Sue Smith

IBC 2015, Stand E55, Hall 11 Amsterdam, Netherlands (9 September 2015) - Paralinx today announced Ace, a compact and affordable point-to-point wireless monitoring system that fits perfectly with the run-and-gun nature of today's filmmaking environment. The first glimpse of the all-new Ace will be at the IBC trade show in the Vitec Group booth (11.E55). Ace offers numerous improvements over Paralinx's original Arrow product line, including improved signal robustness and a tougher physical design. The Ace transmitter and receiver units feature a lightweight, rugged enclosure made from ABS plastic and aluminum, and deliver uncompressed HD video over a maximum range of 300 feet (100m). "With Ace, our goal is to provide a professional wireless system that camera operators, focus pullers, and directors can integrate into their setups with the smallest and lightest possible footprint, while keeping the price point accessible," said Greg Smokler, general manager of Paralinx. Shipping this month in either SDI or HDMI models, the Ace transmitter and receiver are both designed to accommodate a wide range of accessories. With threaded inserts built directly into the chassis, the end-user can mount a variety of small battery plates to the unit. Ace SDI systems are priced at US$1799.95 (€1649.95) and HDMI systems are priced at $1299.95 (€1199.95). Additional SDI receivers are US$949.95 (€889.95) and HDMI receivers are US$749.95 (€699.95).

LOS ANGELES (September 8, 2015) - Vitec Videocom's Creative Solutions unit today announced it has opened a showroom in Los Angeles to allow industry professionals hands-on experience with products from Paralinx, SmallHD, and Teradek brands. The focus of this new showroom - dubbed Creative Solutions Los Angeles (CSLA) - will be to outfit, educate, and support customers looking for assistance to configure their rigs and learn more about the ways emerging technology can boost their effectiveness on set. Additionally, the CSLA showroom will feature a wide array of products from the Vitec Group's arsenal of film equipment brands. Trying to configure your camera as a handheld rig providing real-time wireless monitoring while simultaneously streaming to the web? The knowledgeable staff at CSLA is available to show you all the various options and inform you of the best gear for the job. The CSLA showroom is housed in the fully re-designed former Paralinx facility located near the I-5 and 134 freeways, at 5329 West San Fernando Road, Los Angeles, CA 90039. In addition to providing expert advice and support, the CSLA location will host a series of educational workshops focusing on different technical aspects of content creation. "The Paralinx team has always prided itself on being deeply embedded in the LA film production community and this new effort--in coordination with the talented teams at Teradek and SmallHD--affirms our dedication to direct interaction with content creators in the busiest production hub on Earth," said Greg Smokler, Co-Founder of Paralinx and General Manager of CSLA. CSLA will be open 9 a.m. to 5 p.m., from Monday through Friday, and invites all interested industry folk to stop by for a look anytime. All those curious to see which new products are being launched from Paralinx, SmallHD, and Teradek at the IBC trade show in Amsterdam (Sep.11-15) are encouraged to attend a special event at CSLA on September 21st. Contact info@shopcreativesolutions.com for more details.

Pixspan, Inc., the leading company with technology that solves the storage and bandwidth challenges of full-resolution images, today announced a strategic reseller partnership with ALT Systems, Inc., a premier systems provider for the media and entertainment industry. As part of the agreement, ALT Systems will now offer Pixspan’s solutions as a seamless, integrated component of its superior compositing, DI, networking and storage solutions for its customers. The combination of Pixspan and ALT Systems will result in a time- and money-saving workflow element for storage, network, postproduction and visual effects solutions – efficiently and effectively. “We are excited to be partnered with Pixspan and offer this innovative and forward-looking solution,” said Jon Guess, president and owner of ALT Systems. “Pixspan’s software solution will allow our clients to transmit full-resolution images across WAN and LAN connections at ultra-high speeds while also providing significant reductions in the space needed for disk storage and tape archiving.” As file sizes keep growing across the marketplace due to higher resolutions and dynamic range, Pixspan offers software products for significant savings of speed, time and resources. For companies whose missions depend on the storage, network, and transmission of handling full-resolution imaging, Pixspan helps to reduce the data burden and enhance productivity – without compromising image quality. Pixspan has worked with millions of images from multiple industries and achieved 50-80% savings on storage and network transfer. “We are pleased that ALT Systems, with its excellent reputation in building systems for creative finishing, will be offering Pixspan’s products, enabling their customers to experience faster and more efficient collaborative workflows for full-resolution on set and post-production content,” said Michael Rowny, CEO of Pixspan. “ALT Systems has the deep expertise and reach to apply Pixspan products with third party software. What makes this partnership truly special is that ALT Systems has pioneered the marriage of creative software applications together at the customer level to make workflows easier to use.” About Pixspan Pixspan offers unique software products that reduce storage costs and increase transmission speeds of full-resolution media, medical, and surveillance imaging. Its software covers all bit depths and resolutions of EXR, DPX, TIFF, Cineon, and ARRIRaw, while remaining bit exact. Currently, Pixspan is the only company providing a solution that enables full-resolution workflows beginning from camera RAW to image processing, and through to final assets. For more information, visit www.pixspan.com About ALT Systems Founded in 1995, ALT Systems is a full-service systems integrator that delivers products and solutions for compositing, editing, dailies, color correction, data storage, networking, rendering, and archiving. They are the trusted advisor and integrator for names such as: Arsenal FX, CBS, Chainsaw, Deluxe, IMAX, Technicolor, The Mission, and Union Editorial. They provide each customer a unique solution customized to meet their specific need by offering extensive demonstrations and evaluations, straightforward pricing, and flexible financing. Putting the customer first is a core value of the company. www.altsystems.com

Online Training Explores Best Practices in Archiving and Preservation The Association of Moving Image Archivists (AMIA) will unveil a series of online webinars this month, expanding its educational offerings on media preservation, and providing introduction of these important topics to the broader library and archive communities as well as the general public. AMIA Online will launch the first three webinar series in September, and address digital formats and storage, as well as best practices for personal and small audiovisual archives. “In the face of growing need and requests from both our members and the public, AMIA is in a unique position to offer expert-led, relevant education,” said Laura Rooney, Managing Director of AMIA. AMIA’s Online Continuing Education Task Force surveyed the needs of the professional community and those with interest in learning. “These webinars are a direct result of that effort,” added Rooney. “We continue to support professionals in the archive and preservation communities from entry level to veteran practitioner, but also want to open up our expertise to individuals wanting to learn how to protect their own and their family legacy.” The webinars are led by respected experts in the industry from arts, education and media. Developed by professional archivists, the project is led by industry experts Linda Tadic of Digital Bedrock, and Lance Watsky of the Sherman Grinberg Film Library. The first series, an Introduction to Digital Formats and Storage, will include eight, one-and-a-half hour webinars. Topics range from an overview of digital video and audio formats, standards, best practices, storage, workflows and metadata. Instructors are expected to include Professor Barry Lunt from the School of Technology at Brigham Young University; Marcos Sueiro Bal, Senior Archivist at New York Public Radio; Alex Kroh, Digital Archivist at the Walter J. Brown Media Archives and Peabody Awards Collection, University of Georgia; Kate Murray, Library of Congress; Jim Hone, Film & Media Digital Archivist at Washington University in St. Louis; Peter Oleksik, Museum of Modern Art; and Erik Piil, Associate Conservator at The Kramlich Collection / New Art Trust. The second webinar series, Best Practices for Personal Audiovisual Archives, is specifically aimed at families and individuals with audiovisual collections they wish to preserve. It will delve into common media and formats likely to be found in the home, and explore obsolescence and degradation concerns. It will also focus on what hardware and software is useful for performing digitization at home. Nadia Ghasedi, Head of Visual Media Research Lab at Washington University in St. Louis will host the first webinar in this series, and Lauren Sorenson, Digital Asset Manager and Archivist at the Hammer Museum will lead the second session. Series three will look at Best Practices for Small Audiovisual Archives. This series is directed at small institutions with audiovisual collections and limited staff. Ghasedi will address formats found in mixed archival collections, and discuss deterioration challenges being faced in this sector of the industry. Sorensen will address workstation needs and provide guidance on working with vendors for outsourcing digitization. Each session takes place at 11:00 a.m. Pacific time, 1:00 p.m. Central, and 2:00 p.m. Eastern. Participants can enroll in a full series or individual webinars. Fees are $40 per webinar for AMIA members, and $50 per webinar for non-members. Discounts are available. For more information or to register, visit http://www.amiaonline.org.

