National E-News 1 November 2014


Major National Sponsor

Platinum Sponsors

Gold Sponsors

Silver Sponsors

Bronze Sponsors

National Supporters

In This Issue

- President's Report
- Ray Martin AM & Russel Boyd ACS, ASC share their Experiences
- ARRI Australia supports ACS to CAMERIMAGE
- Postcard from Danny Ruhlmann, ACS in Mexico
- A Special Invitation from ACS Victoria
- VALE ~ Miles Moulson 1940 ~ 2014
- WA ACS Masterclass with Peter James ACS, ASC
- Top Tech Reviews!
- Congratulations to SA Member Nick Matthews, ACS
- Francesco Biffone in Qatar
- Sony F55 4K CineAlta™ Camera used for Turkey Shoot
- Postcard from Andrew Conder SOC, ACS
- DDP Studios launch their new website
- Postcard from Jason Hargreaves
- CANON New Item!
- AFTRS Open - 1 spot left CAMERA ASSISTANT’S WORKSHOP with Erika Addis
- Postcard from Brad Dillon
- Gone Girl review by James Cunningham
- APDG Awards
- The Production Handbook & The Byron Bay International Film Festival
- Shadowcatchers & Merchandise for Christmas!
- ACS Laurels
- ACS Sponsors
- Finally.. CAUGHT!

From The President

Greeting ACS colleagues and friends,

Here we are in November - Melbourne Spring Racing Carnival month and, on the ACS calendar, our ACS Awards for Cinematography presentations, held on every Saturday until the end of November.

If you haven’t already booked, please do so to support the work of our cinematographers and as a thanks to all the dedicated committee members who work tirelessly to organise and stage these prestigious Awards presentations.

Simply click HERE for information re bookings.


One of many Fannie Bay, NT sunsets – not to be missed! Picture courtesy: David Wakeley ACS

But let’s not forget about late October quite so soon!! It was when the inaugural NT Awards for Cinematography were held in Darwin. The Awards presentation was held on a very balmy Friday October 24 evening in the very flash Darwin Entertainment Centre, and was followed on the Saturday by a Ray Martin AM Retrospective and a Russell Boyd ACS ASC screening/Q&A of The Way Back at Charles Darwin University.

Around 80 Territorians attended the Awards plus a few distinctive Southerners hanging around the ridges. There were many highlights that included an inspirational opening address from NT President, Andrew Hyde, a very emotional “Welcome to Country” from Larrakia elder Gary Lang who was the 2014 NAIDOC Lifetime Achiever recipient. There was a performance by the indigenous group ONE MOB who performed indigenous dances and enthralled the audience with their passionate display. At one point I looked across and I’m certain I saw Marianne Wakeley wiping a tear from her eye, so there is no doubt that this truly was an emotional time for many who were in attendance.

The inspirational ONE MOB performs for the NT Awards audience. Picture courtesy: Ted Rayment ACS

The incredibly impressive ONE MOB. Picture courtesy- Clive Hyde

It never ceases to amaze me just how calm and supportive Ray Martin is, particularly at these events. Ray is a consummate gentleman, and it is difficult to put into words just how much he means to all of us within the ACS. Thanks again Ray.

Both Russell Boyd and Geoff Burton spoke eloquently and with great feeling about cinematography and the industry here in Australia, but for Geoff it centred particularly on the Territory, where funding for the local industry is at a premium, and really should be addressed. I thank them both for their generosity of spirit and their overwhelming support of the NT Awards.

LHS - Russell Boyd ACS ASC and Ray Martin, TOP RIGHT - Geoff Burton ACS, MIDDLE - Russell Boyd ACS ASC, Stefan Sedlmeier, Ron Johanson ACS, Andrew Hyde and Ernie Clark ACS, BOTTOM - Ron J.

