ASSIMILATE (www.assimilateinc.com) today announced that SCRATCH and SCRATCH Lab version 6.1 have achieved never-before-seen performance levels in the playback of RED EPIC Stereo content. SCRATCH Lab now provides DITs, DPs and Directors with dailies playback and review of RAW Stereo EPIC streams, direct from the camera at a full 48 FPS. SCRATCH 6.1 finishing systems can achieve the same 48 FPS playback rate of EPIC Stereo content even after sophisticated color grades and VFX have been applied.

Now, Directors and DPs that are planning the next generation of stereo feature films can have the confidence of knowing that they can maintain the integrity of their shot from on-set QC and review, all the way through post-production. And best of all, they can eliminate the costly and time-consuming step of transcoding.

“48 FPS Stereo EPIC feature films are the next holy grail on the moviemaking horizon”, said Ted Schilowitz of RED. “Directors are constantly pushing the envelope to deliver the highest quality cinematic experience possible, and EPIC is the camera of choice for the majority of the top stereo productions in 2012. We’re delighted that these productions now have the benefit of 48 FPS playback, review and QC of stereo EPIC shots, on-set and in realtime, with an industry-leading tool like SCRATCH Lab. The ability to achieve 48 FPS Stereo EPIC support in a world-class dailies workflow system for less than $5,000 is astonishing”.

Jeff Edson, CEO of ASSIMILATE, said, “SCRATCH and SCRATCH Lab have been at the leading edge of digital moviemaking since the original RED One camera. Today’s announcement is just another example of how SCRATCH and Lab and RED continue to set the pace for the industry. ASSIMILATE is dedicated to delivering the highest quality, most consistent artist experience for file-based content – from image acquisition, all the way through DI and post. We’re committed to continue working in lock-step with RED as we consistently deliver the technology that changes the way the world watches movies”.

SCRATCH Digital Workflow Tools

ASSIMILATE’s SCRATCH and SCRATCH Lab deliver the industry’s most comprehensive toolset for data-centric digital cinema and broadcast productions for 2D and 3D stereo projects at up to 5K resolution and beyond. New 6.1 versions of the software, running on Mac OS X and Windows 7, feature SDI output via AJA Kona 3G graphics cards, wicked-fast dailies rendering, improved metadata and timecode handling, and enhanced RED workflow support.

ASSIMILATE is the premier provider of digital workflow and post-production tools, that have proven essential to the successful creation of thousands of studio and independent features, television shows, music videos and corporate video productions. The company’s SCRATCH products, running on Windows and Mac OSX, are the heartbeat of today’s most demanding digital post-production and dailies workflows for 2D and stereo 3D productions. They equip Directors, DPs and Artists with the state-of-the-art, intuitive, data-centric solutions they need to meet the continual challenges of increased creativity and productivity amid ever-shrinking budgets. ASSIMILATE’s SCRATCH data-centric DI system, is the most comprehensive, end-to-end cinema and broadcast imaging tool for playback, conform, editing, color grading, compositing and finishing of RED and other digital workflows. SCRATCH Lab delivers a comprehensive toolset for the review, versioning, color correction, conform and output of on-set or VFX dailies. ASSIMILATE a privately held company, with headquarters in Santa Clara, California, USA, offices in London, UK, Groningen, NL and Beijing City, CN and markets its products worldwide via a global reseller network. www.assimilateinc.com.

WAYNE, NJ – JVC Professional Products Company, a division of JVC Americas Corp., today introduced the TK-T8101WPRU, an outdoor analog bullet camera with 10-bit digital signal processing and integrated IR LED technology. Part of JVC’s innovative LoLux™ line of security cameras, it provides True Day/Night performance in challenging lighting environments, including complete darkness.

The TK-T8101WPRU features a 1/3-inch high resolution IT CCD paired with a 3.3-12mm variable focal lens to deliver 600 TV lines of resolution with 52 dB signal-to-noise ratio. In low light, sensitivity is 0.05 lux for color, 0.015 for black-and-white, and 0 lux with active IR LED. The camera also features automatic high light compensation (HLC) for extreme white light, as well as Easy Wide-D for backlight compensation.