IBC 2015, Stand E55, Hall 11 CHATSWORTH, Calif. (Sept. 1, 2015) - Litepanels, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, is excited to announce the launch of their new Brick and Brick One Light Kit. Now more robust, the Brick Bi-Color provides the perfect on-camera solution for on-the-go ENG cameramen, especially for those in wet conditions. Building on the legacy of the revolutionary MiniPlus, the new Brick Bi-Color's high CRI and TLCI surface mount LEDs with custom-designed optics provide superior color reproduction that delivers accurate color temperature adjustability. These tightly binned LEDs also produce a light output that is up to four times brighter than the original MiniPlus, resulting in a longer throw that effectively allows the Brick to illuminate a larger area. By having a comparable luminance output of 100W, it offers up to 1060 LUX (98 Footcandles) at 5ft (1.5M) while only drawing 16.5W. The Brick can also adapt to any situation by providing both daylight and tungsten lighting. And with its ultra-smooth dimming from 0-100%, it is not only flicker free at any frame rate or shutter angle, but the Brick also has no noticeable color shift throughout its entire range. Alan Ipakchian, product marketing manager for Litepanels, commented on the advancements behind Brick, "Incorporating the Brick with the latest in LED technology led to extremely positive preliminary feedback. Just like the MiniPlus, the Brick is designed to be a versatile on-camera LED, so I am eager to see what creative uses cameramen find for this product." With an IP 65 rating, the Litepanels Brick offers an innovative passive cooling system and a dust tight design with water protection, providing excellent durability in harsh weather. For ultimate convenience, Litepanels has also included a 3ft (0.9m) Power Tap cable to connect the Brick to cameras that support D-Tap connections. The Brick One Light Kit consists of a half white diffusion gel, a Manfrotto 244 Micro articulating arm, a 6ft (1.8 m) international power supply, a 60° Honeycomb frame, a soft diffusion frame, and a waterproof hard case with custom foam for safe transportation. Optional accessories for the Brick include an Anton/Bauer QRG-LG plate and an Anton/Bauer Power Tap extension. The Brick Bi-Color and Brick One Light Kit is available at the end of October and will be on display with other Litepanels LED lighting products at IBC, booth 11.E55.

IBC 2015, Stand E55, Hall 11 SHELTON, CT (August 31, 2015) - Anton/Bauer, a Vitec Group brand and premier provider of battery and charging technologies for the broadcast, film and video industries, announces its new CINE battery series for digital cinema cameras. The CINE battery series was designed to be the safest and most durable mobile power solution for professional cinematographers. The CINE series delivers 12 amps of continuous power and incorporates Fuse Link technology, which - in the case of a cell anomaly - provides protection to surrounding battery cells, preventing catastrophic damage. The battery line also features multiple sensors to detect temperature and over-current states, ensuring optimal battery performance during regular use. Ideal for camera stabilizer systems and rail-mounted cameras, the CINE battery's durable, industrial design and footprint compliments cine-style cameras, such as the ARRI ALEXA Mini and RED Weapon, and functions on all existing Anton/Bauer chargers. For ultimate convenience, the CINE battery series includes a PowerTap® to power auxiliary accessories such as monitors, lights, wireless receivers, and any other 14V accessory. "The CINE battery series exemplifies Anton/Bauer's dedication to producing the world's safest, smartest, and most reliable power systems for professional cinematographers," said Neal Laneville, Product Manager for Anton/Bauer. "We spent a lot of time taking feedback from our customers and integrating it into the design of the new CINE series. The result is a battery series that combines our ground breaking safety technologies with a completely redesigned chassis built just for cinematographers. It's a bespoke solution for the most demanding professionals." The CINE series also includes an extremely accurate LCD that provides users with run-time information in hours and minutes. When the battery is detached, the LCD screen will display battery life as a percentage of capacity, allowing the user to effortlessly track usage. Coming in September 2015, the CINE series will be available in 90 Wh and 150 Wh in both Gold Mount and V-Mount connectors. A 190 Wh option will be available in 2016. For more information on the CINE battery series, please visit www.antonbauer.com or call +1 (800) 422-3473.

LOS ANGELES (August 17, 2015) - In support of their mission to advance the art of cinematography by inspiring and educating the next generation of filmmakers, the American Society of Cinematographers (ASC) has announced the nominees for the 2015 ASC Gordon Willis Student Heritage Awards. A blue-ribbon panel of ASC members judged the entries and selected 13 students from a talented pool of filmmakers with exceptional abilities in cinematography. The students represent 11 different U.S. film schools; winners will be revealed on September 26. The finalists are as follows. In the Undergraduate category: Nicolas Aguilar Ketchum of Chapman University for RUN Garrett Nicholson of Ithaca College for NIGHTFIRE Sten Olson of Chapman University for DARKSTAR Casey Schendel of Cal State University Northridge (CSUN) for THE DEATH OF COLM CANTER Oren Soffer of New York University for RESERVATIONS West Webb from the University of North Carolina School of the Arts for NO TIP In the Graduate category: Justin Alpern of Chapman University for STRAW DOLLS Paul Cannon of the University of California Los Angeles (UCLA) for AWAKE John Wakayanna Carey of Columbia University School of the Arts for TWO SISTERS Steven Holloway of American University for THE DEFEAT x3 Nico Navia from the American Film Institute (AFI) for AGAINST NIGHT Justin Perkinson of UCLA for RANDOM STOP In the Documentary category, the judges nominated only one finalist, making Rob Scribner of Full Sail the winner for WARBIRD PILOT: BEHIND THE VISOR. The ASC Student Heritage Awards are renamed annually in memory of an extraordinary ASC member. This year it is dedicated to Gordon Willis, the legendary cinematographer of THE GODFATHER trilogy. Over the course of a superlative career, Gordon (who passed away in May of 2014) was awarded an honorary Oscar® in 2009 and also received Academy Award® nominations for his work on ZELIG and THE GODFATHER: PART III. Some of his other ground breaking credits include KLUTE, THE PAPER CHASE, THE PARALLAX VIEW, THE DROWNING POOL, ALL THE PRESIDENT'S MEN, ANNIE HALL, MANHATTAN, STARDUST MEMORIES, PENNIES FROM HEAVEN, BROADWAY DANNY ROSE, PRESUMED INNOCENT and MALICE. He received the ASC Lifetime Achievement Award in 1995. "There can be no doubt that Gordon Willis was one of the two or three greatest cinematographers who ever lived," said ASC President Richard Crudo. "His bold inventiveness changed the way movies looked, and cut the path for everything we've come to accept as outstanding cinematography. These students are only beginning their dance with the art form; there is no better example for them to study as they strive to reach the next level." For additional information about the ASC, visit www.theasc.com, or join American Cinematographer on Facebook.