The night belonged to the winners of the various categories, including our first ACS CineKids recipient, the prodigious Maxim Hussey who attended with his father Stephen Cavanagh, who also received 2 Bronze plaques, Tim Wood who won 1 Gold plaques and 2 Silvers, the very popular NT President, Andrew Hyde with 1 Gold, 2 Silver and a Bronze, Chris Tangey a Gold for very evocative “Song for Grace” and 2 Bronze plaques, Simon Manzie received 2 Gold and 2 Silver and the Judges Award winner Dylan McDonald, who also received 3 individual Gold plaques.

NT Awards Student Cinematography winner Nathaniel Kelly with Ray Martin. Picture: Andrew’s dad, Clive Hyde

It really was a successful and a fantastic evening and full credit must go to the dedicated and progressive NT Branch committee for their tireless efforts. Led by the unstoppable Andrew Hyde, the hard working, committed team of Jennifer Richards, Ian Richards, Ian Redfearn, Stephen Cavanagh, Alex Novak, Tim Wood, Sam Chen and Clive Hyde along with all the members of the NT Branch committee, both here and in the Alice, brought these NT Awards for Cinematography to fruition. A special note of thanks also to David Wakeley (DW) ACS for his valued contribution to the success of this inaugural NT Awards presentation, and to ARRI Australia GM, Stefan Sedlmeier for making his first visit to Darwin to be part of the Awards event.

But it wasn’t only about Awards. It was about bringing a diverse and multi cultural community together in order to celebrate together something that was achieved with great success. Which reminds me how important it is to remember that the ACS Awards for Cinematography as we know them today were the brainchild of our ACS Historian and Past Federal & State President; Ron Windon ACS. As a Society we are justifiably proud to have an Award system that continues to evolve and covers all fields of cinematography, from CineKids to Feature films, along with the work of all those fine cinematographers that specialise in Wildlife & Nature, Virtual Cinematography, Experimental & Specialised, News & Current Affairs as an example.

Our ACS Awards are important and vital for the growth of not only the Society, but also those cinematographers who enter to have their work judged by their peers.

NT AWARDS GOLD WINNERS – Maxim Hussey (CineKids), Nathaniel Kelly (Student Cinematography), Andrew Hyde, Tim Wood, Mitchell Woolnough and Ian Redfearn. Picture courtesy-Clive Hyde

Complete Winners List »
NT Award Photos »


A RAY MARTIN RETROSPECTIVE was held on the Saturday morning after the NT Awards at the Hilton Hotel in Darwin. The morning was attended by around 25 guests who listened intently, and with great interest, as Ray took us through his experiences as a journalist, but more importantly as a photographer. Ray certainly has a fantastic “eye” and an extraordinary capacity to capture the moment, particularly in those areas of the world that are troubled and people require help and support.

Ray spoke for around 90 minutes about his experiences and the people he has had the opportunity to meet and to work with. Ray is a big fan of the Lumix and the new Panasonic cameras, but he has a large array of lenses that he puts to good use. This is evident in the quality of his photographs, which really does impress.

"A breathtaking mountain lake called Largo de los Tres, high in the Argentinian Andes. Two days hiking, but sunrise was worth every step." Photo: Ray Martin

After Ray Martin’s Retrospective, the late afternoon was the opportunity to watch and listen to RUSSELL BOYD ACS ASC, who hosted a screening/Q&A of his latest collaboration with Peter Weir, THE WAY BACK at Charles Darwin University, with great thanks to Dr. Aurora Scheelings (Digital Media Lecturer, HE Course Coordinator and VET Coordinator) from CDU for her generous support.

After the screening of the film, around 30 very interested attendees listened as Russell spoke openly with his customary generosity about the film and his working methodology with Peter Weir, as well as taking numerous questions from those in attendance. It’s always good to hear someone like Russell speak and to watch the faces of those listening intently as he answers their numerous and diverse questions.

Russell Boyd is not only a fine cinematographer, he is a fine man and I cannot thank him enough for the support he gives the Society at all levels.