Housed in a die-cast aluminum case with tempered glass and sun shield, the TK-T8101WPRU is dustproof and waterproof (IP66 rated), and can operate in extreme temperatures (14-122 degrees Fahrenheit). Other features include motion detection (up to four areas), privacy masking (up to eight zones), digital noise reduction, and on-screen menus for easy installation and setup.

“When paired with an infrared camera, LED technology can produce security video in total darkness. Our new TK-T8101WPRU features 28 built-in LEDs, which allow for an IR distance of 115 feet, so there is no costly additional lighting needed,” said Ian Scott, vice president, JVC Security Group. “That means less expensive installations, lower total cost of ownership, and exceptional low-light performance that’s backed with a three-year limited warranty.”

The TK-T8101WPRU has a suggested list price of $350 and will be available for delivery in March.

ABOUT JVC PROFESSIONAL PRODUCTS

JVC Professional Products Company, a division of JVC Americas Corp., located in Wayne, New Jersey, is a leading supplier of IP network and analog security cameras, network video recorders, monitors, and management systems to the video security industry. Its V.Networks product line of has earned a solid reputation for quality and reliability, and provides superior picture quality for thousands of installations worldwide. For more information about this, or any other JVC professional product, contact JVC at (800)582-5825 or visit JVC’s Web site at pro.jvc.com.

Continues Commitment to Offering Innovative Power Solutions for Industry’s Hottest Cameras

SHELTON, CT, FEBRUARY 6, 2012—Anton/Bauer®, part of Vitec Videocom, a Vitec Group company and a premier global provider of batteries, chargers, lighting and other mobile power systems for the professional broadcast, video and film industries, is pleased to introduce its QRC-CA940 Gold Mount® solution for the new Canon EOS C300 camera. This latest introduction furthers the company’s commitment to developing power solutions for the industry’s top cameras. more

Director Rick Knief and Hooligan Editor Thomas Ostuni have teamed up to create a graphically compelling live-action music video for “Over the Sun,” Joseph Arthur’s latest single from the critically-acclaimed album, “The Graduation Ceremony” (Lonely Astronaut Records). The ground-breaking music video was shot on a multi-iPhone rig, captured within iPhone and iPad apps, and edited in Final Cut. The video is now available for purchase on iTunes.

Told on a stylized mosaic of nine interchanging and overlapping frames, the video features myriad shots of Arthur painting and playing every instrument heard in the song; the B story interprets the song’s muse who is seen leaving a NY gallery where Arthur performs, into the setting sun.

“It was exciting to work with an artist like Joseph, whom I’ve admired for many years,” remarks Knief. “He is such a unique artist. I really wanted to create a music video for him that would reflect that. And I think using an everyday tool like the iPhone in such an unorthodox way, really enabled us to pull that off.”

Knief says the video’s concept was heavily inspired by Arthur’s acclaimed performance art, which combines looping himself on various instruments with poetry and live painting.

 

“The way Joseph assembles his songs live on stage informed my filmmaking process,” explains Knief. “As a designer myself, I like to break things down to their core elements. Bringing those sensibilities to shooting and directing this video made sense because I could interpret the many layers of his art by essentially turning them into a collage, with each frame effectively serving as an individual film.”

 

“My favorite thing about Rick is he approaches filmmaking in terms of the graphic nature of the imagery,” adds Thomas Ostuni, senior editor, Hooligan. “He has a special knack for keeping things visually pleasing. Our goal was to keep the piece simplistic and graphic. It’s an art director’s dream video — every single second is art directed, it had to be.”

 

Knief’s idea to translate Arthur’s performance art in the form of a music video had long been in the making. The two first met at an Evan Dando concert and discussed the idea; subsequently, Arthur put Knief in touch with his management and the rest was history.

“Tossing the idea around with Arthur’s management, I had simultaneously been in conversations with Apple to develop a project using their tools and create a ‘making-of’ piece to share in-store. The iPhone’s video quality had vastly improved, so I decided to shoot with it.”

