It's a Brave New World – Blog by Scott Arundale & Tashi Trieu

Eastman Kodak Co. is preparing to seek bankruptcy protection in the coming weeks, people familiar with the matter said, a move that would cap a stunning comedown for a company that once ranked among America’s corporate titans.

The 131-year-old company is still making last-ditch efforts to sell off some of its patent portfolio and could avoid Chapter 11 if it succeeds, one of the people said. But the company has started making preparations for a filing in case those efforts fail, including talking to banks about some $1 billion in financing to keep it afloat during bankruptcy proceedings, the people said.

A Kodak spokesman said the company “does not comment on market rumor or speculation.”

A filing could come as soon as this month or early February, one of the people familiar with the matter said. Kodak would continue to pay its bills and operate normally while under bankruptcy protection, the people said. But the company’s focus would then be the sale of some 1,100 patents through a court-supervised auction, the people said.

That Kodak is even contemplating a bankruptcy filing represents a final reversal of fortune for a company that once dominated its industry, drawing engineering talent from around the country to its Rochester, N.Y., headquarters and plowing money into research that produced thousands of breakthroughs in imaging and other technologies.

The company, for instance, invented the digital camera—in 1975—but never managed to capitalize on the new technology.

Casting about for alternatives to its lucrative but shrinking film business, Kodak toyed with chemicals, bathroom cleaners and medical-testing devices in the 1980s and 1990s, before deciding to focus on consumer and commercial printers in the past half-decade under Chief Executive Antonio Perez.

None of the new pursuits generated the cash needed to fund the change in course and cover the company’s big obligations to its retirees. A Chapter 11 filing could help Kodak shed some of those obligations, but the viability of the company’s printer strategy has yet to be demonstrated, raising questions about the fate of the company’s 19,000 employees.

Such uncertainty was once unthinkable at Kodak, whose near-monopoly on film produced high margins that the company shared with its workers. On “wage dividend days,” a tradition started by Kodak founder George Eastman, the company would pay out bonuses to all workers based on its results, and employees would use the checks to buy cars and celebrate at fancy restaurants.

George Eastman and Thomas Edison ca 1920

Former employees say the company was the Apple Inc. or Google Inc. of its time. Robert Shanebrook, 64 years old, who started at the company in 1967 and was most recently world-wide product manager for professional photographic film, recalls young talent traipsing through Kodak’s sprawling corporate campus. At lunch, they would crowd the auditorium to watch a daily movie at an on-site theater. Other employees would play basketball on the company courts.

“We had this self-imposed opinion of ourselves that we could do anything, that we were undefeatable,” Mr. Shanebrook said.

Kodak’s troubles date back to the 1980s, when the company struggled with foreign competitors that stole its market share in film. The company later had to cope with the rise of digital photography and smartphones.

It wasn’t until 10 years ago that the mood began to sour, said Mr. Shanebrook. By 2003, Kodak announced it would stop making investments in film. “I didn’t want to stick around for the demise,” he said.

The company and its board have weighed a potential bankruptcy filing for months. Advisers told Kodak a filing would make its patent sale easier and likely allow the company to command a higher price, people familiar with the matter have said. The obligation to cover pension and health-care costs for retirees could also be purged through bankruptcy proceedings, the people said.

Those obligations—which run to hundreds of millions of dollars a year—as well as the unprofitable state of Kodak’s new businesses, have made the company undesirable as a takeover target, people familiar with the matter said.

During a two-day meeting of the company’s board, management and advisers in mid-December, executives were briefed on how Kodak would fund itself during bankruptcy proceedings should efforts to sell its patents fall short, a person familiar with the matter said.

Kodak is in discussions with large banks including J.P. Morgan Chase & Co., Citigroup Inc. and Wells Fargo & Co. for so-called debtor-in-possession financing to keep the company operating in bankruptcy court, people familiar with the matter said.

