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National E-News SHORT ENDS ~ January 2015 Happy New Year!!! | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 | NATIONAL SPONSORS
AC Magazines
AC Mag Issues 53 ~ 64 Editor, Dick Marks OAM.
~ The Land of Blood and Honey, with Dean Semler AM ACS ASC
~ Snow White And The Huntsman, Greig Faser
~ Stormsurfers, Rob Morton
~ The Morals of Shooting Wars, Famines & Disasters, David Brill
~ Sweetwater, Brad Shield
~ DOP Iain MacKenzie
~ Rossy Emery ACS
~ Our Greatest Documentary Turns Sixty, Geoff Burton ACS
~ Wolf Creek 2, Toby Oliver ACS
~ Mr Pip, John Toon NSCZ ACS (Australian Cinematographer of the Year)
~ Predestination, Benn Nott ACS
~ Allan Collins ACS
In Memoriam of Gerry Fisher BSC
Born in London, as Gerald Fisher, he served with the Royal Navy during WWII. His career at the camera began in 1947 at Shepperton Studios where he stayed six years. Among his collaborations, in 1950, Gerry assisted Armand Thirard on Marc Allegret's: Maria Chapelaine.
In 1957, Gerry started as 2nd AC with Jack Hildyard, BSC, on The Bridge on the River Kwai, he finished the film as additional camera operator. From 1958, Gerry would operate - mainly with Jack Hildyard, on 13 films, including Joseph Losey's: Modesty Blaise in 1966 - but also with cinematographers as Christopher Challis, Geoffrey Unsworth, Freddie Francis, BSC, and Douglas Slocombe, BSC. Its with Joseph Loseys Accident, in 1966, that he start his career as director of photography, which will be more than sixty films and will be completed in 1968 with Alexandre Ajas Furia. To name but a few of the directors he collaborated with, we shall notice his work on films directed by Sidney Lumet, Tony Richardson, Richard Fleischer, Irvin Kersner, Richard Lester, José Giovanni, Billy Wilder, John Huston, Gérard Pirès, José Pinheiro, John Frankenheimer and Alexandre Arcady. But his art will be primarily marked by his collaboration with Joseph Losey as he makes the cinematography of Secret Ceremony (1968), The Go-Between (1970), A Dolls House (1972) The Romantic English Woman (1975), Mr. Klein (1976), Les Routes du Sud (1977), and Don Giovanni (1978). In 1997, as a tribute to his art and talent displayed in France, Gerry Fisher is made a Chevalier dans lordre des Arts et des Lettres (Knight in the Order of Art and Literature). In 2003, while, a member of the jury of the Vulcain Prize, awarded at the Cannes Film Festival by the CST (Commission supérieure technique de limage et du son), he will come especially to give a trophy to Tom Stern, ASC, AFC, for his work on Clint Eastwoods Mystic River. Twice nominated to the BSC Awards and to the Bafta Film Awards for Joseph Loseys The Go-Between and Jack Golds Aces High, Gerry Fisher has been awarded by his BSC peers (British Society of Cinematographers) with a Life Achievement Award for his whole career. click the link below for the original article as printed in AFC
26 & 28th January 2015 ~ SYDNEY ~ Meet the Makers - GET YOUR TICKETS NOW!
New in 2015, AFI | AACTA ScreenWeek (26-29 January 2015) will highlight the past year of Australian film and television more than ever before, with 10 new Meet the Makers events held over two days, complementing the 4th AACTA Awards major events.
| In This Issue- President's Report
From The President
HAPPY NEW YEAR IN THIS YEAR OF THE SHEEP The Sheep is a Yin energy, a symbol of Peace, Harmonious co-existence and Tranquility. That is the primary and fundamental mood for this year. Not a bad start it would seem, to this Year of the Sheep. The Society has many plans for the coming year, and personally the National Awards in Hobart is one of the highlights for me. It will be the culmination of 2 years work for some, and I know the Tasmanian Branch under the leadership of Peter Curtis ACS has been working tirelessly towards the Awards evening on 2 May. But before that we have The ACS Meet the Makers panel @ AACTA on 26 January and our participation with our National Sponsor Deluxe also at the AACTA Meet the Makers event on January 28. We will attend the IMAGO Summit in Brussels in March and then the IMAGO Conference in Israel in November. Two very important initiatives not only for us here in Australia, but for cinematography around the globe. There is an opportunity for us to attend the Los Angeles CineExpo event, which proved to be such a success for us last year, and of course there will be numerous other events as the year progresses.
NATIONAL AWARDS UPDATEAwards Bookings will open in late January.
RELATED NATIONAL AWARD EVENTS check out whats planned so far.
