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Whats in the National Short Ends - May Edition...

  • Message from the National ACS President
  • National Awards Nominees & other news
  • Chronicle - Why you should be picking up your camera now!
  • Register for JobKeeper
  • How to claim JobSeeker
  • Free advice about Social Security & Centrelink Matters - Welfare Rights Centre
  • Talks @ AFTRS with Vicki Madden & Louise Fox - Live-streaming Tuesday 5th May @ 1PM
  • First Responders - AN observation from Roger Lanser ACS - **Warning Graphic Content**
  • MILLER - Competition 
  • Kayell - 3 weeks into an 8 week sale
  • COVID-19 Worldwide Updates
  • Dragon Image
  • Brave people - when it would have been easy to turn a blind eye - Leitz
  • Canon Announcements - Canon C300MIII & CN10 x 25 Cine-Servo
  • Fighting the COVID-19 Crisis - Solidarity
  • Sweden & Denmark could soon resume Film & TV Productions - check out the guidelines
  • Reopening Hollywood: What's involved
  • Hollywood - Video-game tech to restart movie shoots
  • Sony Venice & FX9 Full-frame upgrades
  • Postcard from Jeff Gaylan - USA
  • AFTRS course Links
  • ROSCO -  4 Masterclass links for you to check out plus links to lights and more
  • American Cinematographer
  • Fujifilm - 2 new broadcast lenses HP66x15.2 & HP12x7.6
  • National Instagram Host:  Callum Green ACS
  • DOCplay - Very Semi Serious
  • Postcard from Adam Geiger
  • Australian Cinematographer
  • Huge thanks as always to our National ACS Sponsors


Greetings ACS members, sponsors and colleagues,

All is not lost! The "Alternative" 2020 ACS National Awards presentation will be streamed online on Saturday 16th May from 6.00pm (AEST), so put the date in your diary now!  We'll send out another National Newsletter with a streaming link and instructions a few days prior to the event.  You can also keep an eye on the ACS Facebook page for more details. 

This promises to be a fantastic Awards event open to all members so please log in and enjoy the evening. We will be sending through other information real soon.

Given our association with Imago I have been receiving letters from many Societies asking us for support as many Governments are removing some of the co authorship benefits that have been in place for many years. Such is the case with our colleagues in Croatia and I have on behalf of the Society given written support to the Croation Society under the leadership of President, Mario Sablic. It is so important not only at this time but whenever we can, to support other Societies when they reach out. 

We will continue to respond in a positive way, as we must remember that while we appear to be getting on top of this virus, many countries are not, and we as a Society of Cinematographers must be ready to support, even if only with an encouraging word, all those in Europe and The Americas, along with many other counties who are not travelling as well as some.

Plenty of good things to read this issue, so grab a cuppa and get on with it……but always stay safe.

Until next time
Ron Johanson OAM ACS


As you will have noticed many of our Branches are reaching out to our national membership audiences to welcome and include you all as members to events being held around Australia during the global COVID-19 Shutdowns.  So please bear with the me we provide additional newsletters which may come from National or State branches where content is appropriate.

In the next week or so we will be sending out a bumper newsletter with all the Nominees, so plan a coffee break as you'll want to enjoy reading all the categories nominees int he lead up to the National Awards.

So many of the ACS committees behind the scenes are working away and as they finalise their prep the ACS will let you know just when where and how we will be celebrating the wonderful work of our members this year.  

So, once again, please be on the lookout for further news and be ready to save some time-slots for the ACS in your upcoming calendars.


ACS National Webmaster / National Newsletter Editor
The Australian Cinematographers Society is conducting this COVID-19 IMPACT SURVEY to fully understand the impact that COVID-10 has had on our members and the film industry.

The information you provide will be confidential and will be used to assist The Australian Cinematographers society to provide services and resources to our members.

If your mental well-being is suffering, Beyond Blue has a list of support services who are able to help.

 NB: All questions are optional.

Here's something you should be picking up a camera for....