A reminder that commencing in 2015, Accreditation submissions will only be accepted from July 1 to July 31. So should you be considering applying for Accreditation next year, highlight those dates in your diary, time capsule, iphone, e-book etc.

I would like to add that I am well aware as to how disappointing it is NOT to receive your Accreditation but I do feel it important to remember that the Accreditation Panel take their job very seriously and consider each and every submission based on what is presented to them on the day. The opportunity does exist to have your Accreditation submission scrutinised at Branch level beforehand, but in the end it will always be the final decision of the Panel as to who does become an Accredited member of the Society. I ask you to respect that decision, to not be deterred and to definitely try again.

I was delighted to hear that Tasmanian member David Brill ACS was recently recognised at the 2014 United Nations Media Awards held in Melbourne. Both David and Geoff Parish were successful in the category Promotion of Positive Images of the Older Person: Dateline SBS TV - Free The Bears.

Another testament to David’s catalogue of work and his commitment to the career he has had a love affair with over many, many years. Read more at this: LINK

Until next time,
Ron Johanson ACS
National President


The Society thanks Stefan Sedlmeier and ARRI Australia for playing a huge part in NSW member Ashley Barron attending CAMERIMAGE 2014. Barron will gather material for future articles in the National E News, AC Magazine and a CAMERIMAGE Q&A at the ACS HQ upon her return.

Without this generous support from ARRI Australia these initiatives would not be possible.



This year in conjunction with our prestigious 48th Annual ACS Victoria /Tasmania Awards for Cinematography to be held on Saturday November 15th 2014, the ACS Victorian Branch is staging a special event which will take place over the weekend of November 15 & 16 at Docklands Studios.

“I LIKE TO MOVE IT” is an Expo designed to showcase the many ways we move, support and place motion picture cameras during the course of a production.

As professional filmmakers, we are inundated with myriad options to achieve the shots we couldn’t achieve in the past - from a Hi-Hat to a Helicopter and everything in between. The list is seemingly endless and the Australian Film and TV Industry is rich with excellent professional resources of equipment, providers and crew to make it all happen. It’s the perfect opportunity for grip services, specialised camera operators, aerial services, underwater services, tripod and camera support suppliers, tracking vehicles of all sorts, riggers, cable rigs etc to demonstrate their gear and specialities.

Read the flyer at the link below and get on board to support this fantastic initiative from the Victorian Branch.

I Like To Move It! »

VALE ~ Miles Moulson 1940 ~ 2014

Grahame Dickson ~ Memories of Miles Moulson

Miles, Came to Australia as a trained electrician and a semi professional soccer player who had a career with Sheffield Wednesday and Bradford. He played professional soccer in this country for St. George Budapest, he was also a handy cricketer who played grade. Due to many years of kicking a wet soccer ball about in England, he sustained ankle damage that eventually had to be fused and gave him his trade mark limp. It affected his ankles but never his heart as he had the heart of a lion.

Miles eventually had the opportunity to work at Supreme Sound a studio based in Paddington, Sydney. Where the young & arty types of the time were working & creating all types of content, tvc’s, documentaries, you name it. He was an integral part of a group of individual that spawned greats, like Peter James, David Gribble and Russell Boyd, names that are revered. Miles worked in a time when the equipment was heavy and hot, film stocks were unforgiving and the colour had to be perfect.

Although Miles was an electrician, he wasn’t really interested in the equipment. His great skill was creativity; he worked with shape, colour and texture. He understood what the DOP was trying to do and was always striving to be a step ahead.

He also won three ACS gold awards for TVC’s he shot. He had to make a decision between ambition and family, he chose family. Unfortunately for this beautiful humble man, his body gave up on him and we lost him to the industry. Now we have lost him altogether, our loss, my personal loss is immense.