 

Knief developed a treatment with a concept to divide the 16:9 aspect ratio into nine separate screens. He then devised a method to achieve the multi-frame effect using six iPhones on a custom-built camera rig he designed and built. Production took place at the Aperture Gallery and on NYC’s High Line. Knief’s 6-man crew completed the shoot in just one day.

 

Knief downloaded numerous apps from iTunes to enhance production and postproduction, from concept aesthetic to workflow. The B story, for example, called for images of the sun flaring around the video’s love interest. Given that the iPhone camera is automatic, he achieved crucial lighting aesthetics with FilmicPro, an exposure locking app. Finally, to address the crucial phase of syncing footage from essentially nine iPhones, they used an iPad app called MovieSlate.

Ostuni says the consumer tools used to produce the video offered a unique editorial process, which called for creating nine unique sequences (utilizing every take) to assemble the master composite within the 16:9 aspect ratio.

“Dealing with multiple edits kept us on our toes as far as managing frames and organizing bins and dailies,” concludes Ostuni. “But working in uncharted territory allotted us freedom to experiment and write the rules as we went — convention went out the window and the possibilities were endless; but what ultimately made it interesting for me as an editor was I didn’t have to cut away from the performance to show the B story. With this vehicle, I could tell two stories at once.”

 

# # #

New 3D BULLET RIG shown with Panasonic HPX250 cameras. The most affordable, modular 3D beam-splitter made. Adustable IO (3.5″), convergence (0-2 deg), XYZ axis, camera elevation and mirror angle (44 to 46 deg) for perfect image alignment. Fits easily on Steadicam, handheld mode (shoulder mount incl), EasyRig, jib and any tripod. Weighs just 15 lbs. Accomodates Red Epic, Scarlet, Sony EX3, F3, Canon XF305, XF105, 5D, Si-2K, & many other cameras. Visit www.3DFilmFactory.com

Wayne, N.J.– If there’s one thing a broadcast-quality rental and staging firm quickly learns, it’s that the critical choice of equipment can make or break their reputation. This factor was top of mind for Winnipeg, Manitoba’s award-winning MidCanada Production Services when they purchased the first FUJINON XA50x9.5BESM HD Telephoto Lens delivered in Canada.

MidCan Director of Operations Chris McIvor explained that it’s all about finding the sweet spot of versatility and affordability, while providing the quality and durability that his rental operation demands. “We thought it was a great idea for FUJIFILM to offer a multi-purpose studio/ENG box lens with a built-in camera mount,” he said. “As a rental house, that was really important to us because we have a wide variety of cameras, more than thirty in stock. Since we don’t need separate mounts, the lens will work with any of our cameras. Mounting the lens is simpler, and the cameras are lighter and easier to use.”

McIvor noted that the other big deciding factor in MidCan’s choice was the fast lens speed: “The 1.7 aperture gives us the opportunity to shoot in very low light conditions. We don’t do stage lighting, but in rental and staging you never know for sure the lighting conditions in the particular environment you’ll be facing. It could be a concert one day, a sporting event the next.

FUJIFILM Optical Devices Division designed the XA50x9.5BESM with this kind of flexibility in mind for any type of large venue requiring tight shots at long distances. The lens features the Digi Power servo control system and Digital Quick Zoom to control the lens function quickly and accurately for all production environments. While McIvor is excited about the possibility of using the lens to shoot professional hockey games for Winnipeg’s new Jets franchise, he also sees many applications across Canada for live conferences and tradeshows.

“This lens is in a price range that is very affordable in the staging market for such a long telephoto lens with a great aperture,” he explained. The new lens is actually just one of a wide variety of Fujinon lenses in MidCan’s rental inventory. McIvor noted, “We get a lot of requests especially for the HA16x6.3BERD ENG/EFP lens. It’s a great mid-range choice with a combination of wide angle and high zoom range that everyone seems to enjoy. And, like all our FUJINON lenses, it’s delivered terrific quality and durability.”

