exclusively through Apple.com,” said Jarred Land, President of RED Digital Cinema. “The RED RAVEN Camera Kit is a ready-to-shoot professional package that gives content creators everything they need to capture their vision with RED’s superior image capture technology." The RAVEN 4.5K is RED’s most compact camera BRAIN, weighing in at just 3.5 lbs. This makes it a great choice for a range of applications including documentaries, online content creation, indie filmmaking, and use with drones or gimbals. The RAVEN is equipped with a 4.5K RED DRAGON sensor, and is capable of recording REDCODE RAW (R3D) in 4.5K at up to 120 fps and in 2K at up to 240 fps. RED RAVEN also offers incredible dynamic range, RED’s renowned color science, and is capable of recording REDCODE RAW and Apple ProRes simultaneously—ensuring shooters get the best image quality possible in any format. The RED RAVEN Camera Kit also includes Final Cut Pro X which features native support for REDCODE RAW video, built-in REDCODE RAW image controls, and the most complete ProRes support of any video editing software. Together with the free RED Apple Workflow software, Final Cut Pro allows professional video editors to work quickly and easily with RED RAVEN footage on MacBook Pro, iMac, and Mac Pro systems. All RED cameras feature a modular design that empowers customers to dial in their ideal configuration for any production environment. Customers looking to outfit their RAVEN with additional accessories should go to www.red.com.

EditFest, the popular day-long celebration of the art and craft of editing, returns to the Frank Wells Theater at Walt Disney Studios on August 12, 2017. Presented by American Cinema Editors (ACE), EditFest 2017 presents top-level film and television editors sharing their experiences and insights. Featuring panels, clips, and conversation, EditFest offers a unique opportunity for attendees to engage with panelists and colleagues throughout the day and during a lively post-event reception. EditFest LA 2017 panels include Women Making the Cut; Breaking Boundaries – Changing the Game in Movies; and The Lean Forward Moment. As announced earlier, Oscar winner Richard Chew, ACE, will go “Inside the Cutting Room,” with noted author and industry insider Bobbie O’Steen. Chew’s extraordinary credits include Star Wars, The Conversation, Risky Business, Singles, Bobby, The Public, and One Flew Over the Cuckoo’s Nest, among many other favorites. This year’s panelists include an esteemed group of editors including Lillian Benson, ACE (Chicago Med, Maya Angelou: And Still I Rise), Jackie Cambas, ACE (Zoot Suit, Mermaids, Cat People), Lisa Zeno Churgin, ACE (Old Man and the Gun, Cider House Rules, Reality Bites), Kelley Dixon, ACE (Breaking Bad, Better Call Saul, The Walking Dead), Edie Ichioka, ACE (Toy Story 2, The Boxtrolls), Virginia Katz, ACE (Bride of Frankenstein, Beauty and the Beast, Dreamgirls), Robert Leighton, ACE (When Harry Met Sally, This is Spinal Tap, The Princess Bride), Chris McCaleb (Breaking Bad, Narcos, Fear the Walking Dead), Terilyn Shropshire, ACE (Eve’s Bayou, The Secret Life of Bees), ACE President Stephen Rivkin, ACE (Avatar, Pirates of the Caribbean, Avatar 2), Paul Rubell, ACE (Blade, The Insider, Transformers, Thor), and Lynn Willingham, ACE (The X-Files, Ray Donovan, Bloodline). Panel moderators include Norm Hollyn, Michael Krulik, Margo Nack, and O’Steen. The day concludes with the EditFest after-party where panelists, attendees, and ACE members mingle over cocktails and hors d’oeuvres. ACE thanks Platinum Sponsor Blackmagic Design and Gold Sponsors Avid and Adobe and the Motion Picture Editors Guild for their generous support of EditFest. Raffle tickets will be available for a chance to win an Avid Media Composer, DaVinci Resolve Software and other great gifts. Proceeds go to the ACE Educational Center and are tax deductible. A creative presentation on DaVinci Resolve will be part of the day’s events. For further information, call +1 818 777 2900 or visit American Cinema Editors. Tickets are available at American Cinema Editors site. Early bird tickets are available until July 21, 2017.