Peter James ACS, ASC. ~ Pays Tribute to Miles Moulson

I worked with Miles at Supreme Sound when I first started working in the film business, along with gaffers Derek Neal and Gordon Nutt, they were all English worked hard, very fit and played Soccer very well.

I did hundreds of commercials with Miles he was my gaffer. We went on to do The Irishman in North Queensland in 1977 and many other projects. Miles enjoyed his work and it showed. He could anticipate what you may want which made filing go so much quicker and easier. He was very helpful creatively and made an enormous contribution to the photographic look of the film.

Even on the toughest of workdays he managed to find the energy to kick the soccer ball around at lunchtime for a few minutes.

Rest In Peace Miles.

WA ACS Masterclass with Peter James ACS, ASC - by Denson Baker, ACS

Peter check the meter reading the key to fill ratio. Photo: Denson Baker ACS

On the 28th of October the WA Branch hosted a Masterclass with the wonderfully generous and inspiring Peter James ACS, ASC. The event was held at the Central Institute of Technology in the Perth Cultural District, Northbridge.

The day started with a full house of 45 keen participants in the lecture theatre where Peter presented a power point of influential images from paintings as well as classic and contemporary cinema, these images were dispersed with insightful quotes from some of the masters of cinematography, including Vittorio Storaro, Roger Deakins, James Wong Howe and Peter James himself.

Peter talked us through the images which included examples of chiaroscuro, the use of colour palette, graphic compositions, "good" and "bad" lighting, leading lines, smoke and atmospherics, framing for faces and portraiture lighting among many other things. Peter then shared some excerpts from his films which included Black Robe, 27 Dresses, Meet the Parents, Paradise Road, And Starring Pancho Villa as Himself and Bride of the Wind, he talked us through his approach to lighting, told us stories about the cast and crew, as well as shared general insights into his decision preproduction. It was a most informative and entertaining morning.

We then moved across the road into the Central Institute's Film & TV studio. Where the staff and students had kindly erected a 2 walled, 2 doored set for us. Tim Goodacre our Gaffer had an assortment of lighting units ranging from Kinos, dedos, a variety of tungsten units and china balls as well as cutters, blacks, nets and diffusion frames.

Mike Knight from Location Equipment had provided us with an Arri Alexa and a set of Ultra Primes, Daniel Holliday & Dion Borrett from 2D Films had their Blackmagic 4K kit put through it’s paces, Sam Winzar had lent his Sony OLED monitor to the workshop and actor Maggie Meyer was on hand to perform on camera for us.

Maggie Meyer prepares as the crew line up the shot and check sharps. Photo: Denson Baker, ACS

Firstly Peter talked us through a simple but effective lighting set-up with 3 people in a row, each with a different skin tone, he demonstrated soft and hard light, the inverse square law of light, using the light meter for determining correct exposure and contrast ratio as well as using false colour on the Alexa to determine correct exposure. We looked at bounced light vs direct light through diffusion frames, the many ways of dealing with unwanted shadows, balancing within a shot... Among many other valuable tips and techniques.

We were joined later in the afternoon by Paul Bryant from Canon who brought in the brand new 17-120mm Canon Cine-Zoom. Many where impressed by the quality and range of this lens, with minimal distortion at 17mm.

Mathew Farrell on camera, Joe Henderson, Tony Fiora, Meredith Lindsay, Joel Crane and Eamon Dimmitt listen intently as Peter shares his words of wisdom. Photo: Denson Baker, ACS

The afternoon involved advanced blocking with cast, camera operating, camera movement and lighting scenarios, including cast entering and exiting through doors, sitting and other actors entering and interacting all while timing camera moves. The third scenario involved actor Maggie Meyer entering the room with a candle and timing a Chinese paper lantern on a boom pole being faded up and moving through the set with her, it became a challenge when Maggie turned 180 ̊ and the Chinese lantern had to swing around her on to the other side of frame. This scene also involved a 2nd actor entering and opening a 2nd door with a fire effect on the other side which was controlled on dimmers as well as having flicker applied by hand in front of the lamps. For this set up we shot with the two cameras, the Blackmagic 4K on the dolly, pulling back with Maggie and candle in a mid shot which developed into a 2 shot and the Alexa had the 17-120mm zoom, picking up a tight shot from the door then quickly reframing for a loose 2 shot when the fire effect was spotted coming underneath the door.