McIvor added that in the demanding rental and staging business, it’s essential to work with manufacturers who support their products with great customer service. “We’ve enjoyed a great partnership with FUJIFILM. Our rep, Stosh Durbacz, is terrific. He’s one of those guys who will bend over backwards to make something happen, as he did in working with us to get the new lens here in Winnipeg and ready for the Canadian market. Thanks to his efforts, it’s boxed up and ready to be on a plane today. We couldn’t be happier.”

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of five operating divisions and one subsidiary company. The Imaging Division sells consumer and commercial photographic products and services including film, one-time-use cameras, online photo services and fulfillment, digital printing equipment and service. The Electronic Imaging Division markets consumer digital cameras. The Motion Picture Division provides motion picture film, and the Graphic Systems Division supplies products and services to the printing industry. The Optical Devices Division provides binoculars, and optical lenses for closed circuit television, videography, cinematography, broadcast and industrial markets. FUJIFILM Canada Inc. markets a range of Fujifilm products and services. For more information, please visit www.fujifilm.com/northamerica, or go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.

FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 16 companies around the world granted U.S. patents in 2010, and in the year ended March 31, 2011, had global revenues of $25.8 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.

* At an exchange rate of 86 yen to the dollar.

About Mid-Canada Productions

With its 16,000 square foot facility in Winnipeg, Manitoba, MidCanada Production Services Inc. specializes in broadcast-quality equipment and crews for film, television and video production and post-production; audio recording; ADR recording and post production; SD/HD video camera rentals, sales and supply; and website design and development. Visit http://www.midcan.com.

All product and company names herein may be trademarks of their registered owners.

FUJIFILM Optical Devices Division, 10 High Point Drive, Wayne, New Jersey 07470. Phone: 973-633-5600. Fax: 973-633-5216. Web site: http://www.fujifilmusa.com/products/optical_devices/index.html

South of France based broadcast, video and AV rental services specialist Forcast, headed by Stephane Pilloud has acquired Action Monaco from the Avesco Group – in a planned expansion that will see both companies join forces and continue operating in their existing highly successful formats.

The strategic merger sees Forcast become the largest AV rental / broadcast and video facilities service operation in France outside of Paris, and the biggest such independently owned company in the country.

Forcast has steadily built its reputation for supplying the highest quality, state-of-the art video equipment and crew, plus imaginative turnkey solutions to the busy live and corporate events market in the region – which also extends into Spain and Italy – over the last 10 years.

Its work embraces all sectors of their industry including sporting fixtures, special events, festivals of all types – music, arts, culture, etc., together with corporate shows and presentations. It is also involved in AV and broadcast systems design, specification and implementation, with recent high profile venue projects including the new Olympic Nice Stadium and the Grimaldi Forum conference and congress centre in Monaco.

Says Pilloud, “An absolute ideal opportunity presented itself with Action Monaco, and I saw a chance to integrate both businesses into a single streamlined operation, taking advantage of a great synergy that will continue to provide the service and standards that everyone expects”.

With Action’s main office in Monaco and Forcast’s three facilities along the Cote D’Azur, all easily accessible to main intercontinental highways, Forcast and Action Monaco can easily combine both equipment and resources to cost-effectively service projects from Barcelona to Milan as well as further afield in Europe.

The Forcast / Action merger fuses the latest technologies with a wealth of experience, knowledge and dynamic thinking in the fields of modern video production.

All related equipment can be supplied to a diversity of clients and projects, from full HD camera and OB systems to varying PPUs; from a wide selection of LED screens and surfaces to projection systems of all sizes together with multiple screen control and screen management options. Full editing suites and content creation facilities are also available, either for pre-production or on site.

Pilloud will be joined at Action Monaco by Monaco based independent AV producer and industry maverick Andrew Van Hoffelen, who will help co-ordinate the day-to-day running of the company, focusing on large events and business development.

Van Hoffelen comments, “Over the past twenty five years I’ve worked to improve the service and standards of the TV, video and staging facilities available on the Cote d’Azur. Stephane has always been an enthusiastic partner in this mission and I’m really excited to join the Forcast / Action Monaco team at this juncture.