Kodak and UFVF Honor Students From Singapore, Poland and United States ROCHESTER, NY (August 10, 2015) - Kodak has named five students as award winners in the 2015 KODAK Scholarship Program, a global competition held annually in collaboration with the University Film and Video Program (UFVF). This year, the Program received a record-breaking number of applications, with over 55 film schools from around the world nominating students for the KODAK Student Scholarship and KODAK Student Cinematography Scholarship. Winners received their prizes at the University of Film & Video Association (UFVA) Conference on August 8, at American University in Washington, DC. "Kodak is fervently devoted to the next generation of filmmakers," said Andrew Evenski, president and general manager of Kodak's Entertainment & Commercial Films, "and partnering with the UFVF keeps us closely connected with the institutions teaching these up-and-coming artists. We continually see a tremendous interest from students in producing their projects on film. Many of them grew up shooting digitally, and are now enthusiastic about capturing their images with the magic of celluloid. Creating product grants and scholarships is one way Kodak can help ensure they achieve that opportunity." Award-winning cinematographer John Bailey, ASC led the judging panel, which evaluated entries based on sample reels, faculty recommendations, and academic achievements. The three 2015 KODAK Student Scholarship Program Award winners are: Gold Award ($5,000 tuition scholarship award and $5,000 KODAK Motion Picture product grant) - Max Bessmertnyi from New York University's (NYU) Tisch School of the Arts Asia in Singapore for his film The Tricycle Thief. Silver Award ($4,000 tuition scholarship award and $4,000 KODAK Motion Picture product grant) - Paulina Skibinska from National Film School in Lodz, Poland for Object. Bronze Award ($3,000 tuition scholarship award and $3,000 KODAK Motion Picture product grant) - Matvey Fiks from School of Visual Arts in New York for Babushka. The two 2015 KODAK Student Cinematography Scholarship Award winners are: First Place ($4,000 tuition scholarship award and $5,000 KODAK Motion Picture product grant) - Nicolas Aguilar from Chapman University, California, for his cinematography on Run. Award of Merit ($1,000 tuition scholarship award and $3,000 KODAK Motion Picture product grant) - Ziryab Ben Brahem from San Diego State University, California, with Wake. With a mutual passion for education, Kodak collaborates with the UFVF to ensure this program is possible. The UFVF is a not-for-profit organization that engages in and promotes worldwide education, research, innovation, and charitable activities in the arts and sciences of moving images and aural communication. "We are honored to recognize the work of these talented filmmakers, and delighted to put film into their hands and see where they take us," added Evenski. "With studio agreements in place and the recent launch of several Kodak programs to support every budget, artists - from students to award-winning filmmakers - can confidently choose film to fulfill their vision." For more information, visit www.kodak.com/go/education.

LONDON (July 8, 2015) - Vitec Videocom, the Broadcast Division of the Vitec Group, has announced a distribution agreement with 1SourceVideo, an American distributor of film production equipment. The arrangement includes world-renowned brands Anton/Bauer, Litepanels, Sachtler, OConnor, and Vinten, market leaders in mobile power systems, LED lighting fixtures, and camera supports. Paul Weiser, VP of Sales-Americas for Vitec Videocom, commented on the partnership, "We're very excited about the increased availability of our products nationally and the complementary advantage they will have with 1SourceVideo's portfolio of popular brands such as Blackmagic Design." The new alignment increases circulation of certain Vitec brand products in the United States and gives smaller resellers access to 1SourceVideo's East and West coast inventory. Ultimately, the arrangement provides faster and better service to all channels, especially order fulfillment. Direct dealers of Vitec brands will also receive increased access to support and services. For more information, please visit: http://1sourcevideo.com/

WOODLAND HILLS, Calif. (June 26, 2015) - Panavision, the entertainment industry's most respected designer, manufacturer and provider of state-of-the-art cinema lenses and high-precision camera systems, today announced the recapitalization of the company. With the recapitalization, Panavision's senior lenders unanimously agreed to convert a majority of the company's long term debt into common stock of the company. This major reduction in Panavision's debt enhances its capital structure and enables the company to explore growth opportunities. "This transaction is very positive news for the company and gives Panavision more fiscal flexibility for the future," said Panavision CEO and President Kim Snyder. "We now have a very healthy balance sheet, allowing us to accelerate our investment in equipment, technology and resources and further focus our efforts on meeting the needs and expectations of our customers." Panavision has recently extended its industry reach into the post production realm with the acquisition of Light Iron, a leader in digital workflow solutions. The recapitalization was a private transaction that was formally completed on June 12, 2015. Panavision's major shareholders have not changed, and the company's Board of Directors and executive leadership team led by Snyder remain committed to the long term growth and success of the company. # About Panavision Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, including both film and digital cameras, and lenses and accessories for the motion picture and television industries. Renowned for its world-wide service and support, Panavision systems are rented through its domestic and internationally owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions. For more information, visit www.Panavision.com, or join the company on Instagram (panavisionofficial), Twitter (@Panavision), Facebook, LinkedIn, Vimeo, and YouTube.

See Test Footage Shot and Projected in Ultra Panavision 70 WOODLAND HILLS, Calif. (June 3, 2015) - Panavision will showcase test footage from Quentin Tarantino's The Hateful Eight, shot by Robert Richardson, ASC in Ultra Panavision 70 at Cine Gear Expo on Saturday, June 6, at 11:30 a.m. The footage will be projected in 70 mm anamorphic film at the Paramount Theater. Giving attendees a look behind the scenes of this highly anticipated Western will be Dan Sasaki, Panavision's VP of Optical Engineering, who will explain the adaptations and innovations required to shoot in Ultra Panavision 70 in 2015. Journalist David Heuring will moderate the discussion. The Hateful Eight is the first production since 1966 (Khartoum) to shoot in Ultra Panavision 70. The anamorphic format is captured on 65mm negative and delivers a stunning and subtly beautiful 2.7:1 (roughly) image that is sharp but not clinical, with painterly bokeh and immersive depth. Panavision collaborated with The Hateful Eight creative team to make sure the lenses and cameras would accommodate their rigorous shooting schedule in Telluride, Colorado. The original tests being shown at Cine Gear are what helped to solidify the decision to produce the entire movie in a large screen format. Attendees are also invited to stop by the Panavision/Light Iron booth located in Stage 32 (#S311).

Stop By to Shoot Film and Enter to Win Super 8 Production Package LOS ANGELES, June 2, 2015 - Kodak will celebrate the 50th birthday of the Super 8 format at Cine Gear Expo, which takes place June 5-6 on the Paramount Lot in Hollywood. Activities in Kodak's area (#XO 102) include Stop By Shoot Film sessions with Pro8mm, a preview of the new Logmar Super 8 camera, and an opportunity to win a Super 8 production package. To highlight the weekend's festivities, registered Cine Gear Expo attendees can stop by Kodak's Airstream to get a hands-on opportunity to shoot Super 8 film for free. Kodak and Pro8mm will host four Stop By Shoot Film workshops, beginning Friday, June 5 at 5:45 p.m. and continuing on Saturday, June 6 at 12:00 a.m., 1:30 p.m. and 3:00 p.m. Signups will be taken at the Kodak booth (#XO 102) on a first-come basis. Stop By Shoot Film sessions are designed to provide hands-on opportunities to use motion picture film. Participants receive basic training and a roll of KODAK Super 8 film, which will be processed and scanned to HD in Pro Res by Pro8mm. (Note: photo ID required to check out the camera). Cine Gear attendees have the opportunity to win a valuable Super 8 production package, which includes over $200 worth of Super 8 film from Kodak, and $500 in services from Pro8mm. The highly anticipated Logmar Super 8 camera will be on display in Kodak's area. Made for professionals, the new camera will be exclusively distributed by Pro8mm, and features an electronic viewfinder, WiFi remote control, audio recording, and much more. "Super 8 has stood the test of time," said Andrew Evenski, president and general manager of Kodak's Entertainment & Commercial Films. "It is the first love and experience for so many filmmakers, from first time users to Oscar® winners. Super8 has launched careers, captured life's most important moments, and preserved art for five decades. These are the same reasons Super 8mm endures today, and will remain a strong format of choice in the future." Filmmakers who are interested in producing their next project on film are encouraged to come by the booth and learn more about the support Kodak can offer. Evenski noted, "Film isn't just for the studio's tentpole productions. It has always been a big part of the independent and emerging filmmaking community. We want it to stay that way and are here to work with filmmakers to make shooting on film a reality."