Move Expands Company’s Footprint into Canada as Denny Clairmont Retires Keslow Camera, the largest privately held motion picture camera equipment rental house in North America, announced today that it is acquiring Clairmont Camera and its Vancouver and Toronto operations. The move will more than quadruple Keslow Camera’s anamorphic and vintage lens inventory, and add a substantial range of custom camera equipment to the company’s extensive portfolio. Simultaneously, Clairmont founder Denny Clairmont, one of the industry’s most respected talents in front and behind the camera, announced his retirement. The acquisition is expected to be complete on or before August 4. Company Founder and CEO Robert Keslow said, “This acquisition perfectly aligns with Keslow Camera’s mission – to never stop growing, never stop learning, and never stop improving. The expansion into the two busiest Canadian markets delivers on our clients’ ongoing requests for us to service them in more areas of the world.” Keslow Camera will retain the talented support staff and experienced team of Clairmont’s Vancouver and Toronto facilities, who have been offering professional digital and film cameras, lenses and accessories to the filmmaking community in the region since the 1980s. All operations within California will eventually be consolidated to Keslow Camera’s headquarters in Culver City. Clairmont notes that this deal also serves as his endorsement. “Clairmont Camera is my life’s work and I never stopped searching for innovative ways to serve our clients. I have long respected Robert Keslow and the team at Keslow Camera for their integrity, quality of management, best-in-class customer service, and successful performance. I am confident they are the right company to honor my heritage and founding vision going forward,” says Clairmont. Denny Clairmont, along with his brother, Terry, established one of the world’s most prestigious movie equipment and camera rental companies in 1976. In 2011, Clairmont received the John A. Bonner Medal of Commendation from the Academy of Motion Picture Arts and Sciences (AMPAS), awarded by the Academy Board of Governors upon the recommendation of the Scientific and Technical Awards Committee. The Medal honors outstanding service and dedication in upholding the high standards of the Academy. Clairmont and Ken Robings won a Technical Achievement Award from the Society of Camera Operators (SOC) for the lens perspective system, and Clairmont has won two Emmys from the Academy of Television Arts and Sciences for his role in the development of special lens systems. These innovative solutions will immediately be available to Keslow Camera customers. “We are honored to have earned Denny Clairmont’s trust, and recognize the work and innovation that he and his great team have brought to the industry over the past 70 years,” added Keslow’s Chief Operating Officer Dennis McDonald. “To be able to offer our personalized level of service in more locations, with a wider range of technology to serve the needs of the creative community, we’re poised to elevate the Keslow experience for current and new customers.” For more information, visit www.keslowcamera.com.

Colorlab’s Film Contest Summer Shorts ‘17 will be accepting submissions from 12:00 PM US EST June 29th, 2017 until July 22nd, 2017 11:59 PM US EST. With sponsorship from Kodak, Colorlab is providing a unique opportunity for filmmakers to see their creations shown in beautiful 35mm film in front of a live audience. In addition to the screening, filmmakers will benefit from having their movies printed onto Kodak polyester film stocks, effectively preserving them forever. This year, the festival will have two categories, and two grand prize winners. Applications may enter only one category: COLOR NARRATIVE or BLACK AND WHITE NARRATIVE . One grand prize will be awarded for each category. The grand prizes include a 35mm film-out preservation negative, 35mm soundtrack, 35mm answer print, and a premiere showing at a local Washington DC area theater on Thursday, August 24th, 2017. Entry is 100% free of charge. Submissions must: originate on minimum 4K resolution video, 35mm film, or Super-16mm film. be provided at minimum 4K resolution. be no longer than 20:00 (twenty minutes) in length. be submitted before July 22, 2017 11:59 PM US EST. Applicants should visit www.colorlab.com/shorts for contest rules and entry form. Digital submissions are accepted, and a link (Vimeo, Dropbox, WeTransfer, Aspera, Youtube, Google Drive, etc.) should be emailed with entry form to shorts@colorlab.com. Colorlab, operating in its 45th year of business, is a full-service film preservation laboratory in Rockville, Maryland. They specialize in 16mm and 35mm processing, printing, scanning, preservation, and digital intermediates. FOR MORE INFORMATION : Ben McMurry Executive Director Colorlab bmcmurry@colorlab.com 301-770-2128 x102

