Kodak is highlighting an array of advances in
film and hybrid postproduction technologies here at the annual International
Broadcasters Conference (IBC) through September 12. The company is showcasing
the KODAK VISION2 HD System, which is designed to enhance both creative
flexibility and efficiency in television production. Other demonstrations will
feature the latest software versions of the KODAK Look Manager and KODAK
Display Manager Systems. By combining these hybrid technologies with stunning
film-originated images, Kodak will exhibit the highest quality imagery
achievable through today's motion picture chain.
"The convergence of advances in film and hybrid technologies is giving the
filmmaking community the creative flexibility it desires along with greater
control over the visuals throughout the entire postproduction process," says
Kim Snyder, general manager of Worldwide Origination Products for Kodak's
Entertainment Imaging Division. "Whether our customers' projects are destined
for television or cinema screens, Kodak offers the superior resolution and
dynamic range of today's best origination medium—film—with the control and
creative options offered by digital postproduction technology for displaying
high definition content."

The Kodak exhibit features an array of film images recorded on KODAK VISION2
16 and 35 mm films that will be projected at the stand. Some images were
recorded on the most recent addition to the KODAK VISION2 family of films.
KODAK VISION2 50D 5201/7201 color negative film is optimized to capture high-
contrast images in either bright, natural sunlight or artificial 5500 degrees
Kelvin daylight. The new emulsion also performs reliably in light with mixed
color temperatures and is available in all popular formats.

"We are listening to cinematographers and responding to their wishes by
continuing to invest in our film portfolio," Snyder says. "There are now seven
negative films in the KODAK VISION2 family. Each of them offers specialized
imaging characteristics."

The KODAK VISION2 HD System was introduced last year. It is designed to
enable cinematographers to use one emulsion that can be manipulated in
postproduction to emulate the tone and color imaging characteristics of other
existing and some discontinued color negative films. The system includes a
specially designed film that features an extended dynamic range and latitude
along with a digital processor used by the postproduction facility. The film
can be rated at exposure indexes (E.I.) of 100, 320 or 500, and is available
in 16 and 35 mm formats.

Enhancements to the system's hardware platform incorporated earlier this
year include improvements that make the system more versatile and efficient,
easier to switch between telecine suites at a facility, along with emulating
additional film looks such as black and white and various photo-chemical
processes.

The same hardware platform can also be used to support the latest version of
the KODAK Telecine Calibration System (TCS). The TCS is designed to ensure
that subtle details in highlights, shadows, contrast and colors are retained
when the negative is scanned and converted to digital video format during
postproduction.

"Offering one box that has the flexibility to perform multiple functions
simplifies processes for facilities and operators," Snyder adds.

The KODAK Display Manager System (KDMS) V4.1 and the Kodak Look Manager
System (KLMS) V2.1 are also being demonstrated at the booth.

KDMS enables postproduction facilities to more efficiently emulate film
looks on electronic display devices using an automatic calibration function.
The latest version of KDMS allows users to import print film 3-D LUTS into
cinema-grade digital projectors, which enables accurate viewing and grading.
The KDMS includes proprietary software and an easy-to-use monitor calibration
sensor. The system incorporates Kodak color science technology, and it can be
used for CRT, LCD, standard- and high-definition monitors to emulate the look
of images recorded out to Kodak print films.

KODAK Display Manager Lite is another cost-effective option offering a
subset of the system's features. KDM Lite is intended for use with CRT and LCD
display devices that require monitor calibration, but do not need the full set
of features on the various workstations being used simultaneously on a
project.

"The goal is to ensure that collaborators working on motion picture film
projects are consistently seeing identical images regardless of locale or
equipment," says Snyder. "The product options were developed in response to
suggestions made by filmmakers and postproduction facilities."

KLMS is designed to allow cinematographers to pre-visualize and manage film
looks from preproduction through postproduction. The software-based system
locks the picture data into an exportable file, which can be accessed by other
system users to ensure accurate communications in a collaborative environment.
Precise calibration ensures that the cinematographer, editor, director and
various collaborators working on a project are seeing the same nuances in
images displayed on viewing devices.

KDM and KLMS are compatible tools, which can also be integrated with the
KODAK VISION2 HD System.

The exhibit also showcases the new Aaton XTRprod2 and ARRI 416 cameras.
These innovative 16 mm cameras offer advanced functionality coupled with a
lightweight design. They include a range of creative options for filmmakers
utilizing advances made in film technology.

Additionally, Teranex has licensed proprietary film enhancement algorithms
from Kodak. They will be integrated into the Teranex portfolio of high
performance video processing solutions beginning in 2007. Minno notes that
Teranex has a wide base of customers in the production and broadcast markets
who will benefit from the ability to efficiently enhance film images,
including 16 mm and archival footage, for high-quality broadcast display in
standard- and high-definition television formats.

"We are committed to the future of film and dedicated to research and
development into technologies that broaden the options available to the
creative community," says Thierry Perronnet, marketing director for the Kodak
Entertainment Imaging division in Europe, the Middle East and Africa. "The
possibilities are as far-reaching as the imagination."

www.kodak.com/go/motion