Revamped Interface Offers Enhanced User Experience; Now Available on Android and Windows WOODLAND HILLS, Calif. (May 28, 2015) - Panavision has released a new and groundbreaking version of its popular PANASCOUT application. Adopted by industry professionals as an essential creative tool during preproduction, PANASCOUT was the first application to allow capturing and sharing of images encoded with the crucial metadata needed on location scouts. PANASCOUT is available for free on all mobile devices running iOS, Android and Windows platforms. A wide range of intuitive functions and a redesigned user interface make it even easier to record and share images and information with the entire creative team. PANASCOUT now offers video capture in PANAFRAME, a framing overlay that displays a choice of aspect ratios from true widescreen 2.40 (Anamorphic), to 1.85 (Super 35mm), 1.78 (16:9 HD), and 1.33 (4:3) and custom. Metadata automatically incorporates date/time, file name, focal length, aspect ratio, and any notes added by the user, which can be saved to a folder or the device's library. A "Map it" button allows photos to be plotted on a map identifying the exact location where they were taken. Additionally, by clicking the "P" button, users can find contact information for the closest Panavision office anywhere in the world. Additional features available via in-app purchases include: Video capture - now with PANAFRAME overlay and metadata Folder management - organize, rename and sort photos/videos Customization tools - create custom aspect ratios and control the transparency of the masking bars Additional image data - add GPS coordinates, compass direction, and sunrise/sunset to image metadata Sharing capabilities - send images and videos direct to Dropbox, YouTube, Tumblr or email Zoom and Prime lens controls - options for previewing with Zoom and Prime lenses, which includes a focal length display in the 35mm film format equivalent. Built in functionality automatically identifies each device camera and then converts the focal length to display the equivalent of the 35mm film format Audio notes -- add voice notes to photos, or text notes or tags to photos and videos For more information, visit www.panascout.com.

Venerable Brand Unveils Lightweight Support Crafted Specifically for Digital Cinema Cameras BURBANK, Calif. (May 27, 2015) - OConnor, a Vitec Group brand and premier provider of fluid heads, tripods and camera accessories for film and television production, has announced the release of its new 2560 Ultimate Fluid Head. The latest addition to the company's successful Ultimate range of fluid heads, the 2560 is ideally suited to the configurations of today's camera set ups. Specifically engineered to support fully accessorized smaller cameras in studio configuration, the lightweight fluid head has the flexibility to be used with many of the film cameras and large-sensor digital offerings available currently available or releasing soon. Crafted for "cine-style" shooting, the new head design delivers cinema standard positioning of controls, including brakes and rosettes, for easy and intuitive use. The 2560 fluid head also includes OConnor's patented sinusoidal counterbalance system for true, accurate balance at any point in the tilt range. In combination with the company's stepless, ultra-smooth pan & tilt fluid drag, the 2560 delivers the control and stability that have been characteristic of OConnor for over 60 years. "Whatever camera configuration our users need to support, whether digital or film, the Ultimate 2560 will accommodate them without compromising on performance," said Steven Turner, Product Manager for OConnor. "Offering many of the same features as our flagship 2575D head, the 2560 provides the quality and reliability synonymous with OConnor in a lighter weight, smaller form factor. Whether you're looking to support an increasing number of accessories, gain more flexibility and mobility in the field, or future-proof your camera support system, the 2560 delivers a perfectly balanced solution for digital cinema shooters." The Ultimate 2560 fluid head is housed in lightweight magnesium, ensuring a best-in-class performance and a superlative power to weight ratio. Weighing less than 18 pounds, the 2560 is capable of supporting camera payloads up to 66 pounds at a 6-inch center of gravity above the platform. In addition, each head comes with a carbon fiber cover for improved stiffness and maximum durability in extreme conditions. "The new 2560 offers the same solid feeling and form factor I'm used to from OConnor, but in a much lighter weight package," says David Mahlmann, SOC, who recently used the 2560 on an indie film shoot. "This makes for faster and easier setups for the camera and grip departments, allowing us to take full advantage of today's lighter weight cameras." As camera technology continues to evolve rapidly, OConnor's newest fluid head is one of several products the company is introducing to meet the shifting needs of cinematographers and operators. "All of OConnor's products are engineered to meet the demands of today's challenging camera work, and now, more than ever, flexibility means everything," added Turner. "The Ultimate 2560, with its high latitude of range and infinite, accurate balance and drag, is the very definition of versatile." The Ultimate 2560 Fluid Head will be available worldwide in June. The suggested list price will be $13,750. For more information, visit OConnor at www.ocon.com.

Gear Helps Camera Department's Smooth Production NEW YORK (April 29, 2015) - Cinematographers Eric Moynier and Michael Caracciolo shoot NBC's hit series, The Blacklist, with support from Anton/Bauer batteries, Litepanels fixtures, and OConnor fluid heads. Mostly shot on location - including Manhattan, the outer boroughs, Long Island, New York's Rockland and Westchester counties and the stages of Chelsea Piers - the show's dramatic storytelling is a perfect match for the tools. The Blacklist stars James Spader as ex-government agent Raymond "Red" Reddington, one of the FBI's Most Wanted fugitives, who comes to work with the FBI to identify a "blacklist" of politicians, mobsters, spies and international terrorists. Moynier and Caracciolo are joined on the set by A camera operator Tom Weston, B camera operator Saade Mustafa, and a third rotating operator. They deploy three Sony PMW-F55 CineAlta 4K digital cinema cameras on an average day, but as many as six cameras are sometimes rolling. They're outfitted with Panavision Primo prime lenses and zooms, and Angenieux Optimo zooms. Moynier estimates that OConnor 2575 fluid heads, rented from Panavision New York, are used 80 to 90 percent of the time. "OConnor has always been my workhorse; it's my go-to fluid head," says Moynier, who has been a fan for the last 20 years. "I love the feel of the 2575. It's like I'm holding the story in my hands. It's not a mechanical device - more of an emotional way to operate. Operating with a fluid head is very different from wheels. It's more personal, more organic. I operate with very high tensions so when I stop pushing, the camera stops in its tracks." Weston is also a longtime 2575 user. "It's a terrific all-around head that's been reliable for years, and a standard of the industry," he adds. "The 2575 is robust but smooth and responds well to a soft touch. It has a great counterbalance, and I can point it straight up or straight down." He also gives kudos to the "strong locking system," a must when cameras are loaded with accessories. "When I put an 11:1 Panavision lens on the lighter Sony F55, then load it up with Preston (camera and lens control), MDR (cable), batteries, two monitors and an eyepiece, it becomes a very heavy and long camera. But if I want to do an extreme tilt, I know the head's locking system will hold it all in place." Weston notes that the 2575 even performs well in the arctic temperatures that New York City experienced this winter. "We shot in 15-degree (Fahrenheit) weather and the lenses can become difficult to focus and zoom sometimes. But we've never had a problem with the OConnor fluid heads," he says. Litepanels 1x1 panels are used extensively on the series, too. "They're small, slim and unobtrusive, so they can be hidden and tucked away on sets," says Moynier. "And you can adjust their intensity." "I love them and use them every day," says gaffer Michael Price. "They're quick to hang as backlights, with no cables; I can add them as last-minute key lights. I even use them off camera to light a dark staircase, or I'll put one on a stand when an actor needs a little work light to study the script." Price likes how he can "change the color temperature of the Litepanels from tungsten to daylight simply by spinning the dial. And they're fully dimmable, too." He powers the Litepanels, rented from ARRI New York, with six Anton/Bauer DIONIC HC batteries, which he values for their long charge life. "We shoot a lot of long scenes, and I never have to change batteries," he says. Anton/Bauer lithium-ion batteries also power the F55 cameras. "We use the DIONIC HCs with real-time display as a source of power in conjunction with our Panavision block batteries," says Hollis Meminger, A camera 1st assistant on the show. "They are extremely useful and carry a decent weight distribution when we are handheld or going extremely low profile inside car rigs, or for helicopter and airplane sequences." He adds that the Anton/Bauer batteries are used "on everything from our monitors to wireless video systems, as well as with our camera stabilization system. The batteries have proven to be extremely reliable and very useful for such a high-impact show as The Blacklist." The popular crime drama's second season is currently airing, and NBC has renewed The Blacklist for a third year. # [Editor's Note: Photos available for download here: https://app.box.com/s/yfei1tjke4dj0xk6y23nf8ugkf6xj736]

