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| In This Issue- President's Report
From The President
Greeting ACS colleagues and friends, November whew what a month!! The Awards season is officially over for this year, and I congratulate all those who entered and those who received awards for their outstanding work. All the Gold winners automatically proceed through to the National Awards in Hobart on 2nd May next year, so look out for more information about booking tickets, hotels etc around the middle of January. Peter Curtis and the Tassie crew are all geared up to turn on something really spectacular. Click on these links for further information
Winners Links
To the amazing Branch committees who work tirelessly to bring these ACS Awards to us, many thanks for all you have and continue to do to ensure the success of our Awards presentations, indeed our Awards system, which I believe is second to none. Awards Ceremonies
Its always a delight for me to attend all the Awards presentations from the very first in Darwin, then SA/WA, NSW/ACT, VIC/TAS and finally Queensland, as the Awards themselves are vitally important for all the nominees and of course the recipients, but its so much more than that. Its the camaraderie and the friendships borne out of these Awards and our Society, that make it all so worthwhile. To have the opportunity to catch up with old and new friends, and to hear the conversation starter: How did you do that? makes my feeling of fraternity among us even stronger. Its also being in the company of truly great people, and none more so than the Guests of Honour who were at the various Awards presentations: Ron Windon ACS, Dr George Miller AM, John Seale AM ACS ASC, Russell Boyd ACS ASC, Geoff Burton ACS, Jim Frazier OAM ACS. We are indeed very fortunate to be in the enviable position of having these fellow members of our industry always willing to be part of the ACS Awards. Awards Night Galleries - Photo Links
Inaugural CineKids Gold Certificate WinnersOne must not forget the impact made by our first CineKids winners, whose work was very impressive. The future of cinematography is in very good hands!
Thank you from ~ Momoko Hill-Travis (NSW)
Thank you to our ACS Sponsors
Of course these Awards and many other initiatives dont happen without the assistance of our ACS Sponsors, and during the year there have been many that have gone above and beyond to support and contribute to the Society through their generosity. ~ Panavision and Sony were directly responsible for the publication of our latest book by Ron Windon ACS - The Image Makers. ~ DDP Deluxe supported us being able to send David Wakeley ACS & Ernie Clark ACS to Los Angeles to attend CineGear and host an ACS booth, ~ ARRI Australia enabled the Society to send Ashley Barron to Camerimage and then onto Brussels for the Imago Cinematography in Progress conference. ~ The NT Government through it's Trade Support Scheme assisted NT President, Andrew Hyde in also attending the Brussels conference, ~ Miller Camera Support created in consultation with the Society The Bob Miller ACS Technical & Innovation Achievement Award, developed in honour and memory of the fluid head inventor Bob Miller, which will be presented for the first time at the National Awards in Hobart next year, and hosted a Miller ACS raffle with all proceeds going to the MPIBS, ~ Canon introduced the Canon Australia - ACS National Equipment Initiative and these are only a few. The support from all our sponsors, both at the Branch level and Nationally is overwhelming, and we are indeed indebted to them all for their contribution to the growth and stability of our Society. So on behalf of all the members, I thank each and every one of our sponsors for your wonderful support, it is most appreciated I assure you, and it is important that all our members give absolute priority to purchasing from one or more of our ACS sponsors, and support them as they support us. Until next time, I wish you all a joyful, safe and relaxing Christmas with family and friends. I thank you all for making the Society what it has become, and long may it continue.
VALE ~ Les Wasley BEM (1928 - 2014) - ACS Hall of FAME 2013
It is with great sadness that we advise you of the passing of pioneer Cinematographer, and one of the original members of the Society, Les Wasley BEM who with his daughter Lindy was killed in a tragic house fire over the weekend. The thoughts and prayers from all ACS members go out to his wife Jan, son Michael and their extended family at this very sad time.
Les Wasley BEM Les the age of 16 after leaving school he secured a job at Cinesound Studios at Bondi Junction in the film-examining department. Les developed a passion for all aspects of film production but when war broke out in Korea in 1952 he volunteered for the Special Services branch of the Australian Army. At the end of the war he returned to Cinesound and when the company was awarded the contract to produce the Channel Nine news broadcast he regularly began shooting news stories. Les joined Movietone News in 1960 where he also wrote commentary for the news he filmed and in 1964 he filmed a documentary of Sir Donald Campbell's world land speed record attempt in a jet-propelled car at Lake Eyre. In 1966 he joined the ABC-TV camera department where he shot both documentary and news items. Les covered conflicts in Belfast, Lebanon and Vietnam and was awarded the British Empire Medal in 1960 for allowing a team of doctors at Royal Prince Alfred Hospital to stop his breathing in order to demonstrate the effectiveness of artificial respiration. Les Wasley BEM was inducted into the Australian Cinematographers Society Hall of Fame in 2013.
REWARD WILL BE GIVEN FOR ANY INFORMATION THAT LEADS TO GEAR BEING RECOVERED.
Sadly, it is my onerous duty to discuss something that isnt terribly palatable THEFT. What Im about to tell you has happened before, and frankly its high time we banded together to ensure these dishonest and reprehensible culprits, do not even get to first base. Heres the sad story . STEFAN CROSS PRODUCTIONS, APPARENTLY BASED IN SOUTH AUSTRALIA, (Although local intel has since advised that there is no company in Adelaide of that name.) BOOKED AND PICKED UP A FULL PRODUCTION ARRI ALEXA XR KIT WITH A SET OF ARRI ULTRA-PRIMES AND 24mm-290mm OPTIMO ZOOM FROM SOUTHERN CROSS CAMERAS. The gear was booked on a shoot under the following Production details: Stefan Cross Productions The kit comprises $300,000 worth of camera gear and was due to be returned on the night of Saturday 22 November. The shoot itself was supposed to take place in Sydney and in Melbourne and it was in Melbourne where it went missing. The Stefan Cross Productions contact phone has been unavailable for some time now, leading the rental company to presume that the gear has been stolen. We are hoping to be proved wrong and it has been an unfortunate misunderstanding, but only time will tell. Anyone with information please contact Anthony Pawley: 0414 761 781 A REWARD WILL BE GIVEN FOR ANY INFORMATION THAT LEADS TO GEAR BEING RECOVERED. The serial numbers attached to the stolen gear are as follows: - ARRI ALEXA XR CAMERA BODY WITH EVF AND 3 X 512GB CODEX CARDS AND CARD READER. SN#01126
RICHARD BLUCK NZCS WINS AT CAMERIMAGE
Camerimage 2014 ~ Best 3D Documentary Film: Beyond the Edge
On behalf of all ACS members a huge congratulations to NZCS President, Richard Bluck NZCS for winning at Camerimage Good job Richard!