Kodak has also held discussions with bondholders and a group led by investment firm Cerberus Capital Management LP about a bankruptcy financing package, the people said.

Should it seek bankruptcy protection, Kodak would follow other well-known companies that have failed to adapt to rapidly changing business models. They included Polaroid Corp., which filed for bankruptcy protection a second time in December 2008; Borders Group Inc., which liquidated itself last year; and Blockbuster Inc., which filed for bankruptcy protection in 2010 and was later bought by Dish Network Corp. A bankruptcy filing would kick off what is expected to be a busier year in restructuring circles, as economic growth continues to drag and fears about European sovereign debt woes threaten to make credit markets less inviting for companies that need to refinance their debts.

Mr. Perez decided to base the company’s future on consumer and commercial inkjet printing. But the saturated market has proved tough to penetrate, and Kodak is paying heavily to subsidize sales as it builds a base of users for its ink.

The company remains a bit player in a printer market dominated by giants like H-P. Kodak ranks fifth world-wide, according to technology data firm IDC, with a market share of 2.6% in the first nine months of 2011.

As the company works on a restructuring plan, a key issue for creditors is whether the printer operations are worth supporting, or whether the bulk of the company’s value is in its patents.

Nortel Networks Corp., a company that also had fallen behind the technology curve, opted to liquidate itself in bankruptcy court rather than reorganize, raising a greater than expected $4.5 billion for its patent trove.

Kodak’s founder, Mr. Eastman, took his life at the age of 77 in what is now a museum celebrating the founder and Kodak’s impact on photography. His suicide note read: “To my friends, my work is done. Why wait?”

Read more:

http://online.wsj.com/article/SB10001424052970203471004577140841495542810.html#ixzz1ibOm8KV4

In survey, 16% of school tech directors expect to have 1 tablet per student within 5 years

Whether counting heads at the Apple Store or buttonholing cell phone users at the Mall of America, Piper Jaffray’s Gene Munster is the master of the small survey that may or may not be significant.

His latest: A survey of 25 educational technology directors at a conference on integrating technology in the classroom. “While our sample is small,” he writes in a note to clients issued Monday, “so is the population of IT decision makers in the education field in the US.”

And what did he discover? Among his findings:

• 100% were testing or deploying iPads in their schools. 0% were testing or deploying Android tablets
• Their schools currently have an average of one computer for every 10 students
• Nearly half (12) expect to eventually deploy one computer per child; two of their schools already do
• More than a third (9) expect to deploy one tablet per child; one of them already does

Given the huge problems facing America’s schools, it’s a slender thread on which to base a vision of broad educational reform. (Munster quotes outgoing Apple retail chief Ron Johnson, who has suggested that the current crop of students might be “the last generation with backpacks.”)

But Munster is probably correct that the overwhelming preference for iPads over tablets running Google’s (GOOG) Android reflects the power of Apple’s (AAPL) first mover advantage. He writes:

“We also see a trend in education (which is mirrored in the enterprise) that familiarity with Apple devices among students (or employees) is causing a demand pull within institutions to also provide Apple devices.”

SOURCE:  http://tech.fortune.cnn.com

The Visual Effects Society, the industry’s organization of visual effects artists and technicians, today released a Bill of Rights designed to call attention to problems affecting its membership and Hollywood. The document follows an open letter to the entertainment industry by the VES, which cited a downward spiral of working conditions and benefits as well as earnings for effects pros around the globe.  “In the VES open letter, we said it was time to step up as the voice of the visual effects industry by talking to all parties regarding their concerns,” said exec director Eric Roth. “At this time we have engaged in a vigorous dialog with key stakeholders at all levels and believe our Bill of Rights lays out the vital concerns of each segment of the industry. Our next step is to focus on bringing all parties together to seek solutions.”

source: deadlinehollywood.com

While education is clearly the key to bringing into sharp relief the challenges facing the industry, what it all boils down to is the reality that much of the labor continues to be outsourced to India and China, where working conditions are not regulated and wages are minimal.  Every U.S. industry faces this harsh reality.  Despite the fact that we remain the leader in creation of content and filmed entertainment, producers are content to have the work done in sweatshops around the world, rather than maintain a talent base here at home.