BURY ST EDMUNDS, UK (April 10, 2015) - Vitec Videocom has made an exclusive sales and distribution agreement with German company FoMa Systems to market and sell their Maxima SMX gimbals to the global broadcast and cinematography markets. The Maxima SMX gimbals add a high-end active stabilization solution to Videocom's existing range of camera supports and the Artemis camera stabilizer systems. The first initial product in the range will be the Maxima SMX30 which is ideal for use with full size digital cine cameras with prime or compact zoom lenses and 2/3" sensor broadcast cameras. Matt Danilowitz, CEO of Vitec Videocom says: "The innovation behind the FoMa product and their diverse professional expertise is outstanding. We are pleased to be involved in a process of developing new, groundbreaking products that will enable our creative customers to achieve shots that have never been possible before. The SMX30 is an excellent addition to our camera supports product range and we are delighted to have agreed this partnership." Rainer Maertin, CEO of FoMa says: "The distribution agreement with Vitec Videocom provides our unique gimbal technology a global access to the film and broadcast market. It also gives us the opportunity to drive our technology even further, in conjunction with Videocom's R&D efforts. We've already seen the first exciting outcome of this new partnership with the integration of our gimbals and the Artemis stabilizer system." The Maxima SMX30 will be available through Vitec Videocom from the beginning of June 2015, listing at $17,950 / € 15.850.

Next Generation ASTRA 1x1 Series Also Expands with New Models CHATSWORTH, Calif., (April 9, 2015 )--Litepanels® , a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the launch of several new additions to their highly acclaimed ASTRA line of LED panels. The expanded lineup now includes the ASTRA 1x1 EP series, the ASTRA 1x1 E series, and two additional models in the ASTRA 1x1 series, which debuted last year. Building on the legacy of the company's original, trailblazing 1x1 fixture, the ASTRAs set a new standard for the form and function of professional LED panels. ASTRA 1x1 EP Series: Ideally suited for independent and field production, the ASTRA 1x1 EP panels offer a light output that is two times brighter than the company's legacy 1x1 fixture. Featuring the Litepanels tradition of a one square foot form factor, the LED panels offer high CRI (Color Rendering Index). The new ASTRA 1x1 EP series includes both Daylight and tunable Bi-Color models. ASTRA 1x1 E Series: The ASTRA 1x1 E series offers entry-level access to Litepanels' state-of-the-art LED panels. Every design element has been meticulously crafted to deliver the form and function needed for the independent content creator. The new ASTRA 1x1 E series also includes Daylight and tunable Bi-Color models, and offers a light output that is comparable to earlier LED panels. With high CRI and a traditional form factor, the new series provides efficiency and versatility at an affordable price point. ASTRA 1x1 Series: To better complement studio operations, the ASTRA 1x1 series has been expanded to include ASTRA 1x1 Daylight and ASTRA 1x1 Tungsten fixtures. Joining the ASTRA 1x1 Bi-Color panel, these fixtures offer a light output that is four times brighter than Litepanels' original 1x1. For studio installations, a full lineup of accessories is available. In addition to studio use, the intensity levels in these battery-powered fixtures make the ASTRA 1x1s ideal for location shooting, especially in direct sunlight. "The response the filmmaking community had to the launch of the ASTRA 1x1 Bi-Color panel last year exceeded our expectations," said Alan Ipakchian, product marketing manager for Litepanels. "The time, effort, research and development put into the ASTRA has produced a panel that once again revolutionizes the use of LED fixtures for the creation of professional content. We've created expansions to the line that offer a variety of intensity levels and price points, making the ASTRA available to everyone. Whatever your requirement, Litepanels has the perfect fixture to fit your needs and budget. And with the modular approach we've taken, your gear, accessories and lighting style can grow with you." All of the ASTRA panels are designed with select premium quality surface mount LEDs that are paired with custom designed TIR (total internal reflection) optics. Both the new 1x1 EP and 1x1 E series offer a Bi-Color fixture, allowing users to adjust color from daylight to tungsten as needed. An internal microprocessor monitors the temperature and delivers smooth dimming from 100 percent to zero with no noticeable color shift, as well as ensuring a completely flicker-free performance at any frame rate or shutter angle. "At Litepanels, we're always striving to deliver for filmmakers," noted Ipakchian. "With the introduction of the new ASTRAs, Litepanels is bringing the most advanced LED technology available to content creators in all segments of the industry. Once people get their hands on these panels - which are sturdy, high-output fixtures packaged in a lightweight, flexible form factor - they're not going to want to light without them." The new ASTRA series employ a modern, modular design. The manual controls are ergonomically designed to allow for ease of use in the field, ensuring easy identification and manipulation of dimming controls, color controls, and power status. The panels are all produced with aluminum I-beam core construction to provide maximum durability and superior thermal management, and also feature strong, integrated aluminum accessory mounting points and lens/filter rails. All ASTRA fixtures offer an extensive list of features, including a curved yoke design with a wide tilt range, dual integrated cable guides, and a combination yoke mounted power supply with a 3-pin XLR locking power connector and optional Gold Mount® or V-Mount battery plates. The yoke also features a removable TVMP connector and additional 1/4-20 mounting points. The ASTRA 1x1, ASTRA 1x1 EP and ASTRA 1x1 E series have taken the place of Litepanels' original 1x1 panels, introduced almost a decade ago, and are now available worldwide. The ASTRA family of products was specifically crafted to meet the needs and price points of users in every sector of the market. The ASTRA EP series starts at $900 (£558), while the ASTRA 1x1 E Daylight is available at the low list price of $665 (£412). The ASTRA 1x1 Bi-Color panel has a list price of $1,500 (£930). For more detailed sales information, please visit http://store.litepanels.com/. More information on Litepanels can be found at www.litepanels.com or follow us on Facebook.