CAMERIMAGE 2014 ~ Ashley Barron talks about the "experience of a lifetime.....
Camerimage - a whirlwind of all things Cinematography. Ironically you barely see any films during this festival. Morning to night is workshop after seminar after screening, and night to morning is a party of the many vendors at the festival. Entrance is invite only, so it's a safe haven for Cinematographers to let their hair down, eat some Polish dumplings and catch up with friends. The festival is held at Bydgoszcz's Opera a Nova on the river Brda. Downstairs at the Nova is the documentary screening room and access to the seminar and conference rooms where the various panels and post screening Q&A's take place. As is the Maestra Restaurant where all festival attendees take a breather from the chaos. It seems the majority snack snack time in at the bar area upstairs because at Maestra you will only see the VIPs of the festival - judges, nominees, esteemed Cinematographers from around the world. A great place to discuss life over a Polish traditional soup and listen to what Lifetime Achievement Award recipient Caleb Deschanel has to say.
Aussie Cinematographers in attendance were Greig Fraser ACS ASC with Foxcatcher, Ben Nott ACS with The Lovers, and Dion Beebe ACS ASC with a Lana del Rey video, Velinda Wardell ACS, as well as director Michael Cody representing Ari Wegner's debut feature Ruin. Upstairs you'll find the main theatre where the Main Competition and Student competitions are screened, and both opening and closing ceremonies take place. Traversing it is a small lane way of booths featuring ARRI, Panavision, Hawk, Sony, Canon, Tiffen, Codex, Lee, Panalux and more boasting the latest of their technologies. Hawk with their new white series zoom released just in time for Camerimage, Tiffen with their new line of Pearlescent filters, Panavision with their 70mm lens range, Codex and their small camera, Tiffen and their matched lenses for 3D and Limux? And of course - the most talked about release yet - ARRI's Alexa 65. Boasting an open gate resolution of over 6K ARRI demonstrated it's fast and efficient on-set workflow with Codex and Colourfront at a significant and informative workshop. Along with the presence of Panavision's 70mm lens set, the growing presence of 65mm in the industry is prominent. Besides this, the focus was placed on HDR, the role of colour information and dynamic range over pixel count, and 3D. ARRI along with Osram, once again did not disappoint with their annual lighting workshop - this year led by cinematographer Phedon Papamichael ASC. One of the real highlights was a documentary using all archival footage colorised and reconstructed of the 1944 Warsaw uprising - called 'Warsaw Uprising'. This film, from all reports was truly remarkable and one can only hope it will eventually find it's way to Australia.
The real beauty about this festival is that there's no pressure or pretense. No-one is buying or selling anything (besides maybe the agent who wants to sign the latest someone - but even they put their hair down). You can find yourself dancing next to your hero, clinking glasses with the latest Oscar winner, or sharing an auditorium with the leaders of the industry, and they're more than happy to give you their time. It's an experience of a lifetime..... ACS CAMERIMAGE Q&A PRESENTED BY ARRI Australia
SPECIAL INVITATION TO ALL MEMBERS, SPONSORS & GUESTS ACS CAMERIMAGE Q&A PRESENTED BY ARRI Australia with our very own Ashley Barron who will talk about the highlights and explain what makes Camerimage the worlds best and leading Festival for Cinematographers. ACS HQ on Monday, 8 December commencing at 6.30pm, refreshments will be provided. Don't miss this chance to hear all about CAMERIMAGE before you attend in the future.
Camerimage and Imago have both existed for 22 years. The two organisations are unique in their own way. The profession of cinematography has been made richer by the existence of both. There are not enough superlatives in the English language to describe the rolling triumph of the organisation behind Camerimage. I was privileged to experience it again in Bydgoszcz. Long evaporated are the doubts and apprehensions of the unexpected departure from Lodz. The engine of this Polish achievement is honed to run smoothly. It is worth reflecting on the reasons that make Camerimage the greatest Festival for cinematographers in the World. Unquestionably there is nothing like it anywhere, for any film craft! Without the genius of Marek Zydowicz the Festival would not exist. It is a triumph for his personal achievement and a magnificent advertisement for Poland and its film industry. Without the support of the enlightened politicians who govern the beautiful city of Bydgoszcz and environment Camerimage would not exist. Without the support of the Polish Institute it would be immeasurably poorer. Without the support of sponsors Camerimage would disappear. All are owed an enormous debt of gratitude from our profession. The direct flight to Bydgoszcz conjures a mixed emotions of anticipation and trepidation for those familiar with the pleasures and excesses ahead after landing. Will the pillars still be standing? Dana Ross is now employed by Arri but will he be there? Attempts to demote Lone Star were foiled years ago by Vittorio. It would not be the same without him. Will we see our favourite cinematographer Ed Lachman when we arrive? All three were there plus the familiar security guards! Much continues to be right with the World- that is until the Red eye returns a week later. The Ryanair flight is the only red eye in the world flying in daylight.
