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http://goo.gl/R5ZPn0 Interesting read, but I think it got a little heavy handed against digital. Particularly that his argument about an audiences reaction to pixels vs film seems pretty moot when everything is scanned and presented on digital projectors these days. Would be interested to hear other peoples thoughts.

Hello everybody. My name is Rogers and this is my first time posting on Cinematography.com Today for a school project I attempted developing Kodak Tri-X 7266 with a Fomapan R100 Kit in a lomo tank. I followed the instructions yet the project did not work well. It appears as if the whole emulsion was removed from the base of the film leaving it clear. My problem is I can't figure out at what step this happened. Would someone have any information on what could have caused this to happen? Perhaps it was during bleaching something went wrong? Also, it would be nice to understand the re-exposure part a little bit more. This was my first time so I was expecting some chaos. Thank for reading my post and to anyone who can spare some info!

I'm shooting a project on Vision 3 250D & 500T 16mm soon, we will be scanning to 2K. I've only shot 16 mil once before and am hoping to get something that will look sharper than we got last time. This is what we ended up with last time. http://www.marzmiller.com/ghost (this was also a 1080 telecine, not a 2K scan, processed normally and telecined at Fotokem) Right now I'm thinking of shooting up a stop and a half and pulling one stop, as well as some de-graining in post. Any other ideas on how to get the look I'm going for? I guess the look could best be described as I want it to look like very clean 35mm. We just don't have the dough for 35 this time. - M

Does anyone know if using anamorphic lenses on S16mm was common before the release of the Hawk V-Lite16 lenses? I'm looking to shoot a project on these lenses soon and am hoping to use an Aaton XTR, just wondering if it will be easy to find an anamorphic viewfinder attachment for the camera. Or if it would be better to go with a SR camera. A 416 seems to be out of the question for now due to budget reasons. I believe this camera shares the viewfinder design with the SR cameras anyway. (the 416 I used just had SR ground glass in it.) Alternatively what other (if any) Anamorphic 16mm lenses are available in Los Angeles. - M

Hello Recently purchased a Kodak Instamatic M22 off ebay for £10 with some new film, the listing stated it was not tested but i took a chance anyway. So it came and didn't work, turns out the batteries had corroded so i cleaned it out and popped in some new AA's, pressed the exposure and sure enough the motor buzzed away like a bee. However having opened up the catridge slot i could see that even though the motor was working the film cartridge turner thingy wasn't moving, after a browse online i found out these things have weak gears that break so i got out the screwdriver and took it apart, all the gears are in great condition so i don't know what could be causing this to not work. Any help much appreciated, thanks

Hey all, hoping for a bit of advice. Having some trouble with an approaching s16mm shoot- a darkroom scene. I was hoping to light mainly with practical florescent 2x4's and then to gel them fully red for some sequences. My question is: with the interior location, I thought I should shoot on 7219 500T... should I use tungsten tubes? Or would daylight tubes be better for the gel? I know daylight-balanced bulbs on tungsten stock will come away rather cyan, which I don't mind. But gelled, what should I expect? I could shoot on 250D, but am nervous that the light loss from the gels will give me a tough exposure. What setup of stock and bulbs (filtration?) do you think is best? Unfortunately, there just doesn't seem to be budget for tests. I also read in an older post here that there were issues with focusing, or that the image (red lit) will look soft. Is this a genuine focusing issue? Or should we just measure out as per usual? The last thing here that freaked me out was that someone noted that my light meter will give me an improper reading under these red conditions. Does anyone have any experience with this type of setup? Thanks so much for your input. Any advice would help!

Hello all, I am looking for Kodak 5219/ Fuji 8547 Recans, Short ends and factory sealed. If you have any/know where I can get them please let me know. I've already checked with the major resellers.

https://youtu.be/wr6NdyP4y-k?t=30m Start at 30 min or a little before that (should be there already) and enjoy. Poetry to my ears. They also mention the motion smoothing on TVs as default, film exhibition, ........... "A super 16 tap into a monitor looks like scrambled pornography from the 80's" Best quote ever from Alex Ross Perry.