The weekend will be launched with an official reception with her Excellency Professor The Honourable Kate Warner AM, Governor of Tasmania, at Tasmania's historic Government House on Friday the 1st of May. Please indicate when booking your awards ticket if you will be also be attending this event, as RSVP's are required. An ACS Sponsors Expo will be a feature at the Hotel Grand Chancellor, on both Friday and Saturday. The Expo will run in parallel with a number of special presentations, including a Pieter de Vries ACS Workshop / Masterclass (Friday), a Ray Martin AM Retrospective Screening (Saturday) and a presentation from ARRI Australia with Stefan Sedlmeier (Saturday). Beyond this and our premiere National Awards Ceremony at MONA on Saturday night there will be high profile screenings / Q&A sessions. Keep checking this page in the weeks and months ahead for all the details. The Annual General Meeting of the ACS National Executive will take place on Sunday the 3rd of May at Hadleys Hotel. For those lucky enough not required at the Annual General Meeting, take advantage of a fantastic ACS special gourmet day-tour to Bruny Island. See the Great Expeditions link below for full details.
ACCOMMODATIONThe ACS has partnered with several accommodation and travel providers to give ACS members and their friends exclusive deals. Check out the right hand column of this page for more information about these great packages. Please be aware that Hobart is often at peak capacity for accommodation, so booking early is essential.
Early Bird booking prize of two return flights to Hobart courtesy of Stage and Screen Travel.
As you are all aware the current issue of AC Magazine is the final one by our esteemed Editor, Dick Marks OAM. Dick commenced with issue 53# in 2012 (Angelina Jolie cover) and his final was issue 64# (Andrew Lesnie cover). Dick has contributed enormously to the profile of the Society and has left a legacy that will be difficult to surpass. On behalf of us all, I thank him for the hours and hours he and the Editorial team have spent on AC Magazine, and I know he will be relieved that he wont have to comb through my Presidents Report to check my use of punctuation, prepositions and adjectives, which will now be the domain of James Cunningham our new Editor for issues 65 & 66. Enjoy your time in the garden Dick, Im certain youll relish the peace and quiet. ACCREDITATION applications in 2015
An early reminder that ACCREDITATION applications in 2015 will only be accepted from July 1 to July 31. So should you be considering applying for Accreditation this year, highlight those dates in your diary, time capsule, iphone, e-book etc. For more information contact your Branch President or Ron Johanson ACS
NOMINATIONS CLOSE ON 28 FEBRUARY FOR THE ACS TECHNICAL & INNOVATION ACHIEVEMENT AWARD IN HONOR OF MILLER TRIPODS FOUNDER BOB MILLER. The Bob Miller ACS Technical & Innovation Achievement Award will come with $1,000 cash and a $2,000 Miller product prize along with a framed certificate. The winner will also have their name engraved onto one of Millers LP 54 Classic tripods, which will reside permanently on display at the ACS National Headquarters. The Bob Miller ACS Technical & Innovation Achievement Award will be presented to an industry innovator for the first time at the 2015 ACS National Awards for Cinematography in Hobart, Australia. For more information or to nominate a worthy person for this Award contact Ron Johanson at
Thanks to all our National and Branch Sponsors, who continue their overwhelming support of the Society. I ask you to support all our ACS sponsors in the manner in which they support us, with generosity and loyalty. To all our Branch committees, I thank you for your incredible hard work and committment to the Society and the members. I know first hand the time you have all spent working to make the Society even better than it currently is. All of you; NSW, Victoria, South Australia, Tasmania, Queensland, ACT, Western Australia and the Northern Territory, you have excelled and have forged a lasting relationship among the Branches, the members and our sponsors and supporters. Last but by no means least, thanks to Lizzie Vernon for our new SHORT CUTS layout design, which makes the most of the available space we have. Well done Lizzie and thanks again.