Scott Arundale

3ality Digital and RED Digital Cinema Partnership Kicks Off With S3D Production Classes and Presentation at REDucation

Burbank, CA. – June 1, 2011 – 3ality Digital, world leader in advanced technologies to empower creative digital stereoscopic 3D (S3D) acquisition, and RED Digital Cinema announced today a Stereoscopic 3D partnership, which launched during the recently completed REDucation sessions on May 24-28 at RED Studios Hollywood. 3ality Digital will be the primary 3D partner for RED Digital Cinema, and together the companies will train professional and aspiring filmmakers on how to create clear and pristine 3D images using the same equipment as elite Hollywood directors like Peter Jackson and Bryan Singer.

“The biggest tent pole movies shooting on the planet right now, like The Hobbit, are all shooting S3D on EPIC and 3ality Digital,” said Ted Schilowitz, Leader of the Rebellion at RED Digital Cinema. “The teams at RED and 3ality Digital have been working together for years behind the scenes. Now is the right time to take that relationship to the next level and integrate education components for the community.”

As the primary stereoscopic 3D partner for RED, 3ality Digital lent its technology, currently being used in feature films such as The Amazing Spiderman and Jack the Giant Killer, to REDucation’s 3-day introductory session May 24-26, as well as during the advanced classes May 27-28. The REDucation Open House included a screening of S3D content produced with 3ality Digital technology. Attendees also experienced special presentations from RED including the latest “Tattoo” EPIC Reel shown in 4k.

“S3D is here to stay and choosing partners at the forefront of the technology that really grasp what true, high-resolution cinema and S3D are all about is essential for business and for the community,” said Steve Schklair, CEO of 3ality Digital. “Educating filmmakers and getting RED and 3ality Digital technology in their hands at events like REDucation is a crucial step towards accelerating and facilitating S3D content production and ultimately consumer adoption.”

The ongoing partnership will also include collaboration at the Camp RED youth summer program August 1-19, where the new partners will provide young filmmakers with training in S3D production. Students ages 9-15 will shoot their own S3D films at RED Studios Hollywood during the week-long day camp sessions, including an exclusive, behind-the-scenes trip to 3ality Digital Studios.
About RED Digital Cinema
Red Digital Cinema is the brainchild of Jim Jannard, founder of Oakley, world-famous manufacturer of sunglasses, sports apparel and personal electronics. Mr. Jannard is a self-professed lover of all things photographic, having amassed an extensive photographic collection, as well as having been a shooter for most of his life. His search for the perfect video/film camera was never satisfied and proved to be the inspiration behind creating the ultimate full motion camera. His desire was to create a camera that matched the quality of, and processed images similar to, the very finest digital still cameras…. but at motion picture frame rates.

About 3ality Digital
3ality Digital is a pioneer and leading authority in stereoscopic 3D (S3D). 3ality Digital provides the film and television industry with camera platforms, stereo image processing systems and S3D image scaling technologies that are considered the “gold standard” for the production of compelling and immersive S3D entertainment. Whether for a feature film or live sporting event, its innovative technology empowers customers to stay in control of creativity when working with S3D.

Founded in 2000 by CEO, Steve Schklair, 3ality Digital has a reputation as an innovator in S3D, with its technology powering multiple live-action firsts. This includes: U2 3D, the first movie shot completely in live-action S3D; the first live S3D broadcast of an NFL game (Raiders vs. Chargers, December 4th, 2008, broadcasted to a select audience); the first live S3D sports broadcast available to consumers, including the 2009 BCS Championship Game, BSkyB’s landmark Manchester United vs. Arsenal soccer broadcast (January 31st, 2010), the first network hockey telecast ever produced in S3D (New York Rangers vs. Islanders, March 24th 2010 on MSG); the first S3D commercial broadcast during a Super Bowl (Sobe “Lizard Lake”); the first full episode of a scripted television series shot in live-action S3D (Chuck vs. The Third Dimension, aired on NBC on February 2nd, 2009); and first RED EPIC S3D Movie, ‘The Amazing Spider-Man.’