“Forcast already has an amazing reputation and respect for excellence in its work. Stephane has always instigated ‘international’ rather than ‘local’ working practices and we are dedicated to providing global clients with exactly the same technical facilities, and service that they would expect ‘at home’. This far exceeds a standard ‘Local rental operation’ and it is great to get the opportunity of moving this ethos and the whole operation forward”.

The live events market in the south-west of Europe and particularly along the coast, is currently steadily busy, with much of the business initiated in the USA, UK, and other parts of northern Europe.

Factors becoming important in it’s servicing include the requirement for more eco-friendly and sustainable technical solutions that don’t involve trucking equipment over such long distances. The Forcast / Action Monaco merger puts the companies in an ideal position to fulfil this criteria.

Forcast also works closely with specialist partners in lighting and audio to enable the provision complete, cost-effective full technical production packages.

For more press info. on Forcast or Action Monaco, please contact Louise Stickland on +44 (0)1865 202679/+44 (0)7831 329888 or Email ‘louise@loosplat.com’.

Hollywood, CA – 3D Film Factory, the leader in professional, affordable 3D camera rigs, introduces the world’s lightest, most affordable, hand-held 3D rig – the 3D Bullet Rig. Ready to “Load & Shoot”, this versatile 3D system is literally unshakable for handheld, Steadicam, Easyrig, or tripod filming.Priced at a fraction of other professional 3D rigs (under $5K), this compact beam-splitter rig is the perfect solution for location, reality, or action 3D filmmaking. It’s features actually surpass that of other more expensive rigs. For more information on the 3D Bullet Rig visit www(dot)3DFilmFactory(dot)com

“The 3D Bullet Rig is going to take 3D production to a whole new level. I love this rig. It’s incredibly light, rock steady and most of all – it’s really easy to shoot with from your shoulder, or tripod. This rig is a 3D filmmakers dream, very versatile“, said the company’s veteran stereographer Keith Driver. “Most 3D rigs are bulky, expensive and worst of all – tripod bound. They require a crew to operate. We’ve shot 3D projects in Africa, the Middle East, Hollywood soundstages, you name it we’ve done it in 3D. And we realized we needed a more mobile 3D rig. A 3D rig you could just pick up and shoot with. This is the 3D Bullet Rig.”

The 3D Bullet Rig makes handheld 3D filming effortless and smooth by transferring the weight to your waist and shoulder. Each 3D rig includes a spring-loaded suspension rod, comfortable weight displacement belt and adjustable, padded shoulder mount. The result is hours of mobile, handheld 3D filming capability. In addition, the rig features detachable rubber hand grips for easy manoeuvring and a standard tripod mounting plate (¼-20 and ?-16 holes).

Weighing approx. 15 lbs. (5.8 kgs.) the Bullet Rig accommodates the Red Epic, Canon DSLR 5D, 7D, XF105, XF305, XH-G1, Sony F3, EX3’s, HDCP1, X5U, Z1U, Panasonic AF100, HPX250 and many other professional HD cameras.

The rig also features custom camera mounts that easily lock and load cameras into place using a standard quick-release plate from Bogen/Manfrotto. The horizontal camera mount offers IO (inter-ocular) adjustability from 0” – 3.5” (0 – 89 mm) and simple convergence movement from 0°-3°. Both functions are easily controlled using smooth, accurate finger knobs, with calibration markings. The vertical camera mount adjusts for perfect stereoscopic picture alignment by elevating and performing full x-y-z rotation (yaw, roll, tilt).

The light-weight, mirror box housing is constructed using space-age foam core plastic that’s durable, corrosion-free and substantially cooler than a metal matte box. This ensures your beam-splitter glass with its expensive coatings will stay cool on hot days. The rig itself is hand-milled employing a nearly indestructible aluminium alloy frame.

Perfect for traveling light, the entire 3D Bullet Rig is ingenuously designed to set-up and break down in a matter of minutes, packing into a small, water-tight pelican case.

As a bonus, the horizontal rail easily detaches, along with the camera mounts, transforming into a side-by-side rig 3D for wide and landscape stereography.

Our opti-prime, 50/50 beam-splitter glass is optimized to meet the demands of 3D filmmaking. See specs. Within the matte box, a simple adjustment tool allows stereographers to fine tune the glass angle from between 43° to 47°.