Much vodka, beer and wine was to flow under the bridge before the return. Students were due for a serious induction into Polish culture. In my capacity as President of Imago the most important event of the week was to be the joint Imago/BSC presentation with Chris Menges BSC ASC. For this inspirational meeting an essence of sobriety was preferable. The Festival Organisers had been attempting to entice Chris to return to Camerimage since he turned down the offer of a Lifetime Achievement Award thirteen years ago. Even with two Oscars and two further nominations under his belt he modestly explained at the time that he felt honoured but just too young. The event took place on the Wednesday evening and was judged an outstanding success with standing room only among the 400 audience. Relief as it ended was followed by a surfeit of wine at the Panavision Party followed by the temporary loss of an expensive pair of spectacles. No prizes for guessing the recipient of the Lifetime Achievement Award in 2015! This Festival could only be the success it is with the support of the sponsors, particularly after the last film has been screened each evening. They should not be taken for granted by cinematographers. The generosity which inspires Arri, Panavision, Vantage, Sony, Panasonic, the smaller companies and exhibitors must not be forgotten. With nine competitions, nine juries and many hundred films screening along with a myriad of Master classes, presentations and student films, objective reporting becomes a difficult task. Following a screening of Levianthan at the Manaki Festival (surprisingly it won nothing) I was convinced that Mikhail Krichman RGC would triumph with the Golden Frog. The difficult decision is often between Silver and Bronze.
With the hundreds of films showing it is hardly surprising to watch one or two suspect films. Every year the question is asked as to who selects the competition films. I even asked the same such as a sadly unbelievable Moroccan film about an Iranian using English dialogue. Last year the film Ida deservedly swept the Board. Juries have the most unenviable task. Nine jury members in some competitions would seem a step too far but there was no doubting in my expectation, that the eventual winner would be Mikhail Krichman RGC. However after viewing the Chinese film Coming Home, shot by their greatest cinematographer Xiaoding Zhao, doubts crept in and I imagined the Golden Frog going even further eastwards. It was not to be and fortunately there are no bookmakers taking bets- yet. The Silver Frog for the excellent Palestinian film Omar is a huge boost for their film industry as was the Golden Camera Award in Manaki Bros for The Tribe to its Ukrainian film makers. The cinematographer of Omar was Ehab Assal. Andre Turpin won the Bronze for Mommy, a French Canadian film, the screened in competition. The outstanding film showing at Camerimage was 66 years old. It was a magnificently restored copy of The Red Shoes, lovingly introduced by Scorsese, which elevated my appreciation of the genius of Jack Cardiff to even greater heights. The faultless craft values included the ability to hear every word unlike some of the films in main competition. The time has come for some films (mainly American) to consider sub-titling in English if only for the understanding of an English speaking Welshman! God help poor Europeans who struggle enough to understand English!
The ASC Tribute to Gordon Willis ASC who sadly left us earlier this year included Vilmos Zsigmond , Mathew Libatique, Ed Lachman and Stephen Pizzello. It was moderated by Benjamin B. A book about this most respected and admired of cinematographers will be published. Breaking news on Thursday on the death of Mike Nichols (born Mikhail Igor Peschkowsky) caused a depression over a sunless week on the weather front. On the Imago front the time was fruitful. The German BvK and the Polish PSC met to collaborate on a memorandum to protect Authors Rights in the digital age with particular relevance to the internet. The revival of the Polish Society has been a particular pleasure to me in my six years as President. Film is alive and kicking in Poland and the craft of cinematography and our 47 Societies are the beneficiaries. Stephen Poster ASC indicated his willingness to speak at the Imago European Conference which takes place in the presence of EU MEPs in Brussels on March 21st and 22nd. Camerimage is often an opportunity to discuss the issues of working conditions and authors rights in Europe. Imago will hold a meeting at Camerimage next year. The problems of the profession needs to be aired in front of the younger generation. There is no better opportunity than in Bydgoszcz and Imago must seize it. As a cinematographer a useful motto is always expect the unexpected. Camerimage is the place for this to happen. Present at the BSC/Imago Chris Menges presentation, unknown to me, was my near neighbour Johann Perry, a distinguished documentary cinematographer who together with Neil Harvey was giving a workshop on the Amira camera. The following day in the main restaurant the President of the New Zealand Society, Richard Bluck NZCS introduced himself. Richard had also attended the presentation and took the opportunity to reminisce about working with Chris as his focus puller in New Zealand. He had his 3D film, Beyond the Edge in competition, mixing archive and reconstructed scenes from the Everest triumph of 1953. Richard had travelled the furthest distance to show his film. It won!