I had the privilege to attend CES to witness the new Kodak's Super 8 Film Camera. Most important, they kindly allowed me to hold it in my hands. I couldn’t help myself falling in love with it at first sight. MOY

Screening of Semi-Finalists at Slamdance Showcases Glorious Array of Super 8 Films Kodak announced the Grand Prize winners of the KODAK Super 8 Filmmaking Challenge, following a screening of remarkable works from the 15 semi-finalists’ films at the Slamdance Film Festival last night. Kodak launched the Super 8 Filmmaking Challenge in November 2015 as part of the company’s celebration of the 50th anniversary of Super 8, a beloved format that inspires content creators far and wide. The Challenge immediately struck a creative chord, and over 530 films from around the world – narrative, music videos, experimental, classic surf and skate, documentaries, archival, fashion, and home movies – were submitted. The films showcase the robust depth of talent among filmmakers, both professionals and amateurs alike, as well as the diverse range of the capabilities of Super 8 as a unique storytelling tool. Filmmakers entered both vintage and new work in one of three categories: POV, Action and Flashback. From the original entries, 15 semi-finalists were chosen through online audience voting and juried selection. Those 15 semi-finalists, who earned a hosted screening at the esteemed Slamdance fest, competed again in a global online audience vote, which determined the final first, second and third place audience winners. Boasting prizes valued at $12,500, the Grand Prize Audience winners of Kodak’s inaugural online contest are: 1. Pablo Madrid Lopez from Spain for THE NOVEL, receiving a prize package that consists of a KODAK PixPro SP360 Action Camera, a Rhonda CAM Super 8 Camera from Pro8mm, 10 Pro8mm Super 8 film kits, approximately $2,000 retail value of KODAK motion picture film of the winner’s choosing, and a KODAK t-shirt. 2. Haven Nutt from the United States for the MR. MAN trailer won a KODAK PixPro SP360 Action Camera, six Super 8 film kits, and a KODAK t-shirt. 3. Dianne Ouellette from Canada for RED IS DEAD takes home a KODAK PixPro SP360 Action Camera, three Pro8mm Super 8 film kits, and a KODAK t-shirt. Renato Coelho from Brazil, who directed TRAIN, won the Grand Jury Award, which was chosen by a panel of respected industry professionals. Judges included cinematographer Rachel Morrison; photographer Elliott Landy; writer-producer Josh Friedman; Glenn Gainor, head of physical production at Sony Screen Gems; Leslie Raymond, executive director of the Ann Arbor Film Festival; and Pro8mm founders Phil and Rhonda Vigeant. Coelho earns an identical prize package as the first place Grand Prize Audience winner. “Jurying the Super 8 Challenge allowed me to reconnect with the medium and see the variety of creative exploration,” said Raymond, who led the jury. “I am excited to see it persisting as a member of the film family.” At the Consumer Electronics Show (CES) in Las Vegas earlier this month, Kodak announced an initiative to support Super 8 film into the future. The company introduced a prototype of a new Super 8 camera, and revealed plans for creating an ecosystem that includes a range of cameras, film development services, post production tools and more. “Kodak is resolute in our efforts to ensure film continues to be an option for filmmakers passionate about using it for all levels of content creation,” said Sascha Rice, Global Marketing Director for Kodak’s Entertainment Imaging Division. “The response to this contest and to the new Super 8 camera has been overwhelmingly positive, and the momentum to shoot on film is palpable. Kodak is honored to be here to support and advance these artists’ creativity.” To discover recent movies, television, and music videos shot on 8mm, 16mm, 35mm, and 65mm film, go to: www.kodak.com/go/shotonfilm.

Here is my new article on Super 8 which was written before all the new announcements: http://www.redsharknews.com/production/item/3180-shooting-on-super-8-in-the-21st-century Sadly a lot of the links got lost somewhere in editorial which takes away from the usefulness slightly but I'm sure you can all google for the missing sites. There's a lot of info here on how can work with Super 8 cheaply right now. Should be helpful if combined with some local info. Freya

http://theaudienceawards.com/films/lights-and-shadows-oshea-brothers52174 Comprised over 6 years of shooting Kodak Motion Picture Film, "Lights and Shadows" is my love letter to film as well as skateboarding. Shot on discontinued plus-x and 100D reversal as well as the gorgeous Vision 3 color negative stocks. I really hope the members of the cinematography.com community will take the time to view my film submission and vote in my favor as I'd love to continue shooting film for all of my future projects. Thanks! - Hunter O'Shea

