American Cinematographer - September 2004 - 119

W East
Kodak Makes "Stock Offer" at the Tribeca Film Festival
by Patricia Thomson
in

Kyle Jewell
tests the

undercranking
capabilites of
on

Kodak had little trouble convinc¬

his

Roadside Convenience

hurdling
colleague Chris

7218 with

observes. The

North

Carolina School
of the Arts

used it with the A-

never

a

free

puller,
opportunity to keep shoot¬

ing."

Tribeca Film

Field in

York. Below:

Film Festival

Jones with the

Beneath the bil owing banners of the

Vision2 250D 7246

or

EXR 100T 7248.

Tribeca Film Festival, a film student

Scheduled twice

from the North Carolina School of

val, the program was intended "to intro¬
duce and promote film as a viable origi¬
nation medium," according to Carolyn
Del Vecchio, education specialist at

the Arts is

lying in the gutter. Bounding
toward him at top speed is a classmate
who, at the last minute, hurdles

over

the

sprawled figure. "Excellent!" shouts the
supine cinematographer, who gets up,
brushes off his jeans, and checks the
settings on his Aaton A-Minima. "That
was to test undercrank at a really wide
angle as he jumped over me," explains
Kyle Jewell as he and his colleague,

Kodak. "We're

a

day during the festi¬

using [this event] as an
opportunity to put a film camera in
people's hands [so they can] experience,

early May, the Tribeca
the fourth to offer

was

"Stop by, Shoot Film," following the
Jackson FHole, South by Southwest, and
Houston WorldFest events earlier in the

spring. The
on

subsequently went

program

to the Atlanta Film Festival and the

MCAI

(formerly ITVA) national meeting.

To date, it has attracted approximately
150 participants, about half of who had
shot film before.

"Many were
people,"
says Eric Johnson, Kodak's on-site coor¬
dinator of the program. "For a number of
never

video shooters

or

non-technical

others, it had been

some

time since

Chris Jones, head toward the FHudson
River for their next shot.

they'd shot film." Each workshop has

Jewell and Jones drove up to
New York from North Carolina, along

and

with director Kern Saxton and

Matt

producer
Goldberg, to show their short film

Roadside Convenience at the film festi¬
val. The group soon spotted "Stop
Shoot Film," a new program offered

by,
by
Kodak at the event, and eagerly signed
up. "Stop by, Shoot Film" allows partici¬
pants to have a two-hour hands-on
session with the A-Minima

camera

and

200' rolls of Eastman EXR 50D 7245,
106

up

Conveniences writer and focus
"It's

Festival in New

camera.

Vision2 500T

Minima before." Adds Jones, Roadside

advantage of
Kodak's "Stop
by, Shoot Film"
program at the

Super 16mm

an

because I've

students took

A-Minima

on

Arri SR-2. Asked

why he
for not one but two of the
Tribeca training sessions, the young
cinematographer replied, "To shoot film.
I can't get enough of it." Fie adds, "I'm
testing Vision2 with this camera,

signed

Jones as Kodak
instructor Greg
Hudson
two

accessibility of working with film."

ing Jewell to shoot film. Fie had shot

the Aaton AMinima

for the first time, the ease

some cases

and

September 2004

had two instructors

Greg Hudson,
cinematographer.
Sessions

on

a

at

hand: Johnson

New York-based
Tribeca

varied,

depending on the participants' back¬
ground. Because Jewell and Jones
already knew their way around the AMinima, they immediately leapt into
action, taking turns on the camera while
the other raced through the streets to
create a chase scene. On the opposite
end of the spectrum was an actress who
"was taking her first turn behind the

TPhaomtrsicn.

byPhots
American Cinematographer - September 2004

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