Dear members of the ASC and IMAGO

Enclosed is a proposal by our member Ellen Kuras ASC. The project by the name “Chronicle “ reflects a ”creative visual time stamp” of the COVID-19 pandemic in the world, It promises to become a document for prosperity and represents a powerful use of the talent and insight of cinematographers worldwide.

We encourage you to take a serious look at this and I hope you will be inspired and motivated to contribute your effort and artistry.

Both the American Society of Cinematographers and IMAGO endorses Ellen and The Chronicle Project LLC’s' ideas and initiatives. We also fully support her vision and goal to eventually benefit ‘Doctors without Borders’, an independent, global movement providing medical aid where it’s needed most.

With kind regards,

Kees van Oostrum ASC
President ASC.              

Paul Rene Roestad FNF

President IMAGO
Ron Johanson OAM ACS
President ACS
CHRONICLE: Download & help capture history in the making...
Register for JobKeeper payment
You can't be paid both JobSeeker and JobKeeper — it's one or the other.
How to claim JobSeeker Payment

Free advice about social security and Centrelink matters

We know that the arts and entertainment sectors have been hit hard by the economic upheaval associated with COVID-19 public health measures. Given the enormous pressures many are facing and the huge increase in demand for income support, we are launching a campaign to spread the word about the Welfare Rights Centre’s services.
In short, we want as many people as possible to know that we provide free legal advice and representation to NSW residents on any Centrelink or social security matter. We also support and represent people in appeals, which they frequently win. In most cases, advice can be provided over the phone.
This is such a difficult time for many, so we’re spreading the word about our free services far and wide.  We have a lot of information on our website, and people can ask for assistance by calling or by filling out our online form:


Telephone lines:         02 9211 5300 (Sydney)
                                     1800 226 028
                                     (toll-free from outside Sydney)

New campaign to help JobSeeker claimants
The Welfare Rights Centre has launched a campaign to let new JobSeeker claimants know that help and support are available. 
If you are struggling with a Centrelink decision about your JobSeeker claim or another social security matter, you can call the specialist lawyers at Welfare Rights Centre for free legal assistance.
Call 1800 226 028 or visit 
Click HERE for Help

Talks @ AFTRS with Vicki Madden & Louise Fox
Tuesday 5th May 2020 at 1pm (AEST)

Image: Vicki Madden (left), Louise Fox (right)
The next Talks @ AFTRS, on Tuesday 5 May, features two of Australia’s leading supernatural creators and writers – Vicki Madden and Louise Fox. Moderated by Denise Eriksen, co-founder of Media Mentors Australia, the discussion will dig deep into the worlds of GlitchThe Gloaming and The Kettering Incident to uncover the secrets of successfully writing about the paranormal.

Talks @ AFTRS will live stream every Tuesday at 1pm on AFTRS Facebook

This is a series of free, live-streamed talks focussed on creativity and great storytelling to give industry some Covid-free head space and to hear industry colleagues and luminaries talk about current projects, careers and inspirations.
More Details re weekly Talks @ AFTRS

** Warning Graphic Content**

First Responders: An observation from Roger Lanser ACS

In the light of the tragedy in Melbourne of the 4 police being killed I would like to say how sad I am for all involved including the media crews at the scene.

In my early years as a camera assistant I work mainly on scripted dramas filmed up in the Forest Studios at Frenchs Forest, now gone. 