The American Society of Cinematographers (ASC) has re-appointed Kees van Oostrum to a second term as president of the organization, based on votes at last night’s Board of Governors meeting. The ASC Board also elected its officers for the 2017-2018 term, 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. “As an organization, we are focused on education, international outreach, diversity and preservation of our heritage,” van Oostrum says. “Over the past year, we expanded our Master Class program internationally to Toronto and China. We launched a Chinese version of American Cinematographer magazine. We are preparing for a third International Cinematography Summit, which sees attendees from several other societies around the world. And our Vision Committee has many initiatives planned after presenting two very successful ‘Day of Inspiration’ events in Los Angeles and New York, which were designed to inspire female cinematographers and crewmembers.” The 2017-2018 ASC Regular Board members include: Paul Cameron, Russell Carpenter, Curtis Clark, Richard Crudo, George Spiro Dibie, Fred Elmes, Victor J. Kemper, Stephen Lighthill, Karl-Walter Lindenlaub, Woody Omens, Robert Primes, Cynthia Pusheck, John Simmons, John Toll, and Amy Vincent. Roberto Schaefer, Dean Cundey, Lowell Peterson, Steven Fierberg, and Stephen Burum are Alternate Board members. Van Oostrum is also the chairman and originator of the renowned ASC Master Classes, which take place several times a year due to sell-out enrollment. Inaugurated in 2013, the Master Classes 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’s ongoing educational programs consist of the Student Heritage Awards, Coffee and Conversation Q&As with cinematographers, panel discussions by the Education and Outreach Committee, Friends of the ASC membership, and several other committee initiatives. Most notable are the award-winning efforts of the ASC Technology Committee, which has proven unique in its ability to shape the standards and practices of cinematography for digital workflows. The Committee works closely with the Academy’s Sci-Tech Council, and is regularly featured in the SMPTE Journal. 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. Currently, he serves as director of photography on The Fosters which airs on Freeform. 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. ASC was founded in 1919. There are 370-plus active members today who have national roots in some 20 countries. There are also 200 associate members from ancillary segments of the industry. For additional information about the ASC, visit www.theasc.com, or join American Cinematographer on Facebook, Twitter (@AmericanCine) and Instagram (@the_asc).

RED Digital Cinema will bring its latest DSMC2 cameras to The Media Production Show, which takes place 13th and 14th June at the Olympia London (West Hall). Attendees will see demonstrations of the RED EPIC-W™ and WEAPON® 8K S35 with HELIUM™ sensor in the RED VIP Experience Lounge. Sessions with filmmakers* will also take place in the RED VIP Experience Lounge. Speakers are expected to include Planet Earth II cameraman Rob Drewett and New Earth Films producer Kevin Augello as well as access to 8K footage from The BRITs and more. To register to attend the sessions or visit the Lounge, go to: http://bit.ly/REDVIPMPS 13 June / 10am-6pm 11:00 am - 11:30 am Media Management and High-Resolution Data Capture on Electric Dreams 2:30 pm - 3:00 pm The BRITs 8K Q&A Showcase & Gallery Drinks 3:00 pm - 3:30 pm Exclusive Q&A with Planet Earth II Cameraman Rob Drewett 3:30 pm - 4:30 pm RED Happy Hour 14th June / 10am-5pm 10:45 am - 11:00 am Zeiss VR lens giveaway 12:00 pm - 12:30 pm Lunch with The Production Guild 3:00 pm - 3:30 pm Exclusive Q&A with Kevin Augello from New Earth Films RED cameras will also be on display with select partners at The Media Production Show, including Cooke Optics (#554), Scan Computers (#214), G-Technology booth (#320), and Zeiss (#504). Those heading over to Zeiss will experience the capture capabilities of 6K alongside the new Cine CP.3 XD lenses. In addition, Scan Computers will demonstrate RED’s intuitive workflow within an advanced workstation. All of RED’s DSMC2 cameras offer incredible dynamic range, shoot simultaneous REDCODE® RAW and Apple ProRes or Avid DNxHD/HR recording, weigh less than 2 kilograms and adhere 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 equipment.

