American Cinematographer reaches the key decision-makers in theproduction industry. In association with AC your ad will influence thebuying decisions of producers, directors, management executives,camera personnel and other creative professionals. (See the readership

study.)During its long history, American Cinematographer has consistently

practiced well-proven publishing principles that have continually resultedin advertisers’ success. Every issue offers relevant industry news and edito-rial insights that are widely respected and avidly consumed by loyalsubscribers. As a consequence, AC enjoys a quality, paid circulation list thatincludes the top players in the film and digital-video industry. Your adcould not be associated with a more credible and sought-after publication.

American Cinematographer'sreaders recognize that the magazine helpsthem do their jobs better. They acknowl-edge the strength of the magazine staff 'scumulative experience and up-frontexposure to current trends. They realizethat AC contributes to their own creativeproductivity, and they appreciate theformat, which is both stylish and inform-ative and easy to use. You can see proof ofthis in their quotes, which followthroughout these pages.

Are you tempted to pull back onyour advertising until this unstable econ-omy steadies? According to a recentstudy of the impact of business-to-busi-ness advertising by the AmericanBusiness Press in partnership withYankelovich/Harris, 86% of Americanexecutives believe that “companies thatadvertise in a down economy stay moretop-of-mind when purchasing decisions are being made. They create morepositive impressions about their commitment to their products and serv-ices.” In addition, 99% of American executives say that “even in a downeconomy, it is important to keep abreast of new products and services.”

The significance of these findings should be kept firmly in mind,especially in the climate of today’s marketing world. The branding of yourname and your product keeps you in the position to grow your business.That is the success that advertising offers.

American Cinematographer provides advertisers with an outstand-ing opportunity to benefit from an association of the highest caliber thatoffers the most effective of marketing vehicles.

Over the past three years,advertising in American

Cinematographer has significantlyincreased Coptervision’s customerbase. I can safely say thatbetween 60-80% of our work comesfrom ads placed in the magazine.

Due to our niche market, it is essential that theright people know about my company’s products.Since American Cinematographer’s readershipconsists of people that make decisions about thegear to be used in production, it is the perfectmagazine in which to advertise.

— Sarita Spiwak,President, Coptervision

EDITOR

IAL PR

OFILE

For as long as the motion-picture industry has existed,American Cinematographer has been on the scene,serving the members of this worldwide community.With quality news coverage and insights that have

earned it recognition as the top trade publication in thefield, AC, which has now published more than 900 issues,continues to deliver detailed coverage of trends anddevelopments related to the production process.

American Cinematographer combines the read-ability of a consumer magazine with the extensive techni-cal content of a trade journal. As a result, it captures aloyal readership comprising the entire spectrum of filmand digital-video professionals. Interviews with currentand soon-to-be center-stage players enable AC to offer themost complete showcase of industry innovations avail-able in one place. For producers, directors, camera oper-ators, editors and all contributors inbetween, AC is the editorial resourceon the art of cinematography. It isvalued by readers as a practical andessential link to their colleagues on theleading edge of creative thought andtechnical practice.

Long known for its in-depthfocus on major feature-film produc-tions, the magazine also delves intoteleproductions, digital productions,music videos, independent features,documentaries and commercials. These areas andfeatures of special interest, covering award nominees, filmfestivals and production techniques, are regularlyincluded in AC on a monthly basis. Technologicaladvances and their effects on the creative productions arekeenly monitored and examined as well.

No other publication covering the business ofmotion-picture and video production can match AC inscope, detail, reach or impact. The influence of AmericanCinematographer will continue to serve those who turn toit as a powerful resource.

When you’ve seen a film thatyou think is really

extraordinarily shot and youwant somebody to tell you howthe rabbit got in the hat,

American Cinematographer is invaluable.— Steven Soderbergh

Traffic, Ocean's Eleven, Full Frontal

American Cinematographer is the LeadingProfessional Magazine in the Production Industry

JANUARY• Year-end “prestige pictures”

Bonus copies will be distributed at the SundanceFilm Festival, to be held from January 16-26 inPark City, Utah.