Beth Cole operates the Blackmagic 4k on the Panther Dolly, Mitch Gurrin is 1st AC. Photo: Denson Baker, ACS

The day was enjoyed by all participants which ranged from new ACS members, students from high school, university and film schools as well as some of our more experienced senior ACS members.

Peter really catered for all levels of experience and we all left learning something new and feeling inspired. Thank you Peter for sharing your wisdom and passion for the craft with us.

Photo: Peter Goodall

Top Tech Reviews!

The ACS has a very active and dedicated Technical Committee under the leadership of NSW Member Tom Gleeson who from time to time test and review new equipment in order to inform the members.

Check out the following link to view their test vision!

Top Tech on the ACS Website »


“One Eyed Girl” co-producer Craig Behenna, director Nick Matthews, and actress Tilda Cobham-Hervey, with Matt Weiner (creator of television show Madmen) at the Austin Film Festival.

Cinematographer and debut Director, Nick Matthews’ psychological thriller One Eyed Girl has won the jury prize in the ‘Dark Matters’ category at the Austin Film Festival in Texas.

Produce by David Ngo and written by Matthews and Craig Behenna, the South Australian-shot film tells of a psychiatrist, haunted by the death of a former patient, who stumbles upon a Doomsday cult and battles to save a teenage girl from its clutches. Nick Matthews said, "It’s a great honour to win this award at a festival that champions story, and genre filmmaking. To receive it in front of so many film and TV heavyweights, like Madmen creator Matt Weiner and director Jim Sheridan is a doubly amazing.“

We are all looking forward to an Aussie release and a possible ACS screening sometime soon.



Photo: Michael Gray

NSW member Francesco Biffone on location in Doha, Qatar with Peter Holloway & Michael Gray shooting a commercial for petrochemical company Qatro, followed by a doco for same.

In the photo he is using David Wakeley’s new Panasonic GH4, 4k camera.

Sony F55 4K CineAlta™ Camera used for Turkey Shoot

Directed by Jon Hewitt and shot by DOP Warwick Field, the newly-released Turkey Shoot is an homage to the 1982 cult classic of the same name.

Supplied by Brett Dwyer and Charlie Ward at Lemac Melbourne, the duo used Sony’s F55 4K CineAlta™ Camera to achieve the distinctive look and feel required for such a unique project.

Field explained, “Jon had envisaged quite a violent, action-packed world for this film which would require a fair amount of VFX work given our tight shooting schedule and what we would not be able to achieve on set. Steve Cooper from The Post Lounge in Brisbane who handled all the VFX was keen to have 4K images to work with and so we decided we definitely needed a 4K camera for this production. The Sony PMW-F55 suited the project well as we could record onboard 4K. Simply, I needed a camera that would give me solid RAW images with film equivalent latitude in exposure, a good looking colour space and also be small and fast enough to work with to be able to shoot an action movie in 15 days with a small crew and a heap of locations.”

He continued, “The advantage with the Sony F55 is that it’s a cheaper rental digital cinema camera than many other options and that cost saving can go towards a greater range of lenses, filters, monitors and accessories. The F55 still has most of the features of the larger F65 so I wasn’t going to compromise the image in any way that would affect the finished film.”

Post Lounge Colourist, Nuala Sheridan graded Turkey Shoot with very limited time sitting alongside Field to get the images into the great shape required for the production.

Due to it's linear "platform order" Field had several visual styles. Both in camera and in the grade the worlds were made to take on a certain different look. "The RAW was a big help because I hadn’t baked anything in so shifting my hues and contrast gave me huge opportunities without the pictures falling apart. And we could pull keys easily to isolate elements of the image to affect as we liked."

