On Sunday, September 20th, the 2009 Emmy® Awards for outstanding work in television will be handed out. Kodak is proud to be represented in many of the television programs nominated this year.

Television is a unique and intimate medium that brings immersive experiences directly into our homes. Families like the Ricardos, Waltons, Ewings, Cosbys, and the Barones become so familiar that viewers forget they are fictional. TV has also provided audiences a weekly escape to a bar in Boston where everybody knows their name, to the 4077 MASH where both high jinx and tragedy occur, and to Mary Richard's Minneapolis apartment for another one of her disastrous dinner parties.

As the Academy of Television Arts & Sciences® prepares to host the 61st Annual Emmy® Awards, Kodak is pleased to shine a spotlight on some of this year's nominees in the Best Cinematography categories. These artists have created memorable visuals that have touched the hearts of millions. Kodak congratulates all the nominees on another extraordinary year of unforgettable storytelling.

Mad Men
Mad Men takes place in the world of high-powered, ambitious Madison Avenue advertising agencies, circa 1962. In the nominated episode, a flashback follows mysterious but talented executive Don Draper (Jon Hamm) to Peggy Olson's (Elisabeth Moss) bedside in the psych ward, where she has given birth to an unwanted child. He advises her to compartmentalize and forget about the event, thus giving the audience a window into his own thinking.

Bobbie Barrett (Melinda Mcgraw) and Don Draper (Jon Hamm) in Mad Men (PHOTO CREDIT: © 2008 CARIN BAER/AMC)

Cinematographer: Christopher Manely, ASC

Manely quote on shooting MAD MEN:
"I was pleased with the low-key way this scene was lit and composed, and the way the transitions worked. There was also a scene that takes place at Sardi's in New York, which we filmed at Musso & Frank's in Hollywood. The wood there is beautiful, and it worked so well with the character's period wardrobe, jewelry and makeup. Our current approach is to be a naturalistic as possible. Our palette is basically dictated by the colors of the sets and wardrobes, which recreate what would have existed in 1962. We play it pretty straight with the lighting."

KODAK film stock used
KODAK VISION3 500T 5219 film (3-perf Super 35 format)

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Breaking Bad
Breaking Bad follows a high school chemistry teacher who learns he's dying of cancer. He takes up a new career as a methamphetamine producer in hopes of earning enough money to take care of his family. In "ABQ," the show's second season finale, an air traffic controller is distraught because his daughter died after taking crystal meth, and subsequently two passenger planes collide over the city of Albuquerque.

Aaron Paul as Jesse Pinkman in Breaking Bad (PHOTO BY: LEWIS JACOBS; COURTESY OF AMC)

Cinematographer: Michael Slovis

Solvis quote on shooting Breaking Bad
"AMC encourages us to create dramatic storytelling of the highest quality. They want this television series to feel like a film you would see in a theater. For the most part, we play things in slightly wider, more cinematic shots. Sometimes, though, we do go in very tight, depending on the scene and the characters. I light with a chiaroscuro approach and I don't worry about lighting up faces all the time. My main concern is to convey the emotions of the scene. I'm free to use color and different kinds of interesting shot structures in an effort to express the story in the most graphically interesting and refreshing way that we can. ... Breaking Bad is a dream job ... the prose of the stories and the dialogs are poetry."

KODAK film stock used
KODAK VISION3 500T 5219, KODAK VISION2 200T 5217, KODAK VISION2 50D 5201

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Into The Storm
Into the Storm opens with Winston Churchill in France, awaiting the 1945 election results and thinking back on the war years. The drama, told mostly in flashbacks, touches on his inspirational leadership as well as the stress his public life put on his personal relationships, especially with his wife.