Easy to Use, Digitally Controlled Method Redefines Vital Process ROCHESTER, NY (Dec. 21, 2015) - Kodak has announced the release of a new, groundbreaking P-200 Film Cleaning System that transforms the traditional film cleaning process. The revolutionary design allows the cleaning solvent to be dispersed on the film surface in a unique way. This economical, compact and digitally controlled system, which uses KODAK HFE 7200 Film Cleaner Solution, makes it ideal for today's archives and libraries. Proper film cleaning is vital to both archiving and restoration. In most cases, film needs to be cleaned before being stored in a library and prior to being digitized. Now, with the KODAK P-200 Film Cleaning System, institutions responsible for media collections can maintain their valuable film assets to the highest standards for a very small investment and very minimal infrastructure requirements. "Knowing the importance of proper film cleaning to both maintaining and digitizing film content, Kodak has developed a system for the 21st century," noted Antonio Rasura, technical manager of Kodak's Consumer and Film Division. "It's small in size, environmentally friendly, and easy to use, with no need to directly handle solutions. Maintenance is also simplified, so it can be used in both traditional laboratories and in-house by institutions." The KODAK P-200 system consists of a compact machine that measures only 31w x 21d x 51h inches with touchscreen controls for navigating the operating modes. It uses KODAK HFE 7200 Film Cleaner Solution, an environmentally safe solvent with a zero ozone depleting classification, and a very low toxicity rating (near zero). Adding to the system's efficiencies, Kodak is offering the solvent in low quantities for the first time, eliminating the need to invest in large orders of film cleaning supplies. "The way the machine disperses the solvent onto the film is very unique," said Rasura. "Solvent is quite expensive, and we didn't want to use a costly recovery technique for the cleaner solution. The system we have developed atomizes the solvent, utilizing highly efficient delivery jets that 'fog' the film with an extremely fine dispersion of the HFE. The results include a huge amount of coverage with very little solvent, and all with no hazard to the operator or the environment." The KODAK P-200 Film Cleaning System also offers Variable Speed Precision Tension Control, a laser-guided feature that can operate with speeds of 50-200 fpm while maintaining consistent and even tension throughout the wind of the roll, which is especially beneficial for long-term archiving. "Film is an integral component of our industry and cultural heritage, and Kodak recognizes the need to support and preserve that content," added Andrew Evenski, Kodak's president and general manager of Entertainment & Commercial Films. "Our aim in bringing this new system to market is to ensure that the community's needs for accessible, quality film cleaning are met at an affordable price point."

Hey everyone, I will be shooting my first show on 35mm film this coming April and I really want to put Kodak 5219 to the test in terms of grain control and contrast. Please bear with me for I've only shot 7222 and 7266. Can anyone tell me the effects that these variables create together in terms of grain, contrast, and saturation? Perhaps how this affects the characteristic curve? 1. Over-exposing and pulling 2. Over-exposing and printing down 3. Under-exposing and pushing 4. Under-exposing and printing up 5. Over-exposing, pulling, and bleach-bypassing My goal is to differentiate between different timelines of the film. Flashbacks are as the director said "dream-like" and he immediately liked my recommendation of having low grain, glooming highlights, and high saturation. Can this be achieved with #5 on the list? I am very open to using glimmer glass or nets on the rear element. I've heard that when skipping the bleach, it is recommended to change a 7:1 ratio to a 3:1 ratio due to the contrast that it brings. This is for my thesis film at my school and I think it is the perfect opportunity to experiment on film! I do not want to be experimenting on set, but I do want to do a camera test at the prep. As always, thank you for taking the time to respond. -Jeremy

Hey guys, I found a write-up about this in the Incamera Kodak magazine about this short film shot on 2 perf 35 mm and I just have to share it here because I think it's really superb and probably one of those very few shorts that leaves an impression on me.