The outcome is simply the world’s most affordable, professional handheld 3D rig.

It should be noted that using our simple Lanc system camera operators can now synch start/stop, focus, alignment, lens shift and many other vital functions thru both cameras or individually.

The 3D Film Factory offers a complete line of 3D beam-splitter rigs intended for HD camcorders, as well as larger ENG and broadcast style camera. In addition, we offer several inexpensive side-by-side rigs and real-time 3D viewing solutions. To learn more about 3D camera rigs, 3D viewing systems, 3D production services, or 3D training workshops visit – www.3DFilmFactory.com

About the 3D Film Factory
Established in 2008 by award-winning filmmakers and veteran stereographers, the 3D Film Factory has been the worldwide leader in professional, affordable 3D camera rigs and real-time 3D monitoring solutions. In addition we provide a host of 3D production services worldwide including, stereographers ‘for hire’, 3D camera rig rental, 3D viewing systems, and 3D post, as well as intensive 3D training workshops. Former clients include ESPN, NASA, Disney, HD Cinema, Pinewood Studios and Discovery. For more information visit www.3DFilmFactory.com

London, England – Codex Digital recording and workflow technology is currently being used by a number of significant motion picture productions shooting with the ARRI Alexa camera in ARRIRAW format.

Current productions include:

• Skyfall (the new James Bond film); Sam Mendes, director; Roger Deakins, director of photography.
• Trance; Danny Boyle, director; Anthony Dod Mantle, director of photography
• R.I.P.D.; Robert Schwentke, director; Alwin H. Kuchler, director of photography
• Broken City; Allen Hughes, director; Ben Seresin, director of photography
• The Lone Ranger; Gore Verbinski, director; Bojan Bozelli, director of photography

In 2011, more than 50 feature film production employed ARRI Alexa/Codex/ARRIRAW workflows.
For a complete list of Codex films, click here.

more

Wayne, N.J. – FUJIFILM North America Corporation, Optical Devices Division has announced that Director of Photography (DP) and Director Jay Kriss used FUJINON E-Series Digital Cinematography HD lenses exclusively in the production of his full-length historical documentary, “Harvesting the High Plains.”

The film is slated to air late summer or fall nationally this year on the PBS network. Kriss co-owns the film production company Inspirit Creative, based in Williamsburg, VA, with Producer Sydney Duvall. For more information on the film, please click on www.harvestingthehighplains.com or www.kpts.org.

Kriss began shooting the documentary in the summer of 2010 using a Panasonic AJ-HP3700 P2 HD VariCam camcorder outfitted with a FUJINON HAe10x10 (10x100mm) E-Series HD zoom lens. In early 2011, he added a complement of FUINON E-Series HD prime lenses, including the HAeF5 5mm; HAeF8 8mm; HAeF10 10mm; HAeF12 12mm; HAeF16 16mm; HAeF20 20mm; HAeF34 34mm; and HAeF54 54mm, which enabled him to match the needs of each shot with the ideal lens.

“Harvesting the High Plains” recounts the hardships and challenges faced by farmers during the 1930’s Dust Bowl, a time when farmland was devastated by extreme drought and excessive farming. The 90-minute film tells the true story of two farmers—Ray Garvey of Wichita, Kansas and John Kriss of Colby, Kansas—who are credited with the expanded use of the innovative Summer Fallow agricultural method as well as other innovative farming methods that transformed uncultivated prairies into high yielding fields of wheat while conserving and respecting the land they used. The film depicts the fortitude of the American spirit that brought the country out of the Great Depression. “Something we all need to be reminded of in this present time,” stated Kriss.

“The FUJINON digital cinema lenses gave me creative latitude that exceeded anything I’ve experienced with other brand lenses,” said Kriss. “This film greatly benefits from the depth of field, precision, and clarity these lenses produce.”

“We really put these lenses to the test by shooting for weeks under extreme production conditions,” Kriss said. Besides temperatures exceeding 102 degrees, the lenses were continually subjected to extremely hot, dry, dusty winds common to the plains of Western Nebraska and Western Kansas. Every evening, Kriss would spend 1.5 to two hours meticulously cleaning dust from the lenses, but they never failed to perform flawlessly.