For more information, please visit www.3alitydigital.com

COLLEGE PARK, Md., April 10 (UPI) — It doesn’t matter if a college student lives in the United States, Chile, China, Slovakia, Mexico or Lebanon — many are addicted to media, researchers say.

Susan D. Moeller of the University of Maryland and the director of International Center for Media & the Public Agenda says whether in developing countries or developed countries the findings are strikingly similar in how teens and young adults use media and how “addicted” they are to their cellphone, laptop or mp3 player.

The researchers and colleagues at the Salzburg Academy on Media & Global Change asked about 1,000 students in 10 countries on five continents to give up all media for 24 hours and record their experiences.

The study found the students reacted almost identically to being unplugged from media and used virtually the same words to describe their reactions, including: fretful, confused, anxious, irritable, insecure, nervous, restless, crazy, addicted, panicked, jealous, angry, lonely, dependent, depressed, jittery and paranoid.

“Perhaps naively, we assumed that we would find substantial differences among the students who took part in this study,” Moeller says in a statement.

“After all, our partner universities come from very different regions and from countries with great disparities in economic development, culture and political governance.”

In short, the students were blind-sided by how much media have come to dominate their lives and their identity, Moeller says.

The study is at: http://theworldunplugged.wordpress.com/

Film Studies: Chapman University wants to overtake USC and NYU.

The article in this Sunday’s L.A. Times sums it up nicely.

It has been an extraordinary ride during the last four years.  I began teaching at Dodge College as an Adjunct Professor and was thrilled when Bob Bassett offered me a contract a year later.  The new Marion Knotts studio complex came with the usual wrinkles: too much technology and over-engineered but with time the school began to hit its stride.  In terms of post-production we offer 100 Avids along with DS Nitris, Smoke and Flame.  We still count ourselves as a “Film School” and it remains part of our name.  There is no other learning institution in the country that features both Autodesk Lustre and Spirit 4K.  I give a big shout out to Dan Leonard, Associate Dean and Chief Technology Officer who is the mad scientist who put this rig together along with Deszo Magyar, Associate Dean and Chief Academic Officer who consistently reminds me that character development is key to a successful story.   I’m very much involved in Alumni relations as I believe the most important aspect of our program will be when graduates will return to Orange  and share their experiences.  It is happening now. We are building our own Dodge College/Chapman mafia and we have a great reputation in the industry for interns who are bright and committed and show up on time and ready to work!

- Scott Arundale

Shingle to fully-finance micro-budget films

By Rachel Abrams

In a rare move for a film school, Chapman University has launched a feature film production and distribution label, Chapman Entertainment.

The shingle will fully-finance micro-budget films in the $250,000 – $625,000 range from a mix of equity partners and private donors.

Bob Bassett, the dean of Dodge College of Film and Media Arts, will head the program, which, he says, will be open to both alumni and the filmmaking community at large.

“We really will take stories or scripts from anybody,” Bassett told Variety, adding that the group is actively pursuing two scripts, only one of which originated with an alum. “(But) the key aim is to help our alumni make a transition into the business.”

Bassett emphasized, however, that Chapman Entertainment will only be making fully-realized movies, not student films.

“In most film schools, the students make short films,” he said. “But that’s really not the currency of the business.”

Film schools do not normally enter in the film production and distribution business. The move, says Bassett, has much to do with teaching not just how to make a film, but how to get the film to an audience. To that end, Chapman is also one of the few schools which teaches marketing and film publicity to help teach students that just creating a film won’t make people want to see it, an idea he says is “rampant” in many schools.