An unexpected email request from one of Camerimages most loyal supporters arrived from David Hilton in London. I remember Lazlo in Lodz always talking to him as a lifelong friend. Due to family illness David was unable to be present but desperately wanted a copy of the incredible book which the Festival publishes to commemorate each recipient of the Lifetime Achievement. He has never failed to have a book signed and my mission was to track down Caleb Deschanel ASC. The search resulted in success as this charming man was about to walk in to judge his final Polish film. My other mission ended in abject failure. It was a request from the President of the ACS, Ron Johanson, to assist a first time visitor to Camerimage, a cinematographer named Ashley Baron. The failure was not through lack of effort. Perhaps Camerimage should have a booth marked Meeting Place where messages could be left. A lost and found office for cinematographers! I did manage to shake hands with Dion Beebe in the foyer. Unfortunately no sign of Don McAlpine ASC ACS who is probably still recovering from the shock of the theft of his computer in the BA lounge some years ago. At Camerimage there are many ghosts around but I am sure I would have enjoyed meeting Ashley Baron. The pleasure will have to be postponed for another day. The Saturday morning I was heading westwards on the Red Eye to Stanstead for a change of air among the Poles of West London. Also to see Wales lose again to New Zealand in rugby. Apart from the forty young students from a York College who were still amazingly full of energy, many of the amorphous bunch of fellow travellers on board appeared some days away from normality. Long may it continue! Nigel Walters BSC Cinematography in Progress ~ BrusselsCINEMATOGRAPHY IN PROGRESS Brussels 27-28 November 2014 Special Guests included Serge Flamé Directeur IAD, Willy Stassen President SBC and Louis Philippe Capelle IMAGO. The ACS was represented by Northern Territory President Andew Hyde and NSW Member Ashely Barron. The Society would like to also acknowledge at this time the valuable contribution by both Erika Addis and Kim Batterham ACS from AFTRS. Round Table Debate on the influence of various new technologies in the teaching of cinematography.. Five workshops were held with topics subjects listed below: ~ Camera Technology workshop Each participant was able to attend two of the above workshops where two key questions were asked at the start of each session. 1. In practical terms, what exactly should a student of cinematography be able to do once he/she finishes school? 2. What new educational methods have you already put into practice in regards to the specific theme of your workshop? This can obviously include hardware, software as well as the theoretical aspects taught in class. Following this preliminary exchange of views, the participants of each workshop will then explore some more specific topics. Workshops and Panels: Camera technology Using of the monitor for aesthetic rendering control Digital workflow and sensitometry Color grading Cinematography for Visual Effects CINEMATOGRAPHY IN PROGRESS - Conference; Belgium 2014 Ashley Barron & Andrew HydeCinematographers, professors and teaches from across Europe and beyond gathered in Belgium on November 27th for the 1st Cinematography in Progress conference, presented by Imago, the Society of Belgium Cinematographers and IAD. The two day conference and workshop was convened to discuss current trends in cinematography, with a particular emphasis on the future direction of universal teaching methods of the craft. Film schools from across Europe were well represented with delegates attending from the UK, Finland, Romania, and right across Western Europe and as far a field as Singapore. The ACS was represented by Sydney based cinematographer Ashley Barron and NT Branch President Andrew Hyde, while NSW ACS member Marc Swadel attended on behalf of the New Zealand Society of Cinematographers (NZCS). Five workshops took place on the opening day in the delightful surrounds of Louvain-la-Neuve, a university town, nestled in the Belgium woods, a thirty minute train ride from Brussels. Discussion topics included Camera Technology, digital workflow & sensitometry, colour correction & grading, cinematography for visual effects and using the monitor for aesthetic rendering control. The overall theme was current trends in cinematography and how this should be applied to future teaching in film school and other educational facilities. There was overwhelming agreement that traditional technique, including strong focus on the use of film, should remain a priority. It was widely discussed that that the "development of the eye", film history, the study of art history and traditional teaching in the use of the light meter and other established techniques remain essential, alongside the teaching of digital workflow and other more recent developments in the digital domain. The passion for the continued use and teaching of film, alongside digital, was overwhelming, indeed one film school in Romania still has a lab on campus. Delegates spoke consistently about the need to keep film alive in the teaching institutions. There was also a strong focus on the need for students to be taught "leadership in the digital workflow" while prioritising the training of the eye and the creation of the frame. The main result of the Digital Sensitometry and Workflow session was that the entire workflow from testing to projection should be taught and that the knowledge of how to test that entire workflow is imperative to keep the power in the cinematographer's hands. In addition, the means and challenges of keeping Digital Sensitometry contextual and important in the eye of the student. Finally there was the importance in maintaing all of the camera crew roles, with latest trends pushing the 2nd AC out. Cinematography for VFX seemed an 'interesting' subject, with many unable to answer the few questions we were looking to answer about its education. Most seem of the belief that only green+blue screen work should be taught briefly but anything further should be an elective as most feel there is no time to go beyond, nor too relevant in the The Camera Technology Workshop was dominated by discussion about the reality of continuing to teach using film, how to teach camera assistants and how best to teach the testing of optics and filters. It's was agreed that while the teaching of film and traditional technique was essential there was also an obligation to prepare students for a digital career. There was also discussion about the value of teaching DSLR. It was agreed that students often already have experience with DSLR and that, because of its cost effectiveness, DSLR can be useful in enabling more students to be immersed hands on (rather than a group of twelve students standing around a single ARRI), that they are useful in exploring areas like depth of field and ergonomics but that they have major limitations in teaching cinematography. The monitoring workshop discussed the modern tendency to trust monitors too much and the need to teach correct technique with meters over and above the reliance of the monitor. It's was also felt that teaching correct calibration technique was essential and that managing collaboration on set should be a priority of the DOP. There were mixed views about the growing trend of some 1st AC's to focus pull from a monitor but it was felt that the recent release of digital cinema cameras with onboard monitors had the advantage of bringing the director back to the camera (and closer to the DOP). It was agreed that students should be taught to allocate time in pre production to develop a plan for monitoring, based on the specifics of the production and the collaborative relationship with the Director and other members of the camera department. The monitor, it was argued, was a valued tool but that students must be taught how to manage the tool on set and not to trust the monitor above the eye, or the exposure meter. Ashley and Andrew were well briefed by the team at AFTRS before they departed and were able to present trends to the conference from an Australian point of view. Following a plenary session on Day 2 at Cinematek in downtown Brussels, 3 reports of outcomes and recommendations will be produced. It was clear that the ACS is greatly respected across Europe and there was much appreciation for our attendance. There was a strong commitment by all attending to maintain dialogue into the future. Ashley Barron was supported by ARRI Australia and the ACS. Letter from LA LA Land.... ~ Tristan Milani ACS