WOODLAND HILLS, CA, (June 1, 2017) – Panavision will reveal advanced new tools for its unprecedented, large-format Millennium DXL 8K camera at their booth in Stage 2 (#S302) at Cine Gear Expo, June 2-3. Demonstrating the evolution of their innovative approach to filmmaking, Panavision will debut a set of fast, wirelessly controlled “Primo Artiste” lenses that cover the full 8K HDR image; the world’s first HDR OLED “Primo” Viewfinder; a new color spectrum filter called “PX-Pro”; and “DXL Control,” an iPhone app for remote camera control. These new technologies support Panavision’s Millennium DXL, which was engineered to offer superior creative control over the entire imaging chain. “The DXL was designed based on feedback from veteran filmmakers who wanted a large format digital system to serve their vision, and these new tools extend that level of innovation,” notes Panavision CEO Kim Snyder. “We are excited that the camera has been met with great enthusiasm for what it offers in terms of creative flexibility and progressive technology at the service of the artist.” Featuring Panavision’s premier large format optics and modular accessories, advanced 8K sensor technology from RED, and unique color science and workflow optimization from Light Iron, the Millennium DXL has been the camera of choice for numerous productions since becoming available in January. “Filmmakers have chosen the camera to shoot major motion pictures, commercials and TV shows,” says Panavision and Light Iron Senior Vice President of Innovation Michael Cioni. “We’ve been listening to filmmakers and developing top-notch capabilities for the camera, as well as fine-tuning what’s next for its ecosystem. These savvy tools continue our solution-focused efforts to deliver the best in class.” The Primo Viewfinder is the industry’s first HDR OLED viewfinder. Designed, engineered and manufactured at Panavision, the Primo Viewfinder offers Panavision optics and proprietary mechanics, an HDR OLED screen, 600-nit brightness, image smoothing, a heater, and custom Panavision glass to limit eye fatigue and make it easier to focus in very bright or dark environments. The viewfinder also boasts a theoretical contrast ratio of 1,000,000:1. In creating the Primo Viewfinder, Panavision has made liberal use of customer feedback. “We have been extremely transparent with our trusted customers and shown them iterations along the way,” explains Cioni. “Their fingerprints go into this camera, because it’s their hands that touch the buttons.” Panavision will be showcasing a prototype of its PX-Pro color spectrum filter, which ushers in a significant increase in color separation and dramatically higher color precision. The filters provide an infrared (IR) and ultraviolet (UV) cut that improves color clarity and reduces noise and IR contamination, which can corrupt or distort digitally captured images. “PX-Pro was custom made for DXL,” says Haluki Sadahiro, director of Panavision Electronics and Product Development. “It has been specially designed to allow for a wider range of precise color that supports all color palettes and flare characterizes of lenses new and old, while reducing many of the optical artifacts we see on digital cinema cameras.” The Primo Artiste lenses, available by the end of 2017, are a full series of T/1.8 Prime lenses, making them the fastest optics available for large format cinematography. The Artiste Series is an evolutionary step in large format optics design, becoming the second series of Panavision lenses to include a fully internalized motor and complete metadata compatibility. The essence of the Artiste concept is an innovative design that takes advantage of the aesthetic flexibility available within large format digital imagers, and the resulting look evokes a quality reminiscent of vintage optics. The series incorporates modern features such as focus breathing control, even field illumination and optimized close focus performance. “The primary goal of the Primo Artiste line is to balance the intricacies of aberration control and the art of lens design to create a lens that produces images that resonate with our instinct to relate to painterly images that are identified by smooth transitions between surrounding objects,” says Panavision VP Optical Engineer and Lens Strategy Dan Sasaki. An added feature of the Primo Artiste series is a true anamorphic glass attachment that retains the spherical nature of the base lens yet induces many of the artifacts associated with anamorphic photography such as directional flares and distorted bokeh. The Artiste lenses will initially come in eleven focal lengths (27mm, 35mm, 40mm, 50mm, 65mm, 80mm, 100mm, 125mm, 150mm, 200mm, and 250mm) with expanded focal lengths available in 2018 New DXL Control software mirrors the camera menu system on the user’s Apple device, allowing wireless camera control. “It’s got all the familiar buttons and displays,” says Cioni, who notes the software is available now with a DXL camera rental, and will be available to download for free from the iTunes store starting June 2. Cine Gear attendees will also see the Millennium DXL in action on three live sets that show different lighting conditions, mounted with the Primo Artiste and the Panavision T Series anamorphic lenses. Also at the booth, Light Iron will have their unique post production solutions on display in a theater via an HDR Video Village Cart showcasing 8K HDR DXL footage. Light Iron representatives will be demonstrating how this system helps cinematographers evaluate their images simultaneously in high dynamic range and standard, or low, dynamic range. Having access to both image specs while in production enables cinematographers to better prepare for post-production color grading, given that distributors are frequently requiring both standard- and high-dynamic range deliverables. Light Iron colorists will also be on hand to discuss the finishing process as well as “Light Iron Color,” which is the custom color science built into the DXL. LEE Filters will be exhibiting their ProGlass Cine range of neutral-density filters. ProGlass Cine filters are designed to meet the exacting needs of all cinematographers — whether shooting digitally or on film. They are remarkably neutral, eliminating infrared pollution and ensuring all colors remain accurate and true. This simplifies workflow, saves time and enables cinematographers to focus on their creative goals. For more information on Panavision, visit www.panavision.com.