When we were not filming and between TV series the ABC would relocate me to Gore Hill and the news department. Here was a different world and a different way to work for an assistant. Lots of driving the camera car with the cinematographer the sound recordist and the ‘on camera’ journalist.   We had an old CB type car radios to get our jobs. When not shooting I was introduced to coffee. Coffee hot and strong from coffee bars with Italian names and dark swarthy men shouting in Italian at each other. Lots of talking and waiting, this was the 70’s. 
On this day we were at the airport having just filmed a celebrity just off a plane fighting her way through a throng of microphones and cameras. We were told a traffic accident had occurred near by and a fuel tanker truck was spilling petrol into the Cooks River off the bridge. We rushed to the scene and pulled up and we sprung into action, camera out of the road case, battery and lead, filter on and check the camera was loaded with a full role. As I was passing the camera to the cinematographer I realised we were the first ones there and this accident had just happened. I started to hear the cries and screams of the people crushed & trapped under the tanker, they never mentioned that in the radio call, the tanker was on top of a car full of people going to the airport and another car had smashed into that car. The heady smell of gushing gasoline, the screams for help and bodies everywhere. Cars were still going around a man covered in blood staggering into oncoming traffic. No ambulances, no police, just us, an ABC TV crew. I was shaking and in a stupor. I snapped out of it as the cinematographer shouted “get the legs” I responded and asked to not go over there please. I sat in the car while they all ran off getting shots and recording sound. I couldn’t even look in that direction. Finally, the Ambo’s and police turned up sirens blaring which only added another layer of sound to the cacophony.  
Later that same day we were filming another story to complete our shift. I was catatonic.  This happed another time with a motorbike accident and after that I asked not to be put in the news dept again. 

So full respect to those who are first there and witness the horror, who spring into action to help, who can work without thought to help and assist, to be compassionate in the face of great trauma and carnage. It must have been horrible.
Roger Lanser ACS
  • Create a video review of a Miller current mainstream product.

  • Ideally the video should be about a product you have used yourself.

  • Speak about the product frankly and refer to real life examples how you used it.

  • Miller will select the top 4 best videos to publish and pay the creator $500.

  • The video must be original content, created for Miller, whereby Miller will own the copyright after the $500 has been paid.

  • If you require a loan of a product to review, please write to

  • The video to be shot in 1920x1080 or higher resolution.

  • Duration 3 to 5 minutes.

  • If you wish to use background music then you must own the license or it must be royalty free.

  • You must not be receiving payment, sponsorship or other reward from another third parties directly or indirectly for this video.

  • Upload your video here

Upload HERE:

Closing date May 29th, however early entries will be considered and published before the date if suitable.

  • As an example of what we are looking in basic terms click the link below, however be as creative as you want.

View Examples HERE
  • Any more information please email and please provide your mobile number.
Unfortunately with NAB cancelled this year and everyone in ISO, we have decided to mix things up a little and throw an.... now in Week 3

The rules are simple. We are running 8 seperate sales events with each event lasting only 1 week or strictly while stocks last. Each event will have 4 items or groups included in the sale. Every Wednesday for the next 8 weeks we will change the 4 sale items or groups. 

Please Note:  Free items will not appear in your shopping cart and will be added after your order is placed.
 We thought you as members would be keen to have the updates.
There are links below that contain several reports
Authors’ Organisations Joint Statement on COVID-19 Crisis REPORT
Dear friends, greetings from Australia,

Our industry here is not in a good way, although one major television sitcom production has again commenced, there are still many across all genres that haven’t and it is sad to see so many talented crew wondering where their next dollar will come from.

Our Government has not supported our industry, in particular the freelance community, which is unfair and irresponsible.

The ACS can do little, but we are there for moral support and will provide free membership for current members with full benefits of membership to them.

However, on a positive note Australia is getting on top of this dreaded COVID - 19 with great results that I have included below, due to social distancing and a clear common sense approach from the majority of Australian people. Of course there exists pockets of absolute idiots who have no respect for their fellow citizens, but they are in the extreme minority.

The sincere thoughts of the ACS are with you all at this time, rest assured we will survive and remain strong as a united group in solidarity.

My warmest regards to you all
~  oo00oo ~
Dear President, friends and colleagues,
In Hungary the situation is the following:

Since the outbreak of the COVID-19 the whole world and the artistic community has had to face never before seen difficulties. The Hungarian film industry also found itself facing serious challenges, which has affected every member of our community.
Most of the international productions have postponed and cancelled shootings in Hungary. These productions have secured job opportunities for Hungarian professionals and providers. All of them are facing difficulties at the moment.
To help the freelancers in the industry an Emergency Fund has been initiated by the Hungarian National Film Institute (NFI) with a HUF 50 million donation, to help the film community, which has been devastated by the pandemic. The Emergency Fund will be operated by the Hungarian Film Academy, it will provide short-term support to the many hundreds of active workers and freelancers who have been directly affected by the closure of productions across the country. 
To prevent high unemployment in the sector due to the cancelled and postponed shootings, NFI rescheduled the financing of all ongoing projects, grant payments will be as flexible as possible across existing funding agreements. The measure allows an extension of the implementation period (pre-production) for all projects that had to be postponed and assures their funding for the coming months.
The Hungarian Government has adopted special regulations in thirteen sectors in need of immediate assistance, which include entertainment, the media, the film industry and the performing arts. In these sectors, employers will be exempt from the payment of the contributions on wages for the months of March, April, June and July, while from among the contributions payable by workers only the 4 per cent health care insurance contribution in kind must be paid at the maximum rate of HUF 7,710.
Take care of each other and stay healthy!
Emil Novák
Member of HSC Presidency
~  oo00oo ~
COVID-19: Cinematographers World Reports .PDF
Did you know?

Dragon Image build studio projects incl soundproof...... Curtains...... Truss or tube suspended hanging....

Why not contact Dominic Yin for more details.
Brave people.....when it would have been easy to turn a blind eye!
The Leica is the pioneer 35mm camera.  It is a German product - precise, minimalist, and utterly efficient.

Behind its worldwide acceptance as a creative tool was a family owned, socially oriented firm that, during the Nazi era, acted with uncommon grace, generosity and modesty. E. Leitz Inc., designer and manufacturer of Germany's most famous photographic product, saved its Jews.

And Ernst Leitz II, the steely-eyed Protestant patriarch who headed the closely held firm as the Holocaust loomed across Europe, acted in such a way as to earn the title, "the photography industry's Schindler."

As soon as Adolf Hitler was named chancellor of Germany in 1933, Ernst Leitz II began receiving frantic calls from Jewish associates, asking for his help in getting them and their families out of the country. As Christians, Leitz and his family were immune to Nazi Germany's Nuremberg laws, which restricted the movement of Jews and limited their professional activities.

To help his Jewish workers and colleagues, Leitz quietly established what has become known among historians of the Holocaust as "the Leica Freedom Train," a covert means of allowing Jews to leave Germany in the guise of Leitz employees being assigned overseas.

Employees, retailers, family members, even friends of family members were "assigned" to Leitz sales offices in France, Britain , Hong Kong and the United States.

Leitz's activities intensified after the Kristallnacht of November 1938, during which synagogues and Jewish shops were burned across Germany.

Before long, German "employees" were disembarking from the ocean liner Bremen at a New York pier and making their way to the Manhattan office of Leitz Inc., where executives quickly found them jobs in the photographic industry.

Each new arrival had around his or her neck the symbol of freedom  -- a new Leica.

The refugees were paid a stipend until they could find work. Out of this migration came designers, repair technicians, salespeople, marketers and writers for the photographic press.

Keeping the story quiet:

The "Leica Freedom Train" was at its height in 1938 and early 1939, delivering groups of refugees to New York every few weeks. Then, with the invasion of Poland on Sept. 1, 1939, Germany closed its borders.

By that time, hundreds of endangered Jews had escaped to America, thanks to the Leitzes' efforts. How did Ernst Leitz II and his staff get away with it?

Leitz, Inc. was an internationally recognized brand that reflected credit on the newly resurgent Reich. The company produced rangefinders and other optical systems for the German military. Also, the Nazi government desperately needed hard currency from abroad, and Leitz's single biggest market for optical goods was the United States .

Even so, members of the Leitz family and firm suffered for their good works.

A top executive, Alfred Turk, was jailed for working to help Jews and freed only after the payment of a large bribe.

Leitz's daughter, Elsie Kuhn-Leitz, was imprisoned by the Gestapo after she was caught at the border, helping Jewish women cross into Switzerland. She eventually was freed but endured rough treatment in the course of questioning. She also fell under suspicion when she attempted to improve the living conditions of 700 to 800 Ukrainian slave labourers, all of them women, who had been assigned to work in the plant during the 1940s.