“Part of our aim is to do something bold and to directly connected to the business.”

In a statement, the company says it will select projects based primarily on their appeal to a “younger demographic” and will look to release films through traditional independent channels.

Contact the variety newsroom at news@variety.com

From the LA Times:

In a high-stakes bid to raise its academic profile and help its alumni launch careers in filmmaking, Chapman University is creating a for-profit film production company that will make, own and distribute five to 10 feature films a year, college officials announced Wednesday.

The new company, Chapman Entertainment, will be run by the school’s Dodge College of Film and Media Arts. It’s being billed by the liberal arts college and professional school, located in Orange, as the first venture of its kind associated with an academic institution.

Bob Bassett, the private college’s longtime dean, will serve as the company’s president and chief executive. He said the venture is designed to produce viable “commercial properties,” not the short films that students typically use as calling cards in landing entry-level film or television jobs.

“Our students are production assistants all over Hollywood right now, but we want to do something that’s going to put them in the driver’s seat,” said Bassett, who oversaw the establishment of the college’s $42-million Marion Knott Studios, a 76,000-square-foot, state-of-the-art studio complex.

“It’s not for students, it’s for alums,” Bassett said Wednesday. “It’s for people we’ve already trained and who have the chops.”

Under the arrangement, the company will make commercial movies in the so-called micro-budget range of $250,000 to $625,000. The films will lean toward youth-friendly genres such as comedies, thrillers and horror films, and will be aimed at a youthful demographic “that is more likely to embrace and access new media distribution channels,” according to a school-issued statement on the new venture.

Employing a combination of Dodge College post-graduates and industry professionals, productions will be funded by equity partners as well as philanthropic donors, the school said. Filmmakers whose projects are selected will be able to use the college’s production facilities and equipment for rates that will be factored into each project’s budget.

Screenplays will be solicited from a variety of sources, including major talent agencies, Bassett said. And although Chapman graduates will get priority consideration, scripts and project proposals may be submitted by anyone.

Bassett predicted that the new enterprise would help distinguish Dodge from older, better-known college film schools such as USC’s School of Cinematic Arts and New York University’s Tisch School of the Arts’ Kanbar Institute of Film and Television. He said the company would function like a professional film studio, “in a very modest way.”

Officials at USC, the American Film Institute and other film schools could not be reached for comment.

Dodge expects to soon name the first screenplay that the new company will develop. “I have two projects that we’re developing and have equity partners that are interested in them,” Bassett said. “It could be tomorrow or it could be a month from now.”

In interviews conducted on Dodge’s campus in recent months, several current students and post-graduates voiced approval of the venture.

“An MFA in film does not get you a job,” said Brian Faye, a 2010 graduate, “but the fact that they’re talking about funding a few pictures a year, I think that’s phenomenal. That’s the thing you can’t get anywhere else.”

Chapman has tapped Travis Knox, a 1998 Chapman graduate and producer — whose credits include “The Bucket List” and “Hairspray” — to oversee development, production and the company’s daily operations. Barbara Doyle, chair of the college’s film division and a former production associate at Tri-Star Pictures, will serve as executive in charge of production.

Speaking at a faculty meeting last fall, Doyle said the new venture would allow Chapman students to have a fully professional experience in bringing film projects from conception to fruition.

“The idea is not to do guerrilla films,” she said.

reed.johnson@latimes.com

Chapman University’s Dodge film school has tapped eight student filmmakers to shoot a 3D documentary on their expedition to reach the summit of Mt. Kilimanjaro at 19,341 feet.

The students — four male and four female — are set to depart Monday for Tanzania. Chapman said the students were selected after proving to be physically fit enough for the task and eager to climb the highest mountain in Africa.

Each will shoot his or her own expedition documentary, chronicling their experience and each will also take turns operating a Panasonic 3D camera.

Panasonic loaned the crew a 3D camera for two months in exchange for two minutes of “beauty shots” from Kilimanjaro. Dodge College Professors Jeff Swimmer and Jurg Walther will lead the expedition.