RED to Host Panels Featuring Henry Braham, BSC, Dean Devlin and Red Bull Media House Cine Gear attendees can find RED Digital Cinema at booth S301 in Stage 2 of Paramount Studios at Cine Gear Expo 2017 from June 2-3. RED’s visitors can interact with a range of DSMC2™ cameras, including SCARLET-W™, RED EPIC-W™, WEAPON® 8K S35 and WEAPON 8K VV. Additionally, RED will be demonstrating the latest workflow options - covering their new image processing pipeline (IPP2), HDR, and 8K. RED will be joined in their booth by a wide variety of manufacturers of lenses, camera modules and accessories including RT Motion, Kippertie, foolcontrol, and Offhollywood. RED will also take attendees behind the scenes with two panels in Paramount’s Sherry Lansing Theater: June 2 at 12:45pm: Director Nicholas Schrunk and key members of Red Bull Media House’s production team will discuss the making of the feature documentary Blood Road. Blood Road follows the journey of ultra-endurance mountain bike athlete Rebecca Rusch and her Vietnamese riding partner, Huyen Nguyen, as they pedal 1,200 miles along the infamous Ho Chi Minh Trail. Their purpose was to reach the crash site and final resting place of Rusch’s father, a U.S. Air Force pilot shot down over Laos. Panelists will discuss the creative and technical process, and how this incredibly demanding story came together visually. Moderated by Andrew Fish of American Cinematographer. June 3 at 11:45am: Guardians of the Galaxy Vol. 2 director of photography Henry Braham, BSC will talk about filmmakers’ escalating preference for shooting with larger format digital cameras. Braham shot Guardians of the Galaxy Vol. 2 entirely on the RED WEAPON 8K VV. He will be joined by well-known producer, actor, and writer Dean Devlin. Devlin will discuss how new formats are driving an evolution in filmmaking for the big screen and touch on his experience using RED including WEAPON 8K S35. Moderated by Carolyn Giardina of The Hollywood Reporter. All of RED’s cameras offer superior image quality, incredible dynamic range, and simultaneous recording of REDCODE® RAW and Apple ProRes or Avid DNxHR/HD, combined with cutting-edge performance in a compact, lightweight, and modular design. For more information, visit http://www.red.com/cinegear-2017.

The Hollywood Professional Association (HPA®) has opened its Call for Entries in Creative Categories for the 12th annual HPA Awards. These awards are considered standard-bearing honors for groundbreaking work and artistic excellence, recognizing creative artistry in color grading, editing, sound, and visual effects in feature film, television, and commercials. The HPA Awards shine a spotlight on talent, innovation and engineering excellence in the professional media content industry. The 12th annual gala awards presentation will be held on the evening of November 16, 2017 at the Skirball Cultural Center in Los Angeles, California. Entries are now being accepted in the following competitive categories: Outstanding Color Grading - Feature Film Outstanding Color Grading - Television Outstanding Color Grading - Commercial Outstanding Editing - Feature Film Outstanding Editing - Television Outstanding Editing - Commercial Outstanding Sound - Feature Film Outstanding Sound - Television Outstanding Sound - Commercial Outstanding Visual Effects - Feature Film Outstanding Visual Effects - Television Outstanding Visual Effects - Commercial Entries for the Creative Categories will be accepted between May 15 and July 10, 2017, and Early Bird Entries (reduced entry fee for the Creative Categories) will be accepted through June 12, 2017. To be considered eligible, work must have debuted domestically and/or internationally during the eligibility period, September 7, 2016 through September 5, 2017. Entrants do not need to be members of the Hollywood Professional Association or working in the U.S. As announced previously, the Call for Entries remains open for the Engineering Excellence Award, which will be bestowed at the November gala until May 30th, 2017. Additional special honors, including the HPA Lifetime Achievement Award, will be announced in June. Seth Hallen, President of the HPA and a founding member of the HPA Awards Committee, commented, “The HPA Awards have grown into an unmissable evening, bringing the creative community together. The judging is peer driven, so these honors resonate to winners and nominees alike. In the past 12 years, we have judged and honored the most compelling creative work. And, every year, in every category, the submissions are of the highest caliber. I sincerely encourage individuals and companies to enter the HPA Awards. It’s where we show the world the talent, fierce dedication and hard work behind the story. We look forward to another very special event on November 16th." Complete rules, guidelines and entry information for the Creative Categories and all of the HPA Awards are available at: www.hpaawards.net. For a list of the previous years' winners, click here. The HPA Awards are made possible through the generous sponsorship of Foundation Members Avid, Co3, Deluxe, Dolby, EFILM, and Encore; and Platinum Sponsors IMAX and Sohonet. For sponsorship or program advertising opportunities, contact Jeff Victor at jvictor@hpaonline.com or calling 213.614.0860. Opening of ticket sales will be announced shortly.