Brendan Gleeson plays Winston Churchill in Into the Storm. (PHOTO BY: SUSAN ALLNUTT; COURTESY OF HBO)

Cinematographer: Michel Amathieu, AFC

Amanthieu quote on shooting Into The Storm
"I wanted to avoid a sepia or brown look, and to stay with something more contemporary. I used quite high contrast, with deep blacks and colder, more cyan tones for the war years, in keeping with Churchill's dynamic character. For the French period that frames the story, the images were softer and more pastel. I prefer to bring all I can to the negative, rather than creating the look during digital intermediate timing. The French scenes were actually shot at a house in the southwest of England, and the seascape backgrounds were composited into the windows, which had been photographed with greenscreens outside."

KODAK film stock used
KODAK VISION3 500T 5219 and VISION2 200T 5217 films

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Generation Kill
Generation Kill is seven-part miniseries about an elite Marine unit in the first weeks of the Iraq War. The series is based on the book by Evan Wright, a reporter who was embedded with the First Recon Battalion as they crossed the border from Kuwait. In "Combat Jack," there is grumbling in the ranks about an abandoned supply truck that occupies time at a captured airfield, but Bravo is soon on the move again, heading north, clearing villages and setting up a roadblock outside Al Hayy.

Kellan Lutz and Owain Yeoman. photo: Paul Schirald in Generation Kill (PHOTO: PAUL SCHIRALDI, COURTESY OF HBO)

Cinematographer: Ivan Strasburg, BSC

Strasburg quote on shooting Generation Kill
"We produced the series at practical locations in Africa, in environments ranging from dust storms to rain, freezing cold to blistering hot weather. We decided to produce Generation Kill in Super 16 format because it looked and felt right. We had two cameras on platforms on a Humvee with the goal of taking the audience on a journey through the eyes of the reporter."

KODAK film stock used
Kodak VISION2 200T 7217 film

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CSI: Crime Scene Investigation
CSI: Crime Scene Investigation is a police procedural that takes place in Las Vegas and focuses on forensic evidence. "For Warrick" finds Grissom (William Petersen) and his team shocked to learn that Warrick (Gary Dourdan) has been shot. They immediately begin to investigate the crime and uncover a surprising secret about their colleague.

The CSIs (William Petersen) attend Warrick's funeral as they struggle to reconcile with the loss of their partner on CSI: CRIME SCENE INVESTIGATION, on CBS. (Photo: Robert Voets/CBS ©2008 CBS Broadcasting Inc. All Rights Reserved.)

Cinematographer: James L. Carter, ASC

Carter quote on shooting CSI
"There was some real emotional content that came into play when I shot the show. There was some additional human drama that gave me the chance to do some things photographically that are not totally typical of CSI. The opening section - where the main character arrives, walks the length of an alley and discovers the body - was shot near Langer's Deli in downtown Los Angeles. We had the opportunity to film in the alley at a variety of times of day, which we don't normally get to do, and that was fun."

KODAK film stock used
KODAK VISION2 500t 5218 and 200T 5217 films

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Life On Mars
Life on Mars follows a New York City detective who is hit by a car in 2008 and wakes up in 1973. There, he must adjust to his new life and work for a politically incorrect boss, all the while trying to figure out how to get home to 2008. In the nominated episode, he works to help find a killer whose case is similar to one he was working on in 2008.

A scene form the premiere of Life on Mars. (©PHOTOGRAPHER/ AMERICAN BROADCASTING COMPANIES, INC./ ERIC LIEBOWITZ)

Cinematographer: Kramer Morgenthau, ASC

Morgenthau quote on shooting Life On Mars
"The episode was produced in 35 mm format, mainly at practical locations in New York City. We differentiated scenes set in contemporary times and the 1970s with subtly different looks that were mainly created in-camera. Scenes set in contemporary times are a little colder and crisper. The 1970s scenes have a more impressionistic look with slightly more texture and grain. We also shot a few flashback scenes on Super 8 film and put final touches on the look during HD postproduction."

KODAK film stock used
KODAK VISION3 500T 5219 film

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Looking for more in-depth information about these shows, visit our Cinema & Television web site.

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