"This film had no shortage of shot types. From lock-offs to travelling car interiors and exteriors, arrow-cam, helicopter POVs, handheld, dolly and tripod. All in all the F55 handled everything we threw at it and I’m delighted to say the pictures looked great.”


ACS National sponsor - DDP Studios - have launched their brand new DDP Studios website and Facebook page

Browse the new media from DDP!

DDP Studios Website »
DDP Studios Facebook Page »


CANON New Item!

Canon today expands its Cinema EOS System with the launch of the EOS C100 Mark II, a new large sensor professional video camera.

The lightweight, compact HD video camera builds on the success of the acclaimed EOS C100, delivering improved image quality and greater creative flexibility alongside easier operation and – a first for the Cinema EOS series - wireless sharing capabilities.

For more information and product images for the Canon EOS C100 Mark II please head to the below links.

Tech Specs »
EOS C100 Mk II Images »


LAST CHANCE! 1 spot has just opened up in AFTRS Open’s annual CAMERA ASSISTANT’S WORKSHOP with Erika Addis next Monday - Friday at AFTRS in Sydney!

This intensely practical course IS UNIQUE IN AUSTRALIA. It introduces you to the duties and professional requirements of the Camera Assistant in drama, documentary and commercials and is taught using the latest equipment in AFTRS’ state-of-the-art studios.

DATES: 3-7 November, AFTRS Sydney



Shooting HD: Canon & Nikon DSLRs
Want to shoot High Definition (HD) video on your Canon or Nikon DSLR? With the vast improvement in the video functions of DSLRs in the last few years, these are no longer simply an add on to your stills camera. Industry expert cinematographer Gareth Tillson will show you how to make the most of your DSLR and open up the world of the moving image.
Dates: 15 - 16 November

Lighting Fundamentals
The aim of the course is to teach basic lighting skills in cinematography and how they apply to the visualization of a story or concept. You’ll learn about natural and artificial light, colour temperature, the use of anti-fill, cutters, diffusion gels, lighting continuity, on set communication and much more! Course lecturer Anna Howard has an impressive 20-plus year film and TV career.
Dates: 17 - 21 November

Summer School: TV Camera Sound & Lighting
Anyone entering the TV industry today needs to be able to “do it all”. It’s essential to be able to use camera and sound equipment competently and this five day intensive course will give you the confidence and essential skills to say ‘I can do that!’.
Dates: 5 – 9 January 2015

To view all AFTRS Open short courses visit the website: »


FILM REVIEW “GONE GIRL” – James Cunningham

In David Fincher's Gone Girl (2014) we open with a simple frame of Amy (Rosamund Pike) gazing into the camera while a man’s hand strokes her hair. Visually the film looks beautiful; light and dark are used effectively to enhance the twisting narrative, as the audience is slowly fed more and more information about the intentions of the film’s two leads. From the opening shot, the photography cleverly sets up an uneasy feeling and a sense that something is… off.

During high school Gone Girl’s DOP, Jeff Cronenweth ASC, worked with his father as a camera loader and second assistant camera. His father was the acclaimed Cinematographer Jordan Cronenweth, most noted for Blade Runner (1982). Cronenweth Jr’s debut as DOP was on David Fincher’s Fight Club (1999), and Gone Girl marks his fourth collaboration with the director. In his own words Cronenweth calls Gone Girl “some version of a modern noir” - which is bang on. The film delicately evokes everything from Billy Wilder’s Double Indemnity (1944) to Brian De Palma’s Femme Fatale (2002), from Rita Hayworth in Gilda (1946) and Linda Fiorentino in The Last Seduction (1994), all with a little bit of Hitchcock thrown in - Cronenweth actually shot Hitchcock (2012). Beginning a career on film, Gone Girl is the forth film (in a row) Cronenweth has shot on digital: “There is still something inherently magical about shooting on film”, the two-time academy award nominated Cinematographer says, “it's mysterious and you get to be the wizard behind the curtain that makes everything happen, which I kind of love.” Among the first filmmakers in the world, however, to receive an EPIC DRAGON Fincher at once decided he wanted to use it for Gone Girl and the film is entirely shot in 6K - a filmmaking first. Due to the grand vision behind this suburban shooting in Gone Girl, digital was a wise choice.