Hello friends, I was at a BBQ recently in Brentwood, LA having a gay old time when I struck up a conversation with an American TV writer Adam Simon (SALEM). Adam is an interesting person and is married to an Australian writer. The conversation turned, as it somehow does, from talking about ourselves and onto filmmaking. There are only two conversations you have in LA. The one about yourself and how busy you are and secondly the one about how much you hate your agent. Adam raised what I believed to be a very interesting point. Why is it he asked that 10/12 people in a boardroom (Screen Australia) decide what an entire nation of people can or cannot view on TV or in the cinema? It is an interesting point you would have to agree. The TV industry in the United States is booming, the film industry and distribution is tightening around the studio cartels. This is a commonly known fact. What is more interesting looking forward however are the changes in the avenues for funding. Most know about Netflix creating content and how successful it has been. Where is the competition? Well it is arriving in droves. Hulu, Amazon Prime even Youtube and now Vimeo. Vimeo is the classy Youtube, HD videos are posted everyday from around the globe. So I read with interest yesterday in The Hollywood Reporter that Vimeo are broadcasting content. Vimeo is funding 6 new episodes of a web series called High Maintenance. Vimeo is a platform that truely celebrates filmmaking is the quote from the shows creator Ben Sinclair. It will cost you $8 to watch 6 episodes. I could go on about crowdfunding through Indigogo. This is a whole other avenue... What now for Australian filmmakers? Are you all feeling the same way that I am in that Screen Australia as a funding model may have run its race? As I have written before with only 2.5% of the total box office share this year something is not working in Australian films. Screen Australia has a very important role make no mistake but perhaps its having to lift too much. I have been fortunate to work in both systems if you like. One based on free enterprise and risk and the Australian model which The great positive about government funding is the guaranteed distrubtion deal the film must have before it is even considered for funding. The positive of the free enterprise system is the volumes of money at hand and the whole attitude of i am going to make my film, my way and fund it however i want to. The big negative of this system is that there is no guarantee the film will be distributed at all . What impresses me so much about filmmaking in the United States is that the young filmmakers back themselves! What they can produce on say $ 500 000 is astonishing. Their passion for making films never diminishes, and what is refreshing that they make the best with the money they have. I am referring mainly to the indi film market, which is thriving given the nature and change in technology. I think its time the industry had a conversation about the continuing role of the various funding bodies. How will Australian filmmakers tap into these very new and exciting systems of funding? To constantly rely on the whims of the political class is not practical anymore . Tristan Milani ACS Memories of Miles MOULSON ~ Letter shared by NSW Branch President David Lewis ACS
Dear David "Miles Moulson worked with the best Cinematographers, Directors and Technicians in Australian Film and television. Well respected, he loved his work and enjoyed every day in his part of bringing to life this exciting medium. Both Miles and the industry have developed enormously since then and the young VIC/TAS ACS Branches Moved It. Did you like it?
Over the weekend of Nov 15 & 16 we staged I Like To Move It at the Docklands Studios ACS Victoria and Tasmania was very proud to play host to 500 people who came through the I Like To Move It expo on the weekend of our Awards. With the support of Docklands Studios Melbourne (thanks Rod Allan), ACS was able to lay out a feature-packed event that showcased all the professional equipment and services available to DPs to move and support a motion picture camera. With the expo attended by top-level exhibitors, our ACS Members, visitors and VIPs were afforded the opportunity to view and try out some state-of-the-art gear and were able to meet crew and facilitators. Some of the equipment was professional industry-standard tools of trade that younger cinematographers may not have had a chance to work with before, and some was cutting edge technology that just about everyone has not had the chance to try out yet! The idea of the show was to provide an arena to interface cinematographers, crew, services and equipment together so that people could now put a name to a face, introduce themselves and get a better and clearer concept of who and what is out there for the next job. Equipment could be tried and demo'ed in detail without time pressure and then compared to similar products and services. In a style different from some of the International trade shows, our expo was not a hyped up, expensive sales pitch full of give-aways and potentially empty promises. This was a down-to-earth, no gimmicks event put on in a sound stage where the equipment might normally be put to work. There was no carpet, models or mirror balls. The response was overwhelmingly positive as we were fed back that the honesty and low key nature of the expo made it accessible and allowed visitors to engage in set-like analysis in a what you see is what you get environment. To read and see more about this terrific event click the link below.
ACS LAURELSIf youve been successful at any of our recent ACS Awards and youd 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 youve received and well send them to you for your use. (NB: Examples below)
ACS CineKids
An ACS CineKids member is a young person, 15 years or under, who has a passion for cameras and filmmaking. ACS CineKids will receive an ACS Welcome Pack with a membership certificate, membership card, note pad and pen, access to our E news both National & State, and various screenings and workshops, along with mentoring from our ACS cinematographers. Commenting on the ACS CineKids initiative Ron Johanson OAM ACS said, The ACS firmly believes it is our responsibility to encourage the future generations of cinematographers in every possible way we can, as the future of cinematography, across all genres depends on it. To find out more and how to join ACS CineKids click on the following link:
In setting up ACS CineKids we were advised and assisted by Jacqueline Cosgrove, and the ACS proudly supports Barbic Studio and KidzFlicks, two other initiatives that are the brainchild of Jacqueline and her amazing, dedicated team. Film and Digital Times ~ Special Report on the ARRI ALEXA 65
CANON ACS NATIONAL EQUIPMENT INITIATIVE
A reminder to all those interested in applying for the CANON ACS NATIONAL EQUIPMENT INITIATIVE that applications are open for submissions from ACS members to apply to use, free of rental costs, specific equipment from CANON AUSTRALIA. This initiative is the concept of Paul Stewart from Canon, and driven by ACS NSW Branch member, Helen Barrow. Applications will only be accepted from financial ACS members, with preference given to emerging cinematographers. Student Members are welcome to apply, however student class projects are excluded from the program. Projects eligible for consideration for the Initiative For more information, detailed guidelines and an Application form, contact Initiative Co-Ordinator: Helen Barrow on 0409 300 040 or click on the link
BONNIE IS BACK HOME!!After a lengthy stay in hospital, Bonnie Elliott is finally home after her ordeal, having been treated at RPA Hospital Green ICU unit with cysts on her liver plus complications including fluid in her lungs and other things, probably from something she picked up in Cambodia or the NT, while working. But she is now at home, and recovering rapidly...Good onya Bonnie, we are all thinking of you.