Swimmer said he’s planning a similar journey next year to Antarctica.

source: variety.com

NPR’s Michelle Trudeau reports on a fascinating new study that suggests hours in front of the gaming console may be time well spent for developing minds.  What is not up for debate in the study are the consequences of exposing our children to an ultra-violent world of savagery and gruesome images such as CALL OF DUTY: BLACK OPS , a frame grab of which is depicted below.

Parents, the next time you fret that your child is wasting too much time playing video games, consider new research suggesting that video gaming may have real-world benefits for your child’s developing brain.

Daphne Bavelier is professor of brain and cognitive sciences at the University of Rochester. She studies young people playing action video games. Having now conducted more than 20 studies on the topic, Bavelier says, “It turns out that action video games are far from mindless.”

Her studies show that video gamers show improved skills in vision, attention and certain aspects of cognition. And these skills are not just gaming skills, but real-world skills. They perform better than non-gamers on certain tests of attention, speed, accuracy, vision and multitasking, says Bavelier.

Seeing Shades Of Gray

Vision, for example, is improved in gamers. Specifically, the kind of vision called “contrast sensitivity,” that is, the ability to see subtle shades of gray.

“And this is a skill that comes in very handy if you’re driving in fog,” Bavelier says. “Seeing the car ahead of you is determined by your contrast sensitivity.” Skilled gamers also are able to see smaller type size than non-gamers on vision tests.

But Bavelier wanted to know which came first: Is better vision caused by playing action video games, or is better vision a skill that gamers bring to the table? Perhaps, Bavelier wondered, gamers already have sharp vision, and are thus good at action games and vision tests.

To check this out, Bavelier recruited non-gamers and trained them for a few weeks to play action video games. “At the end of their training,” Bavelier says, “they’re told, go back home. No more gaming. They’re not allowed to play any games.”

Then they came back into the lab every few months to have their vision re-checked.

Bavelier found that their vision remained improved, even without further practice on action video games. “We looked at the effect of playing action games on this visual skill of contrast sensitivity, and we’ve seen effects that last up to two years.”

Gamers, Bavelier has also found, have better attention than non-gamers — they stay focused. She gave gamers several tests to measure attention and found that gamers get less distracted by what came before and by events in their surroundings.

Laser Focus

They are able to detect, for example, new information coming at them faster. So as a result, they are more efficient. And Bavelier also says that gamers can switch from task to task much faster than non-gamers, making them better multitaskers.

“We see that typically in people that don’t play action games, their reaction time [on tests of multitasking] lengthened by 200 milliseconds, which is something like 30 percent,” Bavelier says. “But in gamers, it lengthened only by 10 percent.”

Closing The Gender Gap

Brain researcher Jay Pratt, professor of psychology at the University of Toronto, has studied the differences between men and women in their ability to mentally manipulate 3-D figures. This skill is called spatial cognition, and it’s an essential mental skill for math and engineering. Typically, Pratt says, women test significantly worse than men on tests of spatial cognition.

But Pratt found in his studies that when women who’d had little gaming experience were trained on action video games, the gender difference nearly disappeared.

After 10 hours of training, Pratt brought the women back to the lab and gave them the spatial cognition test again.

“And we found that the women improved substantially, and almost caught up to the men’s scores,” he says.

Pratt also investigated another area of spatial cognition called “the useful field of view,” which is essentially how much of the visual field a person can perceive at any given moment. In other words, as Pratt describes it, “How wide can you cast your net of attention?”

Typically, there are baseline differences between men and women on this test, with men performing significantly better. But Pratt found that training on action video games enabled women to significantly improve on this test of visual attention.

Pratt says playing these video games changes your ability to learn, and to find and integrate new information.

“Video game players are able to pick up very subtle, statistical irregularities in environments and use them to their advantage,” Pratt says. “And these same irregularities in environments are the things that help us guide our behaviors on a daily basis.”