Lightweight Kit Featuring New LED Fresnels Delivers for Mobile Users CHATSWORTH, Calif. (April 8, 2015) - Litepanels®, a Vitec Group brand and premier provider of LED lighting for the broadcast and production industries, has announced the debut of its new Caliber 3-Light KitTM. Ideal for webcasting, blogging and professional content creation the Caliber 3-Light Kit is designed specifically to provide the portable, out-of-the-box lighting solution that today's professional videographers require. The latest addition to Litepanels' award-winning line of LED Fresnels, the Caliber is a true Fresnel fixture with wide focus range that can be powered via AC or with AA batteries. The daylight-balanced LED offers the controllability and light-shaping properties inherent in a Fresnel light at a fraction of the power draw of conventional fixtures. Flicker-free at any frame rate or shutter angle, the Caliber Fresnel offers ultra-smooth dimming from 100 percent to zero, with no noticeable color shift throughout the entire range. With professional accessories like a color frame, correction filters and a 4-way barndoor, the LED Caliber brings the functionality of large Fresnels into a small size factor. The dimmable light provides a 1/4-20 post for direct mounting using common hardware. The fixture's compact size, high intensity output and portability make the Caliber 3-Light Kit a valuable production tool in the field. Litepanels' compact Caliber 3-Light Kit has been carefully crafted to enable ease of travel and a fast setup. Weighing in at less than 13 pounds (six kilograms), each kit contains three Caliber fixtures and AC Adapters with international plug sets. Also included are three multi-jointed flexible tripods, allowing the lights to be fixed in a number of positions, and a compact stand with stand adapter, offering additional placement options. The Caliber 3-Light Kit's contents are all packaged in a fully customizable soft case, with additional storage space provided for batteries, camera lenses and other items. Cinematographer Lan Bui recently served as a beta tester for the new Caliber Kit. "I'm often stuck in very hard situations with limited power choices, so having a standardized battery power option built right into the lights is a key feature for me," noted Bui. "Being able to set up the lights anywhere without running cables or worrying about location power is an incredible convenience. Using only the AA batteries, I'm able to use the lights to compliment the shot I'm composing." Bui added, "The Caliber lights have a surprisingly bright output for their size and power sources. The quality of light, coupled with the ability to focus the light down and use the provided barndoors, makes these fixtures a 'must have' on any travel or run-and-gun location shoot. I don't see how I'll ever go out on a shoot without the Caliber Kit again. " Caliber 3-Light Kit includes: Three Caliber Fresnels Fixtures (Beam Angle: 15° to 73°) Three Multi-Jointed Flexible Tripods Three Gel Sets and Color Frames Three 4-Way Barndoors One Compact Light Stand One Stand Adapter with Ball Head Three International Power Supplies One Soft Case with Customizable Interior Compartments "The Caliber is a game changer for professional shooters," said Alan Ipakchian, product marketing manager for Litepanels. "Our customers in this space have been requesting a Fresnel kit with high-production value at an affordable price, and the Caliber delivers for them. It's a true Fresnel fixture that produces soft, directional illumination, yet has a very low power draw. Its light weight means that it can run anywhere light is needed. We've also packaged it in a completely functional kit that is designed with an eye to future expandability." The new Litepanels kit delivers a portable, flexible and accessibly priced solution for content creators on the go. The Caliber 3-Light Kit is listed at $995 (£617) and is a great, low-cost investment for any professional looking to work more efficiently. For more detailed sales information, please visit http://store.litepanels.com/. More information on Litepanels can be found at www.litepanels.com or follow us on Facebook.

NAB 2015, Booth #C6025 Universal Hand-Held Support Rig Offers Flexibility Needed for Accessorized Digital Cinematography BURBANK, Calif. (April 6, 2015) - OConnor, a Vitec Group brand and premier provider of fluid heads, tripods and camera accessories for film and television production, will unveil its new O-Rig 15mm Rod Support System at NAB 2015. The versatile, hand-held support rig is perfectly suited to the a la carte configurations of today's accessorized digital cinematography. The O-Rig is designed to work with any camera/lens combination in 15mm LWS (Light Weight Support) configuration, including the latest offerings from Sony, Canon, Nikon, ARRI, AJA, JVC, Panasonic, Vision Research and RED. OConnor will showcase the newest addition to its award-winning lineup of camera supports and accessories at their NAB exhibit (Booth #C6025) in Las Vegas, which runs April 13-16. OConnor's O-Rig is camera and lens agnostic, providing cinematographers maximum flexibility. Its new, proprietary universal baseplate enables quick and easy camera and lens changes. A height adaptor offers cover for all camera bodies, providing rotation of wide-angle filters, and increasing the lens coverage of OConnor's O-Focus follow focus unit. Uniquely crafted to deliver superior ergonomic performance, the O-Rig also allows users to effortlessly move from shoulder mount to tripod and back again. "Whether our users need to bolt an increasing amount of equipment to their camera or they're looking to maximize their rig for as many configurations as possible, the O-Rig can support them," said Steven Turner, Product Manager for OConnor. "All of OConnor's products are engineered to meet the demands of today's challenging camera work, and now, more than ever, flexibility is key. We believe cinematographers, operators, and rental facilities will be pleased to have such a robust and durable solution from a trusted brand." The O-Rig system is housed in a robust Storm Case, fitted with custom-cut, high-density foam. Each kit includes: an award-winning O-Grips handgrip system; an infinitely adjustable offset adaptor, which allows users to easily reposition camera viewfinders and provides comfort adjustments for shoulder pads; and a shoulder pad with hand-stitched leather construction and aluminum detailing, giving versatile positioning of rods through pad for optimizing counterweight, camera balancing, and body ergonomics. Individual elements within the O-Rig kit will also be available, and are compatible with other 15mm LWS accessories. While the new O-Rig system delivers robust quality and ease of use, it was also designed with an eye towards the future. "The O-Rig is the definition of future proofing," added Turner. "As camera technology continues to evolve rapidly, cinematographers and operators cannot be locked in. They need adaptable solutions that allow them to change and grow, and the O-Rig delivers that versatility without comprising performance." The O-Rig 15mm Rod Support System will be available worldwide in May. Customized shoulder rig packages, designed to support specific cameras, can be assembled upon request. For more information, visit OConnor at www.ocon.com.

NAB 2015, Booth #C6025 Advanced Battery Safety Technology and Asset Tracking for the Digital Age Added to Latest Releases of Revolutionary Series SHELTON, CT (March 25, 2015) - Anton/Bauer®, a Vitec Group brand and premier provider of battery, charging and monitoring technologies for the broadcast, film and video industries, will be showcasing important new additions to its Digital Battery and Performance Charger Series at NAB 2015. Anton/Bauer's ground-breaking Digital Battery Series, first introduced at NAB 2014, redefines the power standard for a new generation of cameras and auxiliary equipment, while the Performance Charger Series exceeds the high-efficiency standards required by today's rigorous shooting schedules. Anton/Bauer's latest innovations in battery safety technology and cloud-based asset tracking will be demonstrated at their exhibit (booth #C6025) at NAB 2015 in Las Vegas, which runs April 13-16. With production safety at the forefront of the industry's agenda, Anton/Bauer has updated its Digital Battery Series with Fuse Link technology, a new connection technology that vendors developed as a result of Tesla Motors' research efforts. Fuse Link technology provides an added protection circuit within each cell pack, prohibiting damage to adjoining cells if a single cell is affected for any reason by severe impact, puncture or thermal runaway. "The safety of our users is the top priority at Anton/Bauer," says Neal Laneville, Product Manager of Mobile Power for the company. "Our Lithium-Ion Digital Batteries are the safest on the market, and they've undergone a rigorous process of research, design and testing to achieve it. We felt the developments in Fuse Link technology were significant enough to include in our design. If there's any incident with one of the cells, Fuse Link reacts like a giant fuse, isolating that single cell from the rest of the pack. We constantly strive to incorporate the latest technology into our batteries so our customers can handle them without any concern for their own safety or that of their team." Anton/Bauer will also be previewing their new Asset Management System (AMS) at NAB 2015. Heralding a new era of digital asset tracking, the cloud-based AMS is a game changer in the area of fleet management. "The cumbersome tasks associated with battery fleet management will soon be a thing of the past," notes Laneville. "Rental houses, broadcast studios, and news affiliates will be able to track the status of their batteries right from their computers." With Anton/Bauer's AMS, an asset's essential information, including remaining run-time, temperature, voltage, and present capacity, will be just a click away. When an Anton/Bauer battery is placed on a Wi-Fi enabled Performance Charger, the AMS will automatically upload its information to a secure, cloud-based server. All pertinent data required for tracking and performance analysis will be available with a simple user log-in and password. "We're looking forward to demonstrating the important features we've added to our Digital Battery and Performance Charger series at NAB," concludes Laneville. "Safety is obviously of the utmost concern, and increased efficiencies are vital to our customers. There are huge developments continuing in Lithium-Ion technology, and we're looking forward to delivering all of those benefits to our customers." The Digital Battery Series includes three battery sizes (90 Wh, 150 Wh, and 190 Wh), all with Anton/Bauer's high-quality cells that deliver a long performance life. The Digital Battery and Performance Charger Series are now available in both Anton/Bauer's signature Gold Mount® and in V-Mount. Anton/Bauer's Asset Management System will be available to the marketplace as a tier-based subscription in the third quarter of 2015. For more information, visit www.antonbauer.com or call (800) 422-3473.