Space reservation: 11/8/02Ad materials: 11/15/02

FEBRUARY• Teleproduction• ASC Lifetime Achievement Award

Space reservation: 12/9/02Ad materials: 12/16/02

MARCH• Special focus on lighting (1 of 2)• ASC International Award

Space reservation: 1/9/03Ad materials: 1/17/03

APRIL• Digital technology• Sundance Film Festival review

Bonus copies will be distributed at the NationalAssociation of Broadcasters convention (NAB),to be held from April 5-10 in Las Vegas, Nevada, andLocations, to be held from April 11-13 in SantaMonica, California.

Space reservation: 2/7/03Ad materials: 2/18/03

MAY• Postproduction• ASC Award nominees for television

Bonus copies will be distributed at the Cannes FilmFestival, to be held from May 14-25 in Cannes,France, and The Production Show, to be held fromMay 20–22 in London, England.

Space reservation: 3/7/03Ad materials: 3/17/03

JUNE• Summer blockbusters• ASC Award nominees for feature films

Bonus copies will be distributed at ShowBiz Expo,to be held from June 7-9 in Los Angeles, California,and Cine Gear Expo, to be held during June in LosAngeles, California.

Space reservation: 4/9/03Ad materials: 4/17/03

2003 EDITORIAL CALENDAR

Ifind the editorialenvironment of American

Cinematographer magazineto be second to none in ourindustry. The interviews andfeature articles illuminatethe artistic vision of thecinematographer in acompelling manner and parse

the technical language of our unique mediumclearly for all to understand. As a young company,Kino Flo Inc. has often looked to AmericanCinematographer as the ‘bible’ for insight anddirection on what is new and interesting in thefield of production. We have consistently foundthat the magazine continues to be the first andlast word on the state of the art. For thesereasons, I can think of no better place for ouradvertising than American Cinematographer.”

— Frieder HochheimPresident, Kino FloAdvertiser since 1990

EDITOR

IAL CA

LENDA

R

JULY• Specialized cinematography

Bonus copies will be distributed at the Siggraphconvention, to be held from July 29-31 in San Diego,California, and DV Expo East, to be held from July9–11 in New York.

Space reservation: 5/8/03Ad materials: 5/15/03

AUGUST• Shooting music videos and

commercials

Space reservation: 6/9/03Ad materials: 6/17/03

SEPTEMBER• International production

Bonus copies will be distributed at the IBC conven-tion, to be held from September 12-16 inAmsterdam, Holland.

Space reservation: 7/9/03Ad materials: 7/16/03

OCTOBER• The moving camera• Emmy nominees for cinematography

Space reservation: 8/8/03Ad materials: 8/15/03

NOVEMBER• Special focus on lighting (2 of 2)

Bonus copies will be distributed at the LDIconvention, to be held from November 21-23 inOrlando, Florida.

Space reservation: 9/9/03Ad materials: 9/16/03

DECEMBER• Independent films

Bonus copies will be distributed at the SundanceFilm Festival, to be held during January, 2004 inPark City, Utah.

Space reservation: 10/8/03Ad materials: 10/15/03

This magazine is an essentialtool for filmmakers. In this

increasingly advanced visualmedium, film is constantlybeing pushed to its limitsand beyond. American

Cinematographer provides an up-to-the-minute technical guide that keeps youabreast and ahead of the latesttechniques and trends.

— Jerry Bruckheimer, producerC.S.I.: Crime Scene Investigation (TV),Pearl Harbor, Black Hawk Down

AWAR

DS

The historical value of American Cinematographer wasrecently acknowledged and saluted by the Academy ofMotion Picture Arts & Sciences, which awarded theASC a prestigious Award of Commendation for its

continued publication of the magazine. Over the pastdecade, AC has earned 9 Maggie Awards (including threefor Best Communications, Advertising or EntertainmentPublication) and 28 Maggie nominations, as well as twoFolio: Awards for Editorial Excellence (Best EntertainmentBusiness Publication).