Denson Baker ACS ~ The Dark Horse
Independant feature film THE DARK HORSE shot in New Zealand with a Sony F65 4K CineAlta
During 2013, Denson Baker ACS shot the New Zealand-based independent feature film The Dark Horse with a Sony F65 4K CineAlta camera. Partly because of that experience and partly due to his collaboration and shared vision with director Jim Loach, the decision was made to use the F65 on Loachs next movie in Australia. I shot The Dark Horse on the F65 and had a great experience with the camera on that film, Baker explained. I wasnt the only one who was really happy with the look we achieved. Park Road Post Production had also been really enthusiastic about working with the F65 images. I was fortunate on The Dark Horse to do extensive comparison tests in pre-production with three other cameras and a variety of lenses and filters. The F65 stood out above the other cameras and that, followed by 33 days of principal photography, meant I knew the camera very well and what it was capable of by the time it came to talk cameras for Jim's picture. When Loach and Baker started discussing the approach they agreed that shooting on film was out of the question. The pair had shot their previous feature on 35mm film. For the new movie, not having access to a lab in Australia and the fact that they were shooting in remote locations with a fast turnaround made film unfeasible. Jim, like myself, is a film purist, Baker continued. Production flew me to Sydney to shoot a series of camera tests that I could screen for Jim when he arrived in Australia. I knew the F65 was the way to go, so for me it was about looking at lens and filter combinations. I tested pretty much every lens set that I could get my hands on and I shot tests that I knew would reflect the lighting style, framing and lensing that would excite Jim. I then took the tests to South Australia where Marty Pepper from Kojo put a juicy grade on all the tests and we put them up on the big screen in 4K at the SAFC. When Jim walked in we had a nice frame up on the screen and he immediately said, Whoa! That looks great doesnt it! and with that he was convinced that the F65 was going to deliver cinematic, big screen-worthy images. We chose to shoot with a set of Leica Summicron-C T2.0 lenses and also a set of Kowa Anamorphics for flashback sequences. I also used a variety of filters to achieve a subtle warming, textured feel which also added a bit of filmic halation to the highlights.
Having read the script, Baker knew that the greatest challenge on this movie would be dealing with the amount of night scenes, particularly in the desert. As a result Baker and Loach chose to shoot most of these scenes with a day-for-night technique that uses the light of the sun to emulate that of the moon and then replace the skies with stars, creating a night look in broad daylight. This worked well until we had some tough weather and a fly plague to contend with which made the shoot very challenging, Baker added. To achieve the day-for-night in the Flinders Ranges and in open desert plains, I needed a format that would capture a very wide latitude of exposure. I wanted to be able to control the shadow detail in the harsh Australian sun and the day-for-night was never going to work if we had blown out highlights. Thats where the F65 came in as it gave me the ability to capture a lot of detail in a wide range of exposure, darker skin tones, dark and moody interiors, hot backlit exteriors, and some big night exterior set-ups. Production designer Felicity Abbott and I had talked at great length about textures and a subtle colour palette throughout the film. This meant we needed a camera that would capture those textures in a pleasant way with lots of clean detail but still have a softness and non-digital quality to it. It is something which is hard to put into words but you really feel it when you see the images from the F65 projected on a 40 foot screen. I am also a fan of the mechanical shutter on the F65 as it gives a much more smooth and natural motion blur, particularly with fast motion action or a hand held shot.
The shoot was fast paced and very involved, two factors that Baker not only had to deal with but to embrace if he was going to get the look and feel he wanted. Again Baker used the F65 to its full capacity to help him with the speed of the shoot. A big plus for me is the integrated ND filter wheel, he added. It allows for incredibly quick changes if I want to adjust for exposure between takes or want to quickly alter the depth of field of a shot. When the actors are primed and ready to shoot, the last thing you want to do is halt production while you swap out a filter. The F65 lets you do it with the tap of a button and a flick of the jog wheel. I also used the iPad app which allowed for very quick changes to camera settings and remote operation. In pre-production Kojos Marty Pepper and the A camera team of Jules Wurm and Maxx Corkindale set up two separate LUTs for the production. One was a general LUT which Baker determined would best reflect the look of the final grade and the other was a DAY 4 NITE LUT. The latter was incredibly useful, enabling Baker to shoot a number of tests before arriving at the best way to achieve the look he wanted. This way everyone on set could get a sense of the final look of those scenes while we where shooting them in broad daylight, Baker explained. I found that our general LUT wasnt always the best choice for all lighting situations and turned more to the REC 709 (800%) setting to get a truer sense of how the images where looking. I find it is good to be judging your pictures with a consistent LUT and monitoring set-up and it took us a few days to get our OLED monitors showing us a true representation of what was being captured. It felt great when we had calibrated everything in pre-production cameras, monitors, LUTs, the DITs workflow and the rushes screening room all the way through to the edit suite monitors. Then we had a situation where what Jim and I were looking at on set is exactly what we saw projected in rushes and what the editor was looking at in their suite. It took a while to get to that point but when we did it gave us a confidence that allowed us to focus on the creative and think less about the technical concerns of cinematography. Baker tested the F65 camera in both RAW SQ and RAW Lite. When Kojo put both images side by side, zoomed in and were able to pull a clean key of blue skies equally with both, he knew they could shoot the film in RAW Lite which is nearly a quarter of the file size of RAW SQ with a negligible visual difference. The movie was then shot in 4K with DIT Ian Routledge creating rushes for editorial, Loach, Baker and the producers all with the same LUT. Baker was keen to stress the uniqueness of the movie and why this meant the choice of camera was even more important than usual, adding This film is different to Jims and my previous work, it has a lot going on visually and thematically. We have moody, intimate interiors, epic big scope exteriors, crane shots, hand held action, delicate and subtle camera moves, a number of VFX sequences, deserts, vineyards, car rigs, go-cart rigs and helicopters. We got to use the F65 on all set-ups and sometimes found ourselves using different camera bodies with specialist camera mounts when we went hand held or for tight car interiors. We shot with two F65 cameras (Miles Rowland was our B-Camera/2nd Unit DP) and the cameras performed faultlessly. We only had one issue in the final week of shooting when our A-camera went down due to a communication issue between the camera head and the recorder mounted to it but that was resolved the next day. We shot aerials though the Flinders Ranges with Aerial Film Australia in their ShotOver K1 gimbal mount. It is a beautiful set-up and it allowed us to use the F65 with a 24-290mm zoom, our same filter package and control the camera from a laptop. Being able to swing ND filters while in the air was a massive bonus as we could shoot an afternoon backlit landscape and swing the rear ND filters out one by one as we went into dusk.