(After the war, Kuhn-Leitz received numerous honours for her humanitarian efforts, among them the Officier d'honneur des Palms Academic from France in 1965 and the Aristide Briand Medal from the European Academy in the 1970s.)

Why has no one told this story until now? According to the late Norman Lipton, a freelance writer and editor, the Leitz family wanted no publicity for its heroic efforts. Only after the last member of the Leitz family was dead did the "Leica Freedom Train" finally come to light.

It is now the subject of a book, The Greatest Invention of the Leitz Family: The Leica Freedom Train, by Frank Dabba Smith, a California-born Rabbi currently living in England .

Thank you for reading the above, and if you feel inclined, please  pass this forward along to others. Memories of the righteous should live on.
Missing NAB, Canons has some announcements for you...
Dave May of Tall Story Films HANDS ON with C300MK III.
Canon C300 MIII
CN10x25 CINE-SERVO Tech Sheet.pdf
Fighting COVID-19 Read More HERE

Sweden & Denmark Could Soon Resume Film & TV Production; Read The Wide-Ranging Coronavirus Guidelines

By Tom Grater

Sweden Coronavirus
Janerik Henriksson/EPA-EFE/Shutterstock

Film and TV shoots could soon be back underway in two Euro countries, Sweden and Denmark, with a local producer penning a guide that it says allows production to resume.

Hobby Film, which specializes in commercials, published the notice, titled “The New Rulebook: Guidelines for Film Production in Sweden and Denmark,” on its website. The company said that at present there were no specific government guidelines in place for the film and TV industries regarding resuming shoots, but that its guide was compiled from broader applicable rules that apply to all work environments in the countries.

The notice says that Sweden, which imposed one of the softest
lockdowns in Europe, is now allowing film shoots of up to 50 people. It also claims that Denmark allowed production to resume April 14.

Reopening Hollywood: From Insurance To Testing, Crowd Scenes & Craft Services, Here Are The Pandemic Problems Studios Are Trying To Solve Before The Restart

By Nellie AndreevaMike Fleming Jr

Eric McCandless/ABC

As Deadline continues its Coping With COVID-19 Crisis series on the struggles of people in the entertainment industry impacted by the coronavirus-related shutdowns and layoffs, today we launch a new series, Reopening Hollywood, focused on the incredibly complicated effort to get the industry back on its feet while ensuring the safety of everyone involved. We intend to examine numerous sides of the business; if you have suggestions about things to consider, please leave a comment.

On Tuesday, Gov. Gavin Newsom unveiled a six-point guide to how California will reopen its economy as officials weigh lifting restrictive orders designed to curb the spread of the coronavirus.
Entertainment is a major portion of the California economy and, with the production shutdown just crossing the one-month mark and layoffs, furloughs and paycuts implemented by reeling studios, there has been a growing discussion among executives and producers about how to ease back into production, along with the big challenges a return poses — from keeping everyone safe to securing an insurance policy, filming crowds and exteriors, and determining what content is appropriate to show in a society changed by the coronavirus.

Hollywood quietly turns to video-game tech to restart movie shoots

By Alexandra Steigrad

The Mandalorian
Industrial Light & Magic, Lucasfilm

Hollywood studios are quietly turning to video-game technology as they look to get production shoots delayed by the coronavirus back on schedule, The Post has learned.

Armed with virtual-reality tools created by companies like Fortnite creator Epic Games and Pokemon Go’s Unity Technologies, special-effects gurus are creating computer-generated virtual sets for upcoming films and series from big studios like Disney and Netflix, industry insiders say.

The cutting-edge tech — in which actors are shot inside studios whose walls and ceilings are giant, 4K-resolution LED video screens that can depict, say, a desert backdrop, a rainforest or the interior of a space station — has already been put to use in mega-budget productions like Netflix’s “The Irishman” and Disney’s “Mandalorian” TV series.

Now, a slew of other big studios are in talks to start using it, including Warner Bros., Paramount, Hulu and CBS’ television studio, according to sources close to the situation. The migration toward virtual sets is likely to continue long after the crisis ebbs, they say.