AC Wins An Exceptional Number of Awards

For a young,up-and-coming

cinematographer inAustralia, findingAmericanCinematographer waslike discovering gold.

The magazine gave me access toinformation I couldn’t get any otherway, and I loved reading interviewswith people like James Wong Howe,Connie Hall and Haskell Wexler.Finding AC was like finding the Bible.

— Dean Semler, ASC, ACSAcademy Award winner, Danceswith Wolves

CIRCU

LATION

Subscribers include cinematographers,producers, directors and productionpersonnel in the field of theatrical, televi-sion, commercial and industrial motion-

picture and video production; the magazine isalso sent to film laboratories, post houses,visual-effects facilities and motion-pictureequipment manufacturers. Published on the20th of the month preceding date of issue.Distributed by periodical-class mail andthrough newsstands and industry outletsthroughout the United States and worldwide.Shipped via air outside North America.

TERRITORIAL DISTRIBUTIONArea No. of CopiesNortheast 8,295Southeast 3,275Midwest 3,450Southwest 1,587West 12,450Canada 3,450Mexico 450United Kingdom 4,025Continental Europe 2,885South America 875Asia 870Austrialia 780Other Countries 108

Total: 42,500Source: Publishers Guaranteed Rate Base

AC BONUS MAGAZINE DISTRIBUTION FOR 2003Event date Event Location # of copiesJanuary 16-26 Sundance Film Festival Park City, UT 5,000

April 5-10 NAB Las Vegas, NV 16,000April 11-13 Locations Santa Monica, CA 2,500April L.A. Italian Film Festival Los Angeles, CA 500

May 14-25 Cannes Film Festival Cannes, France 1,000May 20-22 The Production Show London, England 2,500May LFCA-Large Format Film Los Angeles, CA 500

June Cine Gear Expo Los Angeles, CA 3,000June 7-9 ShowBiz Expo West Los Angeles, CA 10,000June IFP/West L.A. Film Festival Los Angeles, CA 1,000

July 9-11 DV Expo East New York, NY 5,000July 29-31 Siggraph San Diego, CA 7,000July Great Women of Film Los Angeles, CA 1,500

September 12-16 IBC Amsterdam, Holland 5,000September Cinec Munich, Germany 2,500September DV LA Los Angeles, CA 2,500

October Rocky Mountain Film & Video Denver, Colorado 2,500October Production East New York, NY 3,000

November 21-23 LDI Orlando, Florida 5,000

December DV Expo West Los Angeles, CA 2,500December Sundance Film Festival Park City, UT 1,500

Total copies distributed: 80,000

42,500 PAID Circulation Worldwide

W ithout a doubt, AmericanCinematographer is the

leading magazine in themoving-picture industry.Arri has been advertising inAmerican Cinematographer for

decades. We are very pleased with theresults, and especially with the internationalreach of the magazine. It is well-respectedand recognized by a worldwide readership.

— Franz WieserAssistant Vice President, Marketing, ARRIAdvertisers since 1958

BLEED CHARGESA 10% surcharge will be applied to advertising materi-als that require a bleed.

DEADLINE FOR SPACE RESERVATIONSFirst week of the second month preceding the coverdate.

DEADLINE FOR AD MATERIALSThird week of the second month preceding the coverdate. Example: Space reservations for the August issuemust be in by the first week of June, and ad materialsfor August are due by the third week of June.

LATE AD MATERIALSAd materials arriving after the ad materials deadline aresubject to a $100 surcharge at the publisher’s discre-tion.

CANCELLATIONSA late cancellation will be charged a 20% cancellationfee.

SECOND COLOR RATES PER RATESBlack plus 1 standard color (C/M/Y/K) $650Black plus 1 PMS color $750Black plus 1 Metallic color $850The smallest rate holder is 1⁄6 of a page.Ads less than 1⁄6 page will be billed at $150 per columninch and can only be purchased on a 12- or 18-timecontract.