We shot a wide variety of locations, under a wide variety of conditions starting in the Barrosa Valley, in vineyards and on dirt roads, and then we spent two weeks in the Adelaide Studios shooting interiors. From there we moved to the Flinders Ranges for day and night exteriors where we had some big set-ups and some long drives into gorges and open plains. When we started our day-for-night shooting in Parachilna we encountered what many were calling the worse fly plague in over 20 years. It became near impossible to shoot as the cast would have so many flies on their faces and up their noses during a take. So to overcome them we built a makeshift studio in a marquee at the Prairie Hotel and shot our mid shots and close-ups in a contained environment and our wide shots on location with a bit of fly removal in post. This part of the shoot was pretty grueling but great fun and the landscape out there is absolutely stunning. All in all, this was a great shoot and although intense at times that didnt stop our F65s performing brilliantly, giving us amazing images. For post production Baker and Loach used Met Film Post in London. Data was backed-up initially on set and depending on the location conditions, further backup and transcoding was undertaken at base camp with custom LUTs being applied in Resolve. Editorial used Avid HD DNX 185 material to maximise the detail in the image due to the challenging day-for-night work that would be undertaken. Noise and other details were not compressed out or into the editorial images so that quick and efficient assessment of the footage could be made without always having to look into the RAW. The film was cut in Avid and preconforms of various VFX sequences were split off early on in the editing process to allow VFX work to commence. The grade on the movie was carried out by Senior Colorist and Online Editor at Met Film Post, Mat Troughton who said, The grade was completed from the RAW Lite data in Baselight. We worked from an S-Log2 base, debayering from the 4K RAW data into the 2K distribution format that would form our DSM. We worked in P3 RGB colour space, relying on Baselights excellent integrated colour management to allow perceptually identical versions for the Rec709 broadcast version. From day one I was impressed with how much of the latitude of the F65 camera sat within the S-Log curve. I was surprised at how rarely I had to produce split exposure composites - going into the RAW and altering the exposure indexes for especially bright or dark parts of the scenes - then comping them in. This especially so given the huge exposure ranges present in a landscape like Australia. From the dark oppressive, shuttered interior of the family's house, to the bright skies and parched sands of the outback - the camera never once gave out in detail or noise. Rarely would we be in a position where a creative choice to bring out detail in the shadows or highlights would be thwarted by having too much noise or not enough latitude. Thats as much a result of Densons cinematography, but the F65 really felt like we were free to do as we wished, never being trapped by an overcast take or a chance highlight as the sun returned. Whilst completing the grade Troughton saw that the day-for-night portions of the film relied heavily on maintaining detail across the characters faces, whilst holding a full range within the sky and clouds that, if clipped at all, would ruin the day-for-night effect and make it obvious something was amiss. Troughton continued, Whilst a lot of cameras have the range to do this - the F65 managed to keep a very natural tone curve in both regions for us - avoiding the sometimes unnatural effects seen in skin and sky as things get pushed. The encoding of the Lite content provided clean key lines even as we found ourselves having to pull some of the day-for-night VFX work from the Baselight without the more detailed tools often required to work with very high contrast foreground/background keying. I found that with material from the F65 the images are particularly clean across a wide dynamic - I imagine that there are particular advantages for VFX-heavy films, especially when shot at the higher data rates. All in all working with the F65 material was a very good experience. The quality of the images and the dynamic range, the way that the tone curve of the S-Log recordings falls very nicely on faces and skin was a great thing to see. Its always the case when choosing a camera, but always test the thing before you make a choice. People chase numbers and tech specs, but ultimately - each camera has its own texture and feel, especially when the going gets tough and the exposure index starts to get stretched. The F65 certainly has a great character.
INTERSTELLAR (2014) - review by James CunninghamAmongst the landscape of overly basic plot-lines cookie-cutter science fiction films, Christopher Nolan has delivered somewhat of a triumph. Interstellar is bleak, colossal, uplifting, intelligent, soaked in originality and peppered with delicate whispers of homage. Interstellar is truly a difficult movie to categorise; the films science - including time, gravity, black holes and even Einstein's Special Theory of Relativity - is beautifully juxtaposed with credible and convincing human drama. Christopher and Jonathan Nolan, who have created the films original screenplay, have successfully combined the 'infinite and the intimate'. Luscious throughout, Interstellar might be considered the directors most aggressive outing to date, and trying to avoid any Kubrick comparisons; Nolan has constructed a very personal space odyssey.
The director hired Dutch-born cinematographer Hoyte van Hoytema (Let The Right One In, Tinker Taylor Soldier Spy) who shot the film on anamorphic 35mm & IMAX 70mm. It is a conspicuous switch of key crew for Nolan, who until now has almost always chosen to work with Wally Pfister ASC. From mammoth waves to the immense lights of space; the absurd insignificance of our place in the universe is laid out, visceral and stark. Van Hoytemas cinematography is never showy, instead shrewdly lending itself to a homogeneous theme of visual realism. Van Hoytema says that he collaborated directly with the special effects team and a decision early on was made to "put reality outside the windows. The actors were able to walk around vast spacecraft sets and look out to see exactly what their characters would have seen in space. An brave (and expensive) choice for the filmmakers considering the sheer scale of Interstellar, Nolan says this paid huge dividends for the actors in terms of performance. Unfortunatley, in terms of the films ticket sales and now having to make its money back (two major studios, Warner Bros. and Paramount Pictures, were needed to finance the project) Interstellar lacks the franchise reliability of Nolan's Dark Knight Trilogy. This film also requires serious brain power to fully appreciate the films epic plot (see Nolans Inception) and this may prove to turn off mainstream audiences. Generally speaking, however, Interstellar sparkles in may ways and cements Christopher Nolan as a welcome star to our movie-making universe. Simply... stellar. Four stars.