The Company's new organization charts the course for the future LONDON - Vitec Videocom, known for its world-class video brands, is evolving its structure: to put the tools and technologies developed for professional broadcasters and cinematographers into the hands of a growing community of independent content creators. The company's push to democratize some of its high-end technology will be supported by a new management team and organizational structure. "Every now and then we take a good hard look at where the video industry is going and how we fit in that picture," said Matt Danilowicz, CEO of Vitec Videocom. "The DSLR video revolution and the explosive growth of live Internet streaming has demonstrated that there is a whole new generation of filmmakers seeking new, affordable technologies that will help them create captivating content for new platforms. Videocom's new management structure helps align us with this new movement so that we can continue to innovate for both the professional video crowd and for this new wave of media producers." Vitec Videocom's latest acquisitions are a testament to its desire to democratize cutting-edge technology. Teradek, SmallHD, and Paralinx, all part of the Division's new Creative Solutions business unit, are well-known as trailblazers, offering high-level technologies at price points that independent content creators can afford. Some of Videocom's other premium brands, such as Litepanels and Anton/Bauer, have also embarked on this path, with the former developing new cost-effective run-and-gun lighting kits and the latter integrating leading-edge battery technology into a new line of affordable broadcast and cinema products. "Vitec Videocom is unique in that it combines legendary brands that have been around for decades with young upstarts that grew out of this new generation of media creators," said Danilowicz. "Like our brands, I have put together a management team that has years of video industry experience, but also the pioneering spirit of entrepreneurs. This new structure will help us continue to equip and inspire videographers far into the future, with the same commitment we bring every day to the world's largest broadcasters, film studios and production companies." The Division's new structure will be split into three core business units, capitalizing on brand synergies: Graham Sharp, a former senior executive at Avid, Grass Valley, and MAC Consulting, will run the Production Equipment unit, representing the company's core product brands such as Anton/Bauer, Autocue, Autoscript, Litepanels, OConnor, Sachtler, Vinten, and Vinten Radamec. Halid Hatic, founder of Curious Software and former executive at Avid and VizRt, will lead Production Services, which includes Bexel, Camera Corps, SIS, The Camera Store, and Autoscript/Autocue Hire. Nicol Verheem, a former GE engineer and founder of Teradek, will head Creative Solutions, which consists of Teradek, SmallHD, and Paralinx. Martin Vann, who recently joined Vitec Videocom, will oversee global sales and marketing for the Division. He brings with him significant sales and marketing leadership experience from such companies as Autodesk and Avid, where he held multiple executive leadership positions. About Vitec Videocom Vitec Videocom, the Broadcast Division of The Vitec Group plc, has some of the most respected, innovative and sought-after brands in the industry: Anton/Bauer, Autocue, Autoscript, Bexel, Camera Corps, Litepanels, OConnor, Sachtler, SmallHD, Teradek, Paralinx, The Camera Store, Vinten and Vinten Radamec. It acts as an endorsing brand for these market-leading broadcast, film and pro video products, encouraging multi-brand system sales and simplifying the way that customers worldwide do business. Vitec is a global provider of premium branded products and services to the Broadcast and Photographic markets. Vitec is based on strong, well-known, premium brands on which its customers worldwide rely. Vitec Videocom - advancing the quality and science of media production. # # # Media Contact: ignite strategic communications +1.818.980.3473 Chris Purse, chris@ignite.bz

Renowned Cinematographer John Bailey to Judge Competition ROCHESTER, NY (March 19, 2015) - As part of Kodak's ongoing commitment to the next generation of filmmakers, the company has issued its annual call for entries in the 2015 KODAK Scholarship Program. This international program is designed to encourage and foster new talent by honoring student filmmakers who demonstrate exemplary filmmaking skills and creativity at the undergraduate and graduate levels. Three Student Scholarship Awards and two Student Cinematography Scholarship Awards will be granted. The deadline for submissions is May 15. John Bailey, ASC, a distinguished cinematographer who has advanced the art of cinema, will lead a panel of judges to assess the entries based on sample reels, faculty recommendations, and academic achievements. This is Bailey's fourth consecutive year as a judge. In addition to receiving the Lifetime Achievement Award from his peers in the American Society of Cinematographers (ASC) this year, his long list of credits include American Gigolo, Ordinary People, The Big Chill, The Accidental Tourist, Groundhog Day, As Good as it Gets, Incident at Loch Ness, Big Miracle, The Way Way Back, and A Walk in the Woods, among many others. He also writes a blog for the ASC - John's Bailiwick - on a range of topics that affect the art and craft of filmmaking. Accredited film schools around the world may nominate up to two students for consideration for the KODAK Student Scholarship, and one cinematography student for the KODAK Student Cinematography Scholarship. The cinematography student nominee may also be nominated for the KODAK Student Scholarship Award. Submissions can be made through the online submission process which allows VIMEO or YOUTUBE URLs to link to samples of a student's work. Kodak, in collaboration with the University Film & Video Foundation (UFVF), holds this annual contest to encourage students pursuing a career in filmmaking. The following prizes will be awarded to the finalists and announced in August: KODAK Student Scholarship: Gold: $5,000 Tuition Scholarship Award and $5,000 KODAK Motion Picture Product Grant Silver: $4,000 Tuition Scholarship Award and $4,000 KODAK Motion Picture Product Grant Bronze: $3,000 Tuition Scholarship Award and $3,000 KODAK Motion Picture Product Grant KODAK Student Cinematography Scholarship Award: First Place: $4,000 Tuition Scholarship Award and $5,000 KODAK Motion Picture Product Grant Award of Merit: $1,000 Tuition Scholarship Award and $3,000 KODAK Motion Picture Product Grant Since 1991, Kodak has been supporting future filmmakers and encouraging excellence in the field of motion picture education. The company's ongoing efforts include a range of opportunities that students and educators can use to enrich their knowledge of the art and craft of filmmaking, including educational materials and discounts, in addition to sponsorship of film festivals, awards, seminars and student showcases that raise awareness about emerging talent. For more information, visit www.kodak.com/go/education.