COVER SURCHARGECover II (Inside Front Cover) 30%Cover III (Inside Back Cover) 25%Cover IV (Back Cover) 35%

PREMIUM POSITIONSAvailable at a 10% surcharge.

PREFERRED POSITIONSPositions within the first 20 pages are available at a10% surcharge. Preference for position goes to 12-timeadvertisers on a first-come basis. Publisher will attemptto honor non-paid requests but assumes no responsibil-ity to do so.

BLACK & WHITE 1x 4x 6x 8x 12x 18x 24x 36x

Full Page Spread $8273 $7791 $7473 $7405 $6781 $6325 $6105 $5816

Full Page 4358 4097 3933 3897 3567 3325 3216 3060

2⁄3 Page 3481 3281 3148 3119 2852 2663 2571 2448

1⁄2 Island 3134 2948 2830 2805 2568 2393 2315 2205

1⁄2 Page 2699 2541 2437 2415 2211 2061 1992 1896

1⁄3 Page 1852 1742 1670 1654 1514 1415 1364 1301

1⁄6 Page 1088 1026 982 973 890 832 801 767

4 COLOR 1x 4x 6x 8x 12x 18x 24x 36x

Full Page Spread $10,613 $10,110 $9771 $9682 $9038 $8561 $8320 $8009

Full Page 5527 5256 5082 5036 4695 4444 4324 4157

2⁄3 Page 4652 4440 4297 4258 3981 3781 3678 3545

1⁄2 Island 4304 4109 3980 3943 3697 3511 3423 3302

1⁄2 Page 3869 3700 3587 3553 3340 3179 3100 2994

1⁄3 Page 3022 2902 2818 2793 2642 2534 2471 2398

1⁄6 Page 2258 2185 2132 2112 2018 1949 1909 1864

RATES

All classifieds may be submitted by fax (323) 876-4973, attentionSanja Djukelic, or through our website www.cinematographer.com.

PRICING1. Print or Online: US $4.50 per word and US $5.00 for bolds/caps.2. Both Print and Online: US $6.25 per word and US $7.00 for

bolds/caps.3. There is a US $60.00 minimum charge for any individual ad.4. There is no minimum or maximum number of words in an ad.5. Every word counts as one word, including: a, an, the, and, etc.

PAYMENT1. Pre-payment is required for every classified ad.2. Visa, MasterCard, American Express and Discover are accepted.3. Checks are not accepted for online classifieds.4. Check must be in the Hollywood office in order for the ad to run.

DELIVERY OF AD1. Ads will be published exactly as they are submitted.2. No proofs are provided.3. Ads are not accepted over the phone. A written copy must be in

the ASC office.4. No proofs or tear sheets are provided.

COMMISSIONS15% commission to recognized advertising agencies.

RATE PROTECTIONRate protection for the 2002 rates ends with the March2003 issue.

MAKE-GOOD POLICYAll advertising make-good requests must be submittedby the advertiser or its agency in writing. Make-goodsare given for the following reasons only: (1) the wrongartwork has been used for the ad due to the publisher’sfault; (2) the ad has unacceptable print quality due toprinter’s fault. Make-goods are given over and abovethe number of ads booked in a current advertisingcontract. Placement of make-good ads are at discretionof publisher.

LIABILITYAdvertisers and advertising agencies assume liabilityfor all content of advertisements printed, and alsoassume responsibility for any claims arising therefrommade against the publisher. All copy and images aresubject to the approval of the publisher.

INSERTSRates and information on request.

REPRINTSReprints of 100 or more available through ReprintManagement Services at (717) 399-1900.

DEADLINESOnline Version• Classifieds online are posted within few days of processing

a payment.Print Version• 15th of the month, two months in advance (i.e., September 15th

for November).