Sony Expands Filmmaking Versatility and Creative Freedom with VENICE and FX9 Full-frame Cameras Upgrades

Sony will expand the capabilities of its digital motion picture camera VENICE and FX9 full-frame camcorder in 2020 to offer even greater expression and usability for cinematographers and their collaborators in production and post. These firmware upgrades build on the two platforms’ extraordinary image capture and colour science. VENICE delivers more monitoring options with high frame rate and FX9 expands shooting as well as recording capabilities for content creators.
“Sony is committed to empowering filmmakers to fulfil their artistic vision with cameras developed by and for cinematographers,” said Anthony Kable, Content Creation Group Manager, Sony Australia. “Shooting capability and efficient workflow are key factors in the selection of camera. We listen to our customers and continue to enhance the functionality of VENICE and FX9 cameras to better meet their visual storytelling needs.”
Since its launch in 2017, VENICE has been used to capture more than 200 theatrical, broadcast, cable and streaming releases, including HBO’s “The Plot Against America” and 16 other series premiering in March and April 2020. Regular firmware and hardware updates have been key to the wide adoption of VENICE.
For mere details contact:


Hi Ron and my ACS friends,
I was born in Arizona, USA, in 1970 and grew up in California moving from San Francisco to Los Angeles knowing only two people here. One of the two people I knew here helped me get my first film job.  (I had been fairly successful as a photographer in San Francisco, so that helped).
The production manager of a feature I was gaffer on was also a director, we hit it off, and I lensed six films for him. In between some of those films, I lensed The Ascent, then later The Empty Morning, Dichotomy, and a couple music videos. I’d love to do some commercials as well as a period drama and a nice intimate character drama. I was also very lucky in that I met Vilmos Zsigmond a few months after moving here and got to learn from him over the next few years, until his death. 
I first discovered my love of motion pictures and image-making as a teenager, when I made some of my own films using a home video camcorder. After graduating high school, I attended film school in the San Francisco Bay Area, then later studied cinematography at UCLA and Global Cinematography Institute, graduating from the latter with distinction in lighting and composition. I have been Director of Photography of several award-winning features, short films, and music videos. I have lensed everything from documentaries to horror to sci-fi to dramatic films and television series.

Among my favorite movies are The Piano, Dead Poets Society, The Hunt for Red October, Lawrence of Arabia, Casablanca, Vertigo, and North by Northwest.

Other reasons “why ACS” for me: several of the cinematographers whose work I most admire are Australians (people like John Seale, Dean Semler, Russell Boyd, Andrew Lesnie, Greig Fraser, Adam Arkapaw). I also find the ACS policies on inclusion and ethical conduct very attractive and affirming, very much in agreement with my personal ethical sensibilities. One might say I “felt seen” when I read the policies. Everyone I’ve had the pleasure of interacting with at the ACS has been really wonderful and has made me feel welcomed, despite not being Australian myself.

Best regards
Jeff Galyan
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Featuring wonderful articles:  here's a sneak peak at the June 2020 edition:

Penny Dreadful: City of Angels (Showtime)

Set in Los Angeles in 1938, this spinoff of John Logan’s dark fantasy series Penny Dreadful follows two police detectives (played by Daniel Zovatto and Nathan Lane) tasked with solving a gruesome murder that threatens to further inflame racial tensions in the city. ASC Award winner John Conroy, ISC, a veteran of the British series who crossed the pond to shoot the project, welcomed AC to the set

The Crown (Netflix)

Adriano Goldman, ASC, ABC discusses his much-lauded work on The Crown, the acclaimed historical drama that chronicles Elizabeth II’s reign in England. An ASC Award winner for the episodes “Smoke and Mirrors” and “Beryl” (the latter of which earned him an Emmy as well), Goldman is also behind the camera on the series’ next season.

Shot Craft will look at the growing popularity of rehoused vintage lenses, and offer advice on surviving the freelance life when jobs are scarce.