THE ACS CONGRATULATES FUJIFILM
ACS National Major Sponsor, This is the third year in a row Fujifilm has been awarded recognition of its achievements as one of the worlds most innovative companies. With this award, Thomson Reuters recognises the world's top 100 companies that strive to protect inventions via intellectual property rights and lead the world with innovative discoveries and initiatives, based on the concept of regarding patent activity and other intellectual properties as an indicator of technological innovations and future trends. The Thomson Reuters 2014 Top 100 Global Innovator methodology is based on four principal criteria: overall patent volume, using Thomson Reuters intellectual property and intelligence collaboration platform. Fujifilm was selected as one of the top 100 companies for its particularly high recognition of the patent grant success rate, and global reach of the portfolio as well as high ratings for overall patent volume and patent influence as evidenced by citations. Fujifilm strives to continue providing new values for resolving social tasks while seeking opportunities for business growth and to develop intellectual properties that significantly contribute to business through close coordination of business and R&D. Fujifilm will continue to promote active R&D and work to protect and utilise intellectual properties developed from such R&D, to contribute to the enhancement of the corporate value of the global Fujifilm Group and sustainable social development.
WATCH THE 2014 APDG AWARD WINNERS
2014 APDG AWARD WINNERS celebrated and announced on Monday 24 November MC Gretel Killeen delighted a large audience at Monday's fourth annual APDG Awards held in Sydney. Special guests, sponsors, APDG members, affiliated professionals, family and friends, together celebrated the achievements of all the nominees and especially the 26 winners. The 24 awards categories recognised the best art department teams and designers currently working in Australian screen, TV, stage, multimedia, events and interactive design industries. Julie Lynch, costume designer and APDG Vice-President, delivered a heartfelt speech and accolade of tributes to costumiers Anthony Phillips and Peter Bevan, recipients of the inaugural The Really Useful Group Artisan Award for Lifetime Achievement The APDG committee congratulate all the nominees and winners and would like to thank everyone who joined in and helped make our ceremony and after party a great success. View the Award winning clips from Australian Screen and Stage
Camerimage tribute to Oscar winner; Cinematographer John Alcott!
The International Film Festival of the Art of Cinematography Camerimage is the most recognized festival dedicated to the art of cinematography and is the biggest international film festival in Poland. What is very interesting about this event is its format - which awards films according to their visual, aesthetic and technical values, so it is more focused on cinematography and filmmaking than on other factors.
NOMINATE NOW FOR THE ACS TECHNICAL & INNOVATION ACHIEVEMENT AWARD IN HONOR OF MILLER TRIPODS FOUNDER BOB MILLERMiller is pleased to announce that the Australian Cinematographers Society (ACS) have partnered with the company to create a new Award for the ACS National Awards for Cinematography. The Bob Miller ACS Technical & Innovation Achievement Award, developed in honour of, and to the memory of the fluid head inventor Bob Miller. The Bob Miller ACS Technical & Innovation Achievement Award will come with $1,000 cash and a $2,000 Miller product prize and a framed certificate. The winner will also have his or her name engraved onto one of Millers LP 54 Classic tripods, which will reside permanently on display at the ACS National Headquarters in Sydney. The Bob Miller ACS Technical & Innovation Achievement Award will be presented for the first time at the 2015 ACS National Awards for Cinematography in Hobart. For more information or to nominate for this Award contact Ron Johanson on the link below.
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CINEMATOGRAPHY SHORT COURSES @ AFTRS OPEN
REFRAME & CINEMATOGRAPHY SHORT COURSES - AFTRS OPEN Links to ALL COURSE below AFTRS Open has a number of upcoming short courses including Advanced Lighting Skills in Sydney in late January and Modern Cinematography in Melbourne in February. Plus our big industry event for 2015 is REFRAME: Screen Industries - Future Trends in February. REFRAME: Screen Industries - Future Trends Confirmed speakers include: Jules O'Loughlin, ACS (Wish You Were Here, James Cameron's Deepsea Challenge 3D, Black Sails), Mike Jones (Author, Producer), David Court (AFTRS Head Of Screen Business),Scott-Bradley Pearce (Director of Digital Strategy, Brand New Media), Lucas Taylor (Digital Creative Director, Hoodlum & AWGIE award-winning writer) ... with more speakers and guests coming soon! Summer School: TV Camera, Sound & Lighting Skills Advanced Lighting Skills Modern Cinematography with Ellery Ryan Content Creation for iPhone/iPad - Online
ACS MERCHANDISE:Contact David Lewis on the links below
NEW STOCK HAS ARIVED
IT CANT POSSIBLY BE XMAS ALREADY!!
Not quite, but heres a reminder about The SHADOWCATCHERS, and for you to get in early and organise a copy for someone special, or for yourself. SHADOWCATCHERS FOR CHRISTMAS YO HO HO!!
Its 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!
Have you heard of the Motion Picture Industry Benevolent Society?
LEND A HELPING HAND
It was founded in the years of the Great Depression by people in exhibition and distribution, to help colleagues who had fallen on hard times. More recently, the MPIBS has extended its support to the production and post-production sectors. Beneficiaries are young and old, working and retired. The MPIBS is a safety net, which enables our friends and colleagues to be cared for when they need it most. But the MPIBS needs your help to continue its work. Please visit the MPIBS web page (or put MPIBS in your search engine) for information about how to donate. You could be helping one of your friends or colleagues.
THE ACS PROUDLY SUPPORTS THE MPIBS AND WE ENCOURAGE MEMBERS OF THE ACS TO CONTRIBUTE TO THIS FANTASTIC CAUSE .YOU JUST NEVER KNOW!
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