FORMAT1. The first word of every paragraph maybe capitalized at

no extra cost.2. The name of the company and the words PHONE and FAX maybe

capitalized at no extra cost.3. E-mail addresses, phone numbers and/or fax numbers are

counted as one word.4. No custom page layouts. (i.e. characters, pictures, dingbats, etc.).5. E-mail addresses are “linked” at no extra charge.

From the very start of K 5600Inc., we have advertised in

American Cinematographer. Asthe company grew, we boostedboth our frequency and adspace. Even when the industryslows down, we maintain ourfrequency and ad space only in

AC. Why? Because the ASC and its publication areinternational standards that represent Hollywoodand the ultimate professionalism in cinematography.As an equipment manufacturer, it would simply beunwise not to take advantage of this fame factor,which can thrust a new company, new products andnew ideas into the world. This is exactly whereAmerican Cinematographer has taken us:everywhere! In less than 10 years, we haveestablished durable foreign distribution channels inthe main markets for our products, mainly due to aninitial contact directly prompted by our exposure inAmerican Cinematographer. At home in the U.S., anewly produced ad in the magazine can boost ourweekly Website traffic by 150%.”

— Gilles GalernePresident, K 5600 Inc.Advertiser since 1992

RATES & INFORMATION FOR BOTH PRINT & ONLINE CLASSIFIEDS

PAGE TRIM SIZE8.125" x 10.5" / 21.59cm x 27.94cm / 48.725 x 63picas. For protection, safety margin is .375"/ .95cm/2.25 picas.

LIVE AREA for FULL PAGE (Non-Bleed) ADS7.25" x 9.875" / 18.42cm x 25.08cm/43.5 x 59.25 picas.

LIVE AREA for FULL PAGE (Bleed) ADSALL vital advertising matter must be at least .375"/.95cm / 2.25 picas away from gutter and trim edges.

SCREEN120 to 150 lines maximum. Optimum is 133.

BINDINGPerfect Bind. (Note: Two page spreads have an .125"/.32cm/ .75 picas grind off on the inside for spine.)

PRINTINGWeb offset-heat set.

SIZE INCHES CENTIMETERS PICAS2 Page Spread, bleed 16.5" x 10.75" 41.91 x 27.31 99. x 64.2 Page Spread, non-bleed 15.125" x 9.875" 38.42 x 25.08 90.75 x 59.25Full Page, bleed 8.375" x 10.75" 21.27 x 27.31 50.25 x 64.5Full Page, non-bleed 7.25" x 9.875" 18.42 x 25.08 43.5 x 59.252⁄3 Page 4.75" x 9.875" 12.07 x 25.08 28.5 x 59.251⁄2 Page Island 4.75" x 7.25" 12.07 x 18.42 28.5 x 43.51⁄2 Page Horizontal 7.25" x 4.875" 18.42 x 12.38 43.5 x 29.251⁄3 Page Square 4.75" x 4.875" 12.07 x 12.38 28.5 x 29.251⁄3 Page Vertical 2.25" x 9.875" 5.72 x 25.08 13.5 x 59.251⁄6 Page Horizontal 4.75" x 2.375" 12.07 x 6.03 28.5 x 14.251⁄6 Page Vertical 2.25" x 4.875" 5.72 x 12.38 13.5 x 29.25

AD MATERIAL REQUIREMENTSDigital Files:• On CD or Zip disk. MACINTOSH format ONLY (PC

formatted disks will be charged $50 for conversion).• First choice is PDF/X format (contact Art depart-

ment for instructions).• Standard software programs accepted are

QuarkXPress, Adobe Pagemaker, Adobe Photoshopand Adobe Illustrator. TIFF and EPS files from otherprograms are also acceptable. All fonts and imagesused must be supplied.

• FINAL Match Print (Four-color ads must have one ifcolor matching is critical).

• Make sure files and folders are clearly named andeasily identified.

• Make sure linked images have not had their nameschanged.

• Check bleeds (standard 1⁄8").