BURBANK, Calif. (March 10, 2015) - FotoKem's restoration of Twentieth Century Fox's The Sound of Music will kick off the sixth annual TCM Classic Film Festival on March 26 in Hollywood. Originally released in 1965, the re-mastered version of this cinematic treasure will grace the screen of the TCL Chinese Theater IMAX as the fest's Opening Night Film, as previously announced by TCM. The movie's stars - Julie Andrews and Christopher Plummer - will be on hand to introduce the film, along with Turner Classic Movies host Robert Osborne. Directed by Robert Wise and photographed by Ted D. McCord, ASC, The Sound of Music earned five Oscars® for Best Picture, Director, Sound, Editing and Score. The Rodgers & Hammerstein musical tells the true story of a nun (Andrews) who leaves the convent to serve as governess at the nearby Von Trapp household, where she falls in love with Captain Von Trapp (Plummer) and the family encounters dangers and eventual triumph in Nazi-era Austria. This marks the second consecutive year that a movie restored by FotoKem has opened the TCM Classic Film Festival. Last year, Twentieth Century Fox's Oklahoma! was unveiled for attendees. FotoKem completed the restoration of both 65mm classics through 8K scans from large-format film elements, down-sampled to 4K for restoration and digital cinema mastering. "The popularity of The Sound of Music is in part a testament to the power of 65mm capture," says Schawn Belston, Executive Vice President, Media and Library Services at Twentieth Century Fox, who supervised the restoration. "FotoKem's 8K scanning and complimentary digital post resulted in a stunning digital version of this timeless classic, and made our new 4K restorations of The Sound of Music and Oklahoma! a perfect fit for the opening night screening slot at a festival as prestigious as TCM's." FotoKem, which provides digital workflow and creative finishing solutions, and continues to operate one of the last motion picture laboratories in the United States, has been providing skillful restoration and preservation services for decades. Their expertise in the entire post production process makes the facility uniquely positioned to restore and deliver 65mm sourced images to today's audiences. "We're honored to have been entrusted with the job of digitizing and restoring the The Sound of Music," says FotoKem's Andrew Oran. "This 50-year-old film comes alive today in a whole new way - with a vividness and emotional impact that arguably exceeds even its original release - because of its 65mm pedigree, and the great care we've taken throughout the post process to honor that unique, ultra-high quality source." For the restoration of The Sound of Music, Oran and his team began by creating the highest quality 65mm intermediate film components possible on the facility's re-engineered 65mm contact printers. Next, those film elements were digitized at 8K on the 65mm IMAGICA scanner. FotoKem colorist Mark Griffith mastered the film from re-scaled 4K files, utilizing powerful digital tools to address quality issues present in the sourced material, such as flicker and variable color fading. "At FotoKem, we employ many of these same restoration tools and techniques on 65mm originated images week in and week out for new Hollywood features, giant screen documentaries, and theme park attractions," adds Oran. "Working with 65mm requires precision, whether the images are new or old. Whatever the vintage, we consider it our duty to retain the intentions of the original filmmakers." FotoKem is a sponsor of the 2015 TCM Classic Film Festival, which runs March 26-29. The golden anniversary of the film's premiere launched March 2 in the UK, and March 10 in the U.S. with the release of the 5-disc Ultimate Collector's Edition 50th Anniversary Blu-ray/DVD/Digital HD, which features over 13 hours of bonus content. Additionally, through a Fox partnership with Fathom Events and Turner Classic Movies, the restored film will also be shown for two days only, April 19 and 22, in over 500 theatres across the U.S. For more information about FotoKem, visit www.fotokem.com. For details about the TCM Classic Film Festival, go to http://filmfestival.tcm.com.

New Addition to Charger Line Features Compact, Low Profile Design (SHELTON, CT) Anton/Bauer(r) - a Vitec Group brand and premier provider of battery, charging and monitoring technologies for the broadcast, film and video industries - has announced the launch of their new LP Performance Charger Series. An addition to the Performance Charger Series, which was introduced at NAB 2014, the LP Performance Chargers deliver the fastest possible charging sequence in a compact form factor. Available in two configurations, the LP Performance Chargers complement Anton/Bauer's Digital Batteries and Logic Series batteries, and are available in both Gold Mount® and V-Mount connectors. The LP2 Performance Charger, designed to fit into tight spaces and accommodate ease of travel, offers 2-position simultaneous charging. The LP4 Performance Charger, providing 4-position simultaneous charging, is ideal for larger operations. Both chargers are Wi-Fi ready to ensure ease of fleet management for rental facilities, ENG/EFP/OB vehicles, and broadcast equipment depots. Ideally suited for shelves, tabletops or compact spaces, the LP Performance Charger Series features an innovative, efficient charging algorithm for multi-chemistry, simultaneous charging. The algorithm ensures rapid charging while conserving energy, eliminating waste, and reducing cost of ownership. Software constantly monitors the charging process and discharge curves to ensure that each battery is charged to its peak performance. To ensure maximum efficiency in the field, the LP Performance Chargers automatically detect which battery has the strongest charge and prioritizes it, ensuring that a fully charged battery is always available in the shortest amount of time possible. "We are very pleased to be bringing our LP Performance Chargers to market," says Kieran Foster, Vice President of Product Management for Vitec Videocom. "When we introduced the Performance Charger series earlier this year, we knew it was the most efficient charger on the market. However, we were not content to stop there. We've added the LP line to ensure that our revolutionary charging system is available to our customers in whatever form factor they might need it." The LP Performance Charger Series will be available worldwide through Anton/Bauer dealers and rental houses beginning March 15, 2015. For more information, visit www.antonbauer.com or call (800) 541-1667. About Anton/Bauer With more than 40 years of proven experience, Anton/Bauer is recognized as the world's premier provider of multi-chemistry battery, charging, and monitoring technologies for the professional broadcast, pro-video, cinema and healthcare industries. Established in 1970, Anton/Bauer's product offerings feature several signature lines, including the leading Gold Mount® system, the Digital Battery series, Performance Chargers, and the Academy Award®-winning VCLX series. The company's industry-standard products are compatible with every camera brand on the market today, while providing top-tier levels of safety, performance and reliability. The brand's main office is in Shelton, CT, with additional offices in South America, Europe, and Asia. Follow Anton/Bauer on Twitter (@Anton_Bauer), Facebook andYouTube. About the Vitec Group Capture the moment For over 100 years, through every innovation in photography, film and digital image-making, Vitec businesses have developed a powerful portfolio of brand and products that have enabled some of the most amazing moments to be captured under some of the most challenging conditions. Vitec is an international Group principally serving customers in the broadcast photographic and military aerospace and government (MAG) markets. Vitec is based on strong, well-known premium brands on which its customers worldwide rely. Vitec is organized in three divisions: Videocom, Imaging and Services. Videocom designs and distributes systems and products used in broadcasting and live entertainment, film and video production and MAG. Imaging designs, manufactures and distributes equipment and accessories for photography, video and events. Services provides equipment rental, workflow design and technical support for camera, video, audio, fiber optic and wireless technology used by TV production and film crews. More information can be found at www.vitecgroup.com. # # # Media Contacts: ignite strategic communications 818.980.3473 Lisa Muldowney - direct: 760.212.4130 / lisa@ignite.bz

TIXstream Incorporates Pixspan's Revolutionary Software (CHEVY CHASE, MD) - Pixspan, Inc. and TIXEL GmbH have announced that the next-generation release of TIXstream, TIXEL's high-performance file transfer solution, will fully integrate Pixspan's image optimized codex technology. The hybrid offering will provide customers with high-speed, bit-exact compression that enables full-resolution image file transfer over existing networks at two to five times faster than has been previously available. The new TIXstream solution, enhanced with Pixspan's software, enables full-resolution workflow in a manner that is both fast and economical by compressing pixels during transfers and accelerating imaging workflows with major image formats, including DPX, OpenEXR, TIFF, Cineon, ARRIRAW, Canon RAW, DICOM and GeoTIFF. "TIXstream's high-performance transfer framework already offers maximum transfer rates," says Andreas Aust, CTO of TIXEL. "Combining our software was just a logical next step. The addition of Pixspan's codec takes TIXstream to a new performance level, which is now the fastest option available to the industry." "With the Pixspan option available for full-resolution images, TIXstream will enable customers to make incrementally faster transfers, while transmitting several times the volume on their existing bandwidth," notes Michael Rowny, CEO of Pixspan. "Our integrated software solution with TIXEL vastly speeds up typical DPX or other full-resolution workflows. Customers will be able to move DI content directly out of a file system in one part of the world and into a system on the other side of the globe, achieving speeds two to five times faster than ever before. Clients can also maximize their existing computer and network resources without requiring expensive network changes." About Pixspan Pixspan offers unique software products that reduce storage costs and increase transmission speeds of full-resolution media, medical and surveillance imaging. Currently, Pixspan is the only company providing a solution that enables a full-resolution workflow, beginning from camera RAW, to image processing, through to a final asset, with less than half the storage and bandwidth of existing solutions. About TIXEL TIXEL GmbH is a German-based vendor of solutions for high-speed transfer in wide area multi-gigabit IP networks. TIXEL products are primarily used to optimize data-intensive global applications like cloud services, big data exchange and media production. Contacts: Pixspan, Inc. Tom Shearer, tom@pixspan.com TIXEL GmbH Ralf Einhorn, re@tixeltec.com Media Contact ignite strategic communications 818.980.3473 Lisa Muldowney - direct: 760.212.4130 / lisa@ignite.bz