“We also pushed these lenses creatively,” Kriss said. “We adjusted the camera’s menus to shoot monochromatically, and then affixed a ‘Red 25’ filter to the lens to obtain a high contrast effect. Since the filter costs 4.5 stops, it was extremely advantageous to be able to open the lenses as far as possible, from T2.2 to T1.6, to maximize available light.” This also allowed Kriss to shoot with a very open lens, a style he prefers.

Kriss also cites the excellent service and support he received from his FUJIFILM Optical Devices sales executive, Bob Van Bodegon, as well as John Heinke of Hampton, VA-based Digital Video Group.

The finished film pulls together black/white establishing shots, historical footage, interview segments shot in color, and a black/white scene featuring actors in 1930’s period dress operating vintage farm equipment to harvest a field of wheat. Currently in post, “Harvesting the High Plains” will be color graded to adjust and match the contrast and color temperatures of all scenes prior to 35mm mastering.

DP Kriss and Producer Sydney Duvall co-wrote the script, which was based upon tens of thousands of letters exchanged by Ray Garvey and John Kriss. The letters, sent daily via the U.S. Postal Service, documented the history of their massive farm operation, GK Farms, as well as the national challenges caused by such historical events as The Great Depression, The Dust Bowl, and World War II.

According to Duvall, “This film documents the strength and resilience of these two farmers as they persevered to build an agricultural enterprise that eventually produced an unprecedented one million bushels of wheat by 1947—an accomplishment we hope will inspire contemporary Americans, many of whom are also facing tough economic times.”

Inspirit Creative is also partnered with Back 40 Films in the feature documentary production, “The Vanishing Hemlock.” The documentary focuses on the mass-scale death of more than 75 percent of the hemlock trees throughout the Smoky Mountains, and one man’s commitment to save what’s left. At times Kriss climbed more than 100 feet into a tree to shoot, and also captured extensive aerial footage with his Fujinon lens. Produced by David Huff and Back 40 Films in association with Inspirit Creative, “The Vanishing Hemlock” will be released on Arbor Day in 2012. For more information and to view footage, visitwww.thevanishinghemlock.com.

About Fujifilm
FUJIFILM North America Corporation, a marketing subsidiary of FUJIFILM Holdings America Corporation consists of five operating divisions and one subsidiary company. The Imaging Division sells consumer and commercial photographic products and services including film, one-time-use cameras, online photo services and fulfillment, digital printing equipment and service. The Electronic Imaging Division markets consumer digital cameras. The Motion Picture Division provides motion picture film, and the Graphic Systems Division supplies products and services to the printing industry. The Optical Devices Division provides binoculars, and optical lenses for closed circuit television, videography, cinematography, broadcast and industrial markets. FUJIFILM Canada Inc. markets a range of Fujifilm products and services. For more information, please visit www.fujifilm.com/northamerica, or go to www.twitter.com/fujifilmus to follow Fujifilm on Twitter. To receive news and information direct from Fujifilm via RSS, subscribe at www.fujifilmusa.com/rss.

FUJIFILM Holdings Corporation, Tokyo, Japan, brings continuous innovation and leading-edge products to a broad spectrum of industries, including electronic imaging, digital printing equipment, medical systems, life sciences, graphic arts, flat panel display materials and office products, based on a vast portfolio of digital, optical, fine chemical and thin film coating technologies. The company was among the top 16 companies around the world granted U.S. patents in 2010, and in the year ended March 31, 2011, had global revenues of $25.8 billion*. Fujifilm is committed to environmental stewardship and good corporate citizenship. For more information, please visit www.fujifilmholdings.com.

* At an exchange rate of 86 yen to the dollar.

All product and company names herein may be trademarks of their registered owners.

FUJIFILM Optical Devices Division, 10 High Point Drive, Wayne, New Jersey 07470. Phone: 973-633-5600. Fax: 973-633-5216. Web site:http://www.fujifilmusa.com/products/optical_devices/index.html