I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,300. If you are interested please email me at: adam@adamcohendp.com

Voting for the Audience Awards Now Open to the Public LOS ANGELES (December 22, 2015) - Kodak has enlisted an elite list of filmmakers, a photographer and industry professionals to be judges for the Kodak Super 8 Filmmaking Challenge. The competition, launched in November, has received over 500 entries submitted by a wide range of Super 8 content creators around the world. There are two rounds of judging for the Jury Awards, with votes being cast by cinematographer Rachel Morrison, photographer Elliott Landy, producer Glenn Gainor, writer-producer Josh Friedman, film festival director Leslie Raymond, and Pro8mm founders Phil and Rhonda Vigeant. Fifteen semi-finalists will be chosen in the first round of judging and revealed December 29. The jury will choose two of those winners from each category - POV (fiction), Action (lifestyle) and Flashback (non-fiction) - with the remaining three winners from each group chosen by audience voters. The clips by all 15 semi-finalists will be shown at a special screening hosted by Kodak at the Slamdance Film Festival on January 25, 2016, where the final four winners will be announced. The victors will consist of the top three voted films and one juried film. All semifinalists and finalists win prizes, which range from a KODAK PIXPRO SP360 Action Camera and a Pro8mm Rhonda Super 8 camera, to film stock, processing and swag, valued at up to $12,500. The Kodak Super 8 Filmmaking Challenge is hosted on The Audience Awards contest platform. Viewers can sign up for free to watch and vote for their favorite clips from December 22 to January 25, 2016. Morrison is a highly regarded cinematographer, known for her compelling visuals on Fruitvale Station, Cake, Little Accidents and Dope. Landy has made his mark in the art world with his iconic photographs of rock musicians. Gainor serves as president of physical production for Sony Pictures' Screen Gem, overseeing such movies as The Perfect Guy and About Last Night, among dozens of others. Friedman is currently adapting Bong Joon-ho's Snowpiercer for television, and at work on the script for the Avatar sequels. Raymond is the executive director of the annual Ann Arbor Film Festival in Michigan, and the Vigeants founded and operate Pro8mm in Burbank. Kodak launched the Super 8 Filmmaking Challenge in celebration of the 50th anniversary of Super 8 film this year. "The unique qualities of this film format have inspired content creators for decades, demonstrated by the hundreds of submissions we've received that showcase the glorious array of Super 8 filmmaking," says Sascha Rice, global marketing director for Kodak's Entertainment Imaging Division. "Filmmakers have submitted both vintage and new work. Now, through online audience voting and juried selection, 15 semi-finalists will be selected from a fantastically diverse retrospective of works including narrative, music videos, experimental, classic surf and skate reels, documentaries, archival footage, fashion, and home movies. Kodak is honored to support these filmmakers and applauds their spectacular expressions of art and storytelling." For more information, visit the Kodak Super 8 Filmmaker Challenge. To discover more movies, television shows, and music videos shot on film, go to www.kodak.com/go/shotonfilm.