2 Page Bleed Full Page Bleed

Full Page Non-Bleed

2/3Page

Island1/2

Page

Vertical1/6

Page

Horizontal1/6

Page

Vertical1/3

Page

2 Page Non-Bleed

Horizontal1/2

Page

Square1/3

Page

MECH

ANICA

L REQU

IREME

NTSPROOFSMatchprint must accompany all color advertisements.If proof does not accompany full page color ads, onewill be made at a $75 charge to the advertiser.

PRODUCTION CHARGESAny production work necessary to complete an ad willbe subject to a minimum charge of $50. Four-color filmpositives will be charged $75 for conversion.

CORRECTIONSNo changes to advertising copy will be made withoutthe written authorization of the advertiser.

AD MATERIALS RETURN OR FORWARDINGAmerican Cinematographer will return allartwork/disks upon request at the advertiser’sexpense. Forwarding artwork to other publications willbe done only at the advertiser’s written request andexpense. Note: All advertising copy and materials may be disposed of atthe end of a year after last advertising insertion date, unlessinstructions are received in writing detailing the disposition ofmaterial(s).

• On all 4-color scans, check if files are set are toCMYK color (MODE in Photoshop).

• On all images, resolution should be 300dpi (underIMAGE — IMAGE SIZE in Photoshop).

• Include copies of all fonts are in separate folder ordisk.

• Write down any special instructions.• Title the document by advertiser name and issue

date. (Not as American Cinematographer ad or ACad.) Disk MUST BE ACCOMPANIED by a Matchprintfor four-color and a laser proof for black-and-white.

• Disks are clearly labeled on the disk, not simply theslip-cover.

• Return address is on label if materials are to bereturned.

The following conversion materials are also accept-able if no digital file is available:

1. A black-and-white film negative fully composed. 2. A black-and-white film positive fully composed.

Please indicate whether it is a positive or a negative.

When we come out with a new product and we do a spread on it,the phones start ringing. It’s easy to tell which calls are coming

from American Cinematographer readers. We start getting callsand e-mails from all over the world, because AC is readworldwide.

If I could only afford to place one ad in one magazine, it wouldbe in AC.

About 10 years ago, my brother was on vacation in Greece,and he noticed a local film shoot. He stopped to watch for a fewminutes. Then he went over and introduced himself, and thecameraman said, “Clairmont? Clairmont Camera, page eight!”My brother said, “Page eight?” He said, “Page eight of AmericanCinematographer. You’re always on page eight.”

I know AC is reaching the people I want to reach. They alllearn something from it.

— Terry ClairmontClairmont CameraAdvertising since 1976

Director of New Business Development, Worldwide:Dianna Hightower

Toll Free (U.S. and U.K.) : 866.909.4617 • 818.909.4617 • Fax: 818.909.4626 • dhightower03@earthlink.net

Advertising Account Manager:Angie Gollmann

323.936.3769 • Fax: 323.936.9188 • gollmann@pacbell.net

Advertising Account Manager:Michael Trerotoli

203.761.9804 • Fax: 203.761.0090 • trerotoli@aol.com

Classifieds/Advertising Coordinator:Sanja Djukelic

Toll Free: 800.448.0145 (U.S. Only) or 323.969.4333 • Fax: 876-4973 • sanja@theasc.com

1 7 8 2 N o r t h O r a n g e D r i v e , H o l l y w o o d , C A 9 0 0 2 8( 3 2 3 ) 9 6 9 - 4 3 3 3 • F a x ( 3 2 3 ) 8 7 6 - 4 9 7 3

For our purposes, American Cinematographer is the#1 magazine. In its pages, we can communicate

with our most precious customers: directors ofphotography, camera operators, assistants, gripsand everyone else on the crew. Before we can evenspread the news about the dawn of a new Pantherproduct, our customers have often read about italready in AC. While reading the magazine’s articlesabout how movies are filmed and why they are shot

in a particular way, one can tell that the authors certainly know what theyare talking about. If there is any magazine we can't do without, it is AC!

— Florian GranderathPanther GmbHAdvertiser since 1986