To better understand how gamers acquire these non-gaming skills, neuroscientist Lauren Sergio, of York University in Toronto, looks inside the brain. She’s found an important difference between gamers and non-gamers in how and where the brain processes information. She likens skilled gamers to musicians.

“If you look at professional piano players, professional musicians, you see this phenomena where they don’t activate as much of their brain to do very complicated things with their hands that the rest of us need to do. And we found that the gamers did this as well.”

Skilled gamers mainly use their frontal cortex, according to Sergio’s fMRI studies. That’s an area of the brain specialized for planning, attention and multitasking. Non-gamers, in contrast, predominately use an area called the parietal cortex, the part of the brain specializing in visual spatial functions.

“The non-gamers had to think a lot more and use a lot more of the workhorse parts of their brains for eye-hand coordination,” Sergio says. “Whereas the gamers really didn’t have to use that much brain at all, and they just used these higher cognitive centers to do it.”

So the next time you despair that your child is immersed, yet again, in an action video game, remember: Gaming can improve some important skills.

Bavelier hopes that more action video games will be developed that train these skills without the violence found in the typical games available today. And all the researchers suggest that parents should limit their kids’ time on video games. Moderation, they say, is the key.

Dodge College of Film and Media Arts announced today the finalists for the new Location Filmmaking program.  During the month of January, two films will be shot, one a live action 3D film lead by Bill Dill, A.S.C. and the other a film combining live action and visual effects lead by Scott Arundale.  The completed films will be presented in the Folino Theater on Friday, April 29th at 7pm.

The two teams selected for either 3D or VFX film projects will be announced November 20.

***************************************************************************************

3D Location Finalists

Cottontail by James Humphreys

Director:  Rob Himebaugh

Producer: Natalie Testa

Cinematographer: Scotty Field

Editor: Arica Westadt

Sound Designer: Sean Yap

Production Designer: Ryan Phillips

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Gift of the Maggie by Ben Kepner

Director:  Chris Bryant

Producers: Jane Winternitz & Samantha Price

Cinematographer: Greg Cotton

Stereographer: Tashi Trieu

Editors: Chase Ogden & Matt Kendrick

Production Designer: Jeanette Sanker

**********************************

The Harvest by Turner Jacobs

Director:  Alexander Gaeta

Producer: Missy Laney

Cinematographer: Trevor Wineman

Stereographer: Andrew Finch

Editor: Ryan Kaplan

Sound Designer: Cody Peterson

Production Designer: Christy Gray

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A Smart Fly by Brandon Wade

Director:  Brandon Wade

Producer: Zach Mason

Cinematographer: Jason Bonninger

Editor: Sean Yap

Sound Designer: Andres de la Torre

Production Designer: Scheherazade Dadci

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VFX Location Finalists

A Good Man by Gary Alvarez

Director:  Gary Alvarez

Producer: Ayelet Bick

Cinematographer: David Rivera

VFX Supervisor: Alessandro Struppa

Editor: Jonathan Melin

Sound Designer: Affan Tanner

Production Designer: Micah Embry

**********************************

A Nervous Wreck by Jonathan Thompson and Norm Leonard

Director:  Jonathan Thompson

Producer:  Renee Mignosa

Cinematographer: John MacDonald

Editor: Andrew Carney

Sound Designer: Jeff Brown

Production Designer: Lauren DeWitt

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Prey by David Thompson

Director: Jack Brungardt

Producer: Ian Dalesky

Cinematographer: Michael Althaus

VFX Supervisor: Bryan Chojnowski

Editor: Alex Griffin

Sound Designer: Derek Beamer

Production Designer: Kaitlin Kubiak

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Time Capsule by Ira Parker

Director:  Shane McCarthy

Producer: Samer Imam

Cinematographer: Jared Wheeler

VFX Supervisor: Nader Owies

Editor: Affan Tanner

Sound Designer: Chris Mastellone