Hi cinema lovers, I've been a lurker on these forms for a while now, and I'm not sure if this is the right place, but but this is my first post! I'm a 3rd year film student at Falmouth University (UK) and I'm directing a short film called Philistine. I'm here to both share with you my kickstarter and receive any valuable information/tips on shooting with film (it's my first time). We'll be shooting on a Bolex H16, using Kodak 16mm Double X Black & White Negative (7222). It's Tungsten 200 and Daylight 250. SYNOPSIS: Cinema projectionist Marcelle works for an independent, arthouse, and old-school cinema. Though, the theatre is forced to close and he’s made redundant; the digital age has no use for disciples of the past. Down on his luck, his fate is bettered after an encounter with a young woman, Anna. His optimism is short-lived, though, and he becomes the victim of a different kind... On the surface Philistine is about a cinema projectionist who loses his job, but deeper down it's a film about film, cinema history, and a respect for the past. My viewpoint is that we, the younger generations, are becoming detached from the history of cinema - which I feel is a bad thing. Although the topic is dramatic, and when written "loses his job" sounds like a cliche student drama, the narrative and stylistic approach is absurd, abstract, playful, comical and shocking. As I'm posting on a cinematography forum comprised of cinema lovers, I assume it may mean something to you when I say that both the writing and directing of Philistine have taken heavy inspiration from the work of the French New Wave. For those that aren't familiar, their stance was particularly anti-Hollywood, and so they would make their films in the most rogue fashion possible; both in terms of narrative and technical approach. This is something I too believe in. I also feel as if many student films are the same (partly down to the use of the same cameras and partly down to their pursuit of replicating formulaic narrative and stylistic hollywood standards) and so with this film, and anything I create in general, I tried to stray as far from the 'norm' as possible. I hope that people see that in the kickstarter. 16MM FILM: The choice to shoot on 16mm was there from (almost) the very beginning. Following from the birth of the concept - old-school celluloid cinema projectionist being ousted by the digital - I knew that it would be hypocritical of me not to shoot on film. It's a film about film and the impact that the easily accessible digital has on it. And so, not only does film LOOK beautiful, it serves the story. I flirted with the thought for a while until I saw a 16mm film that my tutor had made and was promoting. After research I gathered some figures to see if this dream was actually possible; and it is, though I can't do it on my own. What's more, after seeing the 'Kodak deal' go down in February of this year ("Disney, Fox, Paramount, Sony, NBC Universal and Warner Bros all pledge to continue buying filmstock from the company, even as the majority of directors and cinemas choose to go digital"), I feel now more than ever it is important that we, the younger generations, keep film alive. BUDGET: The proposed budget for the kickstarter is £2000. Film costs (stock, camera, development) comes to just over half of that at £1100. Now, film in the digital age is of course an aesthetic choice, and we could easily just use a RED digital camera, but I hope those of you reading do see the reason for and passion behind the use of film for Philistine. The camera rental company and developing lab are extremely enthusiastic about my choice to shoot on film and are really helpful in answering questions and teaching us and taking us through the process. If any of you like the sound of my film and could spare some change towards it we'd be forever grateful; we have a lot of money to make in short amount of time and so every little helps! All feedback is welcome and thanks for your time! KODAK DEAL ARTICLE: http://www.theguardian.com/film/2015/feb/05/film-studios-kodak-deal KICKSTARTER: https://www.kickstarter.com/projects/sophiehurry/philistine-16mm-short-film?ref=video FACEBOOK:https://www.facebook.com/PhilistineFilm/?fref=ts TWITTER: https://twitter.com/PhilistineFilm

So the other morning, while driving home from work, I received an unsolicited LinkedIn message notification on my phone...from the new President of Kodak's Motion Picture Entertainment Division, Steve Bellamy. Needless to say, I initially thought this was some sort of prank. But after checking a few things, I realized this was the real deal. We exchanged another e-mail in which he gave me a number that he wanted me to call him at. In short, he struck me as a very polite, easy-going person with a lot of knowledge. He said that since he became president, he's been doing a lot of searching on the internet for filmmakers who are passionate about analog film-making and randomly contacting them. He said he appreciated what he called "well-written" pages I've put up on the web and wanted to hear more about my particular passion for film. I told him how the grain and chemical processes simply make it more of an organic medium, and that the contrast & overall picture still produce a better final product, in my view. More importantly, I mentioned how I am a big film history buff and that many flash-in-pan "film-makers" these days who grab a DSLR, shoot something on digital and post it to Youtube, have little to no sense of film history, much less any sense of pre-visualization. And it shows in the work. To be fair, I did tell him how I am anxious to experiment with some of the more advanced digital technology - namely the Alexa, since I feel it is the best at capturing a film-like image. He agreed with film being a discipline and that there is still no replacement for it. It was interesting to hear about his passion for the medium but admitted that it’s not cheap. However, we both agreed that in comparing it to a digital project, people tend to spend even more for the post-production processes than they would for a properly budgeted analog project. He said that he is all about choice and has nothing against digital. To paraphrase what he said, “If that’s your preferred medium, more power to you.” Lastly, he asked me to put together a 3-5 minute interview of myself and talk about why I love film. He said that he’s getting independent film-makers like myself, as well as people like Christopher Nolan, Steven Spielberg and Quentin Tarantino to do the very same thing. He’s not sure exactly what form it will take just yet (possibly web-based or a documentary format) but it’s something he wants to put together to show just how many people are still passionate about film. So yeah…that was pretty cool and unexpected. :)