Short Takes will spotlight the music video for Monster Rally’s “Adventure,” shot by Emmett Sutherland — a former ASC Heritage Award winner — on 16mm film and a tube-based broadcast camera.

The monthly visit to the AC Archive will focus on the 1970s, one of the most celebrated eras in American film.

John’s Bailiwick: The Booksellers

John Bailey, ASC takes a look at the new documentary The Booksellers, which peers into the world of independent booksellers in Manhattan. “Whatever image you might have of the traditional, tweed-jacketed bookseller will be dispelled by this rich group portrait of men and women who are custodians of the printed word,” Bailey writes.

6 Underground

Bojan Bazelli, ASC teamed with director Michael Bay for the first time to make the high-octane adventure 6 Underground, about a team of international operatives who join forces for a bold mission to overthrow a brutal dictator.

Digital subscription Link

 FUJIFILM  is pleased to announce the development of two new 8K broadcast zoom lenses, both capable of producing dynamic 8K ultra-high-definition images. 
The HP66X15.2 and HP12X7.6 ultra-high-definition (UHD) lenses feature bayonet mounts targeting three 1.25” sensors for ultra-high 8K resolution. Both lenses can be used with the latest generation of focus accessories to achieve the advanced level of focusing precision that 8K demands.
As broadcast technology early adopters explore the challenges and benefits of 8K production, there are growing needs for high-performance optical equipment compatible with this technology,” said Yuji Igarashi, General Manager, Electronic Imaging Division & Optical Devices Division. “With four times the resolution of 4K video, recording in 8K requires lenses with exceptionally advanced optical performance. Fujifilm has taken the advanced optical technology it has fostered over many years to new heights to develop lenses that not only meet but exceed those demands.”
The 8K series from FUJINON is now comprised of seven lenses designed for two camera formats. The 8K 1.25” Three Sensor Bayonet-Mount Series includes the HP66x15.2ESM box lens, the HP12x7.6ERD portable lens, the HP7.5x8.5SM box lens, and the HP11x22.5SM box lens. The 8K PL Mount Series includes the SK3x12SM portable lens, the SK7.5x19.7SM portable lens, and the SK20x35ESM box lens.
National instagram Host is now Callan Green ACS - follow @austcine
Love Doco's:  Why not check out DOCPLAY

Very Semi Serious

A partially thorough portrait of New Yorker cartoonists.

Going behind-the-scenes of The New Yorker, Very Semi-Serious introduces the cartooning legends and hopefuls who create the iconic cartoons that have inspired, baffled—and occasionally pissed off—all of us for decades

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Underwater filming is a key part of our business; it’s also my ‘first love’ in filmmaking. So, in addition to shooting for specific projects, I spend as much time as I can underwater, around Australia, to film stock for SeaLight Pictures.


It’s also a way for me to research new ideas, and keep learning what marine life behaviours are possible to capture. I have a couple of camera systems; pictured here, I’m using a Sony F5 with the raw recorder in a Gates housing. It’s a great system, with the flexibility to shoot in different configurations, from very wide angle to macro, and in different resolutions.


I’m also using a RED HELIUM in a Nauticam housing; another super system giving me 8K capability, with Nauticam’s tack-sharp wide angle conversion port, a flat port for macro filming, and a probe lens port.

For fun, I love to shoot stills underwater. It’s where everything began for me. My current setup is Sony α7S II (used also for video) in a Nauticam housing. What’s really fun for me is using the Nikonos 15 mm and 20 mm lenses — 50-year old technology that delivers the sharpest images.

— Adam Geiger, Director/DoP,
Australian Cinematographer
March 2020 ~ Issue #85

True History Of The Kelly Gang ~ Ari Wegner ACS
The Mandalorian ~ Greig Fraser ACS ASC
Stateless ~ Bonnie Elliott ACS
The Invisible Man ~ Stefan Duscio ACS
Never Too Late ~ Peter Falk ACS
The Commons ~ Earle Dresner ACS


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Australian Cinematographers Society
Level 2, 26 Ridge Street, NORTH SYDNEY, NSW 2060

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