Cronenweth’s reputation for low lighting, close-up long-shots can be sourced back to his visual style in Fight Club. With Gone Girl he sometimes uses (to great effect) a longer lens to compress scenes, but otherwise the general style continues his slick tradition. The film’s lighting is both simple and genius. On Nick (Ben Affleck) becoming the prime suspect in his wife’s disappearance he retreats to the safety of an impersonal and dimly lit house. As his wife’s plot [spoiler alert] unravels, light becomes more open and bright as the audience begins to comprehend her deception. Special mention must go to two scenes in particular: the outrageously beautiful lighting in an abandoned shopping mall (an actual location, not a studio) - and what can only be dubbed the ‘bedroom scene’ (which took two days to shoot). As the latter scene begins, fear and spectacle are perfectly emphasised as being directly disparate with the way the scene is lit. The bedroom is glossy and misleading, and an almost erotic tinge is heightened by the surprise of the sex and violence, enticing the viewer in one direction before jolting you in another.

Trent Reznor and Atticus Ross’s modern and haunting score is also superbly suited to the narrative which unfolds. Certainly a film for fans of Gillian Flynn's book, David Fincher devotees, and simply lovers of damn good mystery/thriller… four-and-a-half stars.




Pre-order the 2015 Production Book and WIN A VIP LUXURY GETAWAY - attending the Byron Bay International Film Festival! (Valued at over $2000)*

Now the ONLY resource if its kind in Australia & New Zealand.....the 2015 Production Book (released early December) is the most comprehensive and reliable resource directory for the film, television, advertising and multimedia industries in Australia and overseas, with more than 18,000 listings across 245 categories.

For full details on how to win the Luxury VIP Getaway and how to buy the book go to Production Book Subscription or call 1800 651 422

The Byron Bay International Film Festival:


Nice friendly looking Santa, who will happily sign your copy for you!

It’s almost Christmas so as a special Christmas treat for ACS members, we are offering a Standard Edition copy of The Shadowcatchers along with an ACS Beanie in an ACS gift bag for $66.00. This would make an ideal gift for any member, sponsor or supporter. THIS CHRISTMAS OFFER CLOSES DECEMBER 20!!

Simply go to the link below!

The Shadowcatchers website »


Click for ACS merchandise »


If you’ve been successful at any of our ACS Awards from 2012 and you’d like a way to make people aware of it, we now have available our ACS Laurels. Contact Ron Johanson ACS with a formal request listing the Awards you’ve received and we’ll send them to you for your use. (NB: Examples above)


The ACS has a fantastic roster of National and State & Territory sponsors, whose support and generosity is greatly appreciated. We look forward to an ongoing collaboration with each and everyone of them, particularly in these rapidly evolving technological times.


Erika Addis remaining very patient with El Presidente!


Our sailing host Callie tempting Ernie and Ron with yet more delicious food. Picture courtesy: Ted Rayment ACS

David Wakeley, David Lewis and Andrew Hyde enjoying a quiet sunset sail on Darwin Harbour. Picture courtesy: Ted Rayment ACS

NT President, Andrew Hyde without a beer in his hand, and Ted Rayment looking for redemption! Picture courtesy: David Wakeley ACS

I wonder what David Lewis just said? Margaret Lewis and Marianne Wakeley don’t seem to be sure. Picture: David Wakeley ACS

Website Members Login » »

© 2019 Australian Cinematographers Society