Entrants Can Win up to $12,500 in Prizes and Have Their Clips Screened at Slamdance ROCHESTER, N.Y. (November 11, 2015) - As part of Kodak's ongoing celebration of 50 years of Super 8 filmmaking, the company has launched the Kodak Super 8 Filmmaking Challenge, and is seeking submissions now through December 21. The inaugural online contest, which is free to enter, is designed to showcase the wide range of creative uses of this small gauge format by passionate shooters from all walks of life who revere its unique look. Filmmakers, home movie aficionados, documentarians, sports enthusiasts, musicians, promo/spot creatives and experimentalists from all over the world are invited to submit clips that were originated on Super 8 film and range from 15 seconds to 5 minutes. Entries will be taken in one of three categories: POV (fiction), Action (lifestyle) and Flashback (non-fiction). Once the submission period ends, there will be two rounds of voting open to the general public. The semi-finalist round will begin December 22. The top three videos in each category based on audience votes, along with two semi-finalists from each category chosen by a jury, will be screened at a Kodak event at the Slamdance Film Festival in January 2016. Fifteen films will be chosen in total. The second stage of voting will determine the overall first, second and third place Audience Award winners. A professional panel of jurists assembled by Kodak will select the Jury Award semi-finalists and winner. Prizes will range from a Kodak PixPro SP360 Action Camera and a Pro8mm Rhonda Super 8 camera, to film stock, processing and swag, valued at up to $12,500. The Kodak Super 8 Filmmaking Challenge is hosted on The Audience Awards contest platform. Entrants will need to create a valid Audience Awards account, free of charge. Viewers can also sign up for free to watch and vote for their favorite clips from December 22 to January 25, 2016. All submissions must be shot on Super 8 film, either with or without sound. Hybrid productions need to be comprised of a minimum of 50% Super 8 footage. Clips can be from any year, original pieces of work or excerpts of longer form projects, and previously exhibited or distributed. For more information and official rules, visit the Kodak Super 8 Filmmaker Challenge.

I am selling 15 rolls of 16mm Kodak Vision3 200T 7213. I got these directly from Kodak 3 years ago. They are factory sealed and have been in a humidity-controlled dedicated film fridge for that entire time. I would love to get $100/roll for them and sell all of them at once, but I am willing to negotiate if you are interested and even more willing to negotiate if your a student. Captain Phillips, Beasts of the Southern WIld and Hurt Locker are just a few great films in the last few years shot on the robust format of super16 :) Nathan

Hi all. I am 4th cinematography student. I am about to shoot a short commercial on s16. I have shot on film a few times before but I would like hear other opinions on how best to a achieve a cold daylight look on film. Basically the story is that a couple wakes up very early in their city apartment and leaves for the countryside. I want the piece to start off very cold looking in their apartment and then gradually get warmer as they leave the city in their car and arrive in the country. I have only one roll to shoot this piece on. It's a thirty second ad so that should be loads of stock. Bug that brings into question how I can get a varying level of "coldness" on the one roll. I will be shooting on Kodak 200t 7213. My initial thought is to shoot the grey card with an 85 in. The remove that for the early scenes. Then later for the car scenes to use a 81ef so a slightly warmer, but still cold look. Then finally for the countryside scenes to put the 85 back in. Does this seem like a good plan to achieve what I am looking for? Very open to suggestions and opinions, or indeed any help at all. Thanks.

Hi, first time posting here. Has anyone tried to shoot 2x anamorphic lenses with 16mm film (let's say kodak 7219 stock) and how did it go? From what I knew, 16mm has 1.37:1 ratio. So use with 2x anamorphic lenses it's gonna be 2.74:1 which wider than 2.40:1. So I have more room to readjust a frame in post right? What about the image quality, does it look good? I did a research online but I haven't seen any decent one yet. FYI: I'm planing to shoot on Arri SR-II, Kodak 7219 and Kowa Prominar anamorphic prime set. Thanks in advance.

Strategic appointment demonstrates Kodak's commitment to motion picture film and ambitious growth in the entertainment sector ROCHESTER, NY (October 7, 2015) - Kodak announced today the appointment of Steve Bellamy as its new president of Motion Picture and Entertainment. Based in Los Angeles, Bellamy will be responsible for growing and deepening Kodak's relationships with creative luminaries and business leaders in the entertainment industry, working on creative advocacy programs, creating partnerships and new business models, and developing Kodak-branded solutions for the entertainment industry. A serial entrepreneur and award-winning media creator, Bellamy founded The Tennis Channel, The Ski Channel, The Surf Channel and The Skate Channel television networks and is truly a creative executive. A lover of film and music, he is a prolific creator in both mediums. As a writer/director, his movies have won over 40 global film festivals, from Amsterdam to Canada to Mexico and the United States. He has personally won six best director awards including the Las Vegas International Film Festival. In all, he has shepherded over 10,000 hours of content creation. As a songwriter and recording artist, Bellamy has toured the country, had singles on commercial radio and his work is regularly found on film and television. He has spent the last six years as CEO of Action Sport Networks and will remain the chairman of that business. "I'm thrilled and relieved that Kodak remains committed to keeping film alive and well," said filmmaker JJ Abrams. "It only feels right that film remain an available option in the world of filmmaking. And Steve Bellamy is an ideal talent to help realize this priority." At Kodak, Bellamy will work with Andrew Evenski, Kodak president and general manager of Entertainment and Commercial Film, to create deeper relationships with Hollywood's film and television studios. Both will report to Steven Overman, president of the Consumer and Film Division. "Kodak has always been driven by bringing innovation to a wide range of industries, and Steve Bellamy will help us deliver leading creative solutions to the entertainment industry," said Overman. "Steve brings a combination of creativity, industry experience and entrepreneurial success to our business." "Film is a vital part of Kodak's culture and we are pleased to welcome Steve on board to help us grow this business," said Evenski. "Steve's hands-on experience in the entertainment industry will help us to create new opportunities for motion picture film." "This is a huge win for Kodak," said Kodak Chief Executive Officer Jeff Clarke. "His relationships, access to talent and the love of film make Steve the perfect person to spearhead the next chapter of this storied division of Kodak. The initial group of filmmakers we have spoken to are ecstatic that he is onboard!" "The Kodak brand is iconic in the film business," added Bellamy. "My main goal is to make sure that film remains a viable and reasonable option for those artists who want to continue to shoot on the medium."

Filmmaker Panel at Independent Film Week to Focus on Producing Low-Budget Features on Film NEW YORK, September 22, 2015 — A panel featuring award-winning filmmakers Ferne Pearlstein (Imelda), producer Adam Piotrowicz (Listen Up Philip), director Ari Taub (79 Parts) and cinematographer Franco G. DeMarco (Hedwig and the Angry Inch Worm) will explore the process of creating low-budget features on film here at IFP’s Annual Independent Film Week. Kodak, a Premier Sponsor of IFP Week, will host the seminar on September 23 at 11:00 a.m. in the Bruno Walter Auditorium (111 Amsterdam Avenue, at 65th Street). “Realizing Your Vision on a Budget,” which is open to conference-goers, will explore the panelists’ real-world experiences in bringing their project to the big screen on motion picture film without breaking the bank. Moderated by Scott Macaulay, editor-in-chief of Filmmaker Magazine, the panel will focus on the filmmakers’ choices and the benefits they reaped. “This is a great opportunity for filmmakers to hear first-hand about how easy and affordable it is to tell their story on motion picture film,” says Andrew Evenski, president and general manager for Entertainment & Commercial Films at Kodak. “We’re committed to helping independent filmmakers tell their unique stories and realize their vision on film.” To attend the panel, you can purchase passes to the conference at http://www.ifp.org/conferences/filmmaker-conference/purchase-pass/#.VAoL3mRdVEk. For more information on Kodak, visit http://www.kodak.com/go/motion. For more information on Independent Film Week, visit www.independentfilmweek.com. # (Panelists are subject to availability) About Kodak Kodak is a technology company focused on imaging. We provide – directly and through partnerships with other innovative companies – hardware, software, consumables and services to customers in graphic arts, commercial print, publishing, packaging, electronic displays, entertainment and commercial films, and consumer products markets. With our world-class R&D capabilities, innovative solutions portfolio and highly trusted brand, Kodak is helping customers around the globe to sustainably grow their own businesses and enjoy their lives. For additional information on Kodak, visit us at kodak.com, follow us on Twitter @Kodak, or like us on Facebook at KodakNow. About Kodak’s Entertainment Imaging Business Kodak’s Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm). (Kodak is a trademark.) 2015