"Into The Woods" Screening and Q&A with Dion Beebe ACS ASC ~ Report by Lizz Vernon
Twas the night before Christmas, well not quite the night before but the night before the night before that but you get the drift, this story after all is all about fairy tales! Anyway where were we? Ah yes at AFTRS who combined with the ACS and the permission of Disney allowed a lucky few, including some of our ACS CineKids, to join with Dion Beebe ACS ASC and travel Into The Woods and experience his latest Rob Marshall film, which was followed up by a generous Q&A. The film is fast paced, full of quick witty lyrics by none other than Steven Sondheim (screenplay and music is by James Lapine). A musical based fairy tale, which presented an absolute challenge for Oscar Award Winner Dion Beebe who was not familiar with the original Broadway production. When Dion did get his hands on a DVD of the Broadway production it was really daunting. The characters are straight from a string of familiar childhood fairy tales Cinderella, Rapunzel, Little Red Riding Hood and even Jack and the Beanstalk, yet the storyline is an adaptation of Stephen Sondheims Broadway hit using the characters created by The Brothers Grim, merging the characters into one fluid seamless fresh twisted journey of competing and compelling wishes... in a furiously paced set of Sondheims lyrics, little wonder in the theatre world this production has been nick-named, Into the Words. It begins in a rush of I wish, I wish, I wish as the opening song introduced the audience to the leading characters, their desires and complications and quickly sweeps the characters and audience alike along with it further and further Into the woods. The lyrics of the music are the dialogue of the film, which terrified me a little bit in terms of trying to get to that place where you feel weve earned that moment where the character instead of speaking, sing. The way this is written and that we come into the movie production singing, the language is set up very early and in a way that first fifteen minutes is the opening song. This (musical) was a very different to structure to films such as Chicago or Nine where Dion explained. In Chicago or even Nine the musical numbers, though in a fantasy world all take place on stage, finding the tone, the language of this movie was a different process for us. Production wise the biggest challenge by far, Dion said, was the woods, trying to find a way to seamlessly integrate their artificial woods (built on the UKs largest sound stage in Shepparton Studios) and their location woods. We needed to expand the world from the stage production and make it a bigger canvas but we also knew we needed to do the numbers, the songs, on stage so we were constantly trying to balance those two worlds Along with the sets built at Shepparton Studio Marshall and Beebe used a combination of stunning locations such as Dover Castle, Waverley Abbey, Virginia Water in Surrey and Hambleden in Buckinghamshire.
The lighting in the woods is lovely and moody and Dion went on to explain how one of the things when you get into a natural forest filled with smoke is the repeating wonderful beams of light created by the fact the sun is as you know around 150 million km away, but when you get into a studio and have your light source a mere 40 feet in the air it doesnt quite react the same way! To get around this he used Vari-lites a theatrical unit that can be controlled via a computer which is automated and can be adjusted from flood to spot via the computer pad. I could create the beams and line them up as needed, and as soon as I moved the camera then they all needed to be lined up again every time to sell the shot, so I used about 50 Vari-lites scattered through the stage throughout the depth of the set to create the impression of a single direction to the light. One of the great things with Rob, is that as part of his process as Director is he has a very extensive pre-production period, about five weeks out he brings all of his actors together and we start to rehearse every song, every movement, we brought in fake trees and even a cut out cow that got wheeled in every now and then and then we could block it all out, by the end we could literally take this on the road and tour with the production its so dialled in. This means Dion becomes so familiar with the songs and the movements of the actors, their choreography that they can plot out camera movements and make adjustments so on the day of shooting most of these songs were shot in one day its a very efficient shooting process, which Dions brother Damien Beebe (also in the audience) who was B Camera operator happily agreed. The film boasts a wonderful ensemble cast including the likes of Meryl Streep, James Cordon and Emily Blunt, Chris Pine, Anna Kendrick and Johnny Depp to name a few and is actually the first adaptation of a Broadway Musical that Disney has undertaken.
As far as the look of the film Rob Marshall and Dion Beebe were not looking at specific movie or photographic references but rather they worked with colour references in a broad way trying to define the tone Rob was after wanting to avoid a classic Disney version but create a grounded, timelessness as captured by the original Grimm Fairy tales with a sense of decay and timelessness about it. They plotted three stages to the look of the film showing how the woods changed and at the end Dion is hoping youll loose yourself into the woods a sort of metaphor for whats going on, by having fog descends and as the woods fall apart all characters expectations change. That visual progression planning came extremely early. The starting point they (Rob & Dion) favoured was to be something like Fujifilm Negative with a sort of cool bias, some grain and basically the use of blue blacks being slightly cool in the shadows. Dion ultimately shot digitally with ARRI Alexi using Panavision anamorphic lenses, and zooms, mostly C Series Anamorphic. With cameras getting better and better there is a bit of a trend now to use anamorphic on digital, just so that cinematographers can mess a little or try and do something so its not so perfect, sometimes the clarity and the sharpness is almost distracting for Dion, and the anamorphic shallow the depth and he jokes if your JJ Abrahams youll also put in a lot of flair. There is also a recent trend for cinematographers to pull out lenses from the 1940s and 1960s in an attempt to mess with the contrast and mess with the data that we are capturing and if they can find a way to do it in camera to manipulate the image thats what they are after. That being said Dion vividly remembers when shooting Collateral his first film shot on digital the first time he saw a night sky with a palm tree silhouetted against a night sky it was unbelievable, an amazing experience, one that he hadnt seen in film except for time lapse photography but never before that you could capture a night sky shooting 24 fps. Dion has a habit of picking up a camera on the first day or so of pre-production to begin shooting tests, gathering fabric samples from Costume Designer (Colleen Attwood) and textures from Production Designer (Dennis Gassner) bringing in elements of the film they know they all want, he shoot them and run extensive tests. If Im skewing the pallet, Im effecting the pallet, or Im effecting the colours or the contrast, Im effecting what Colleen is doing, its all related, you know what the production designer is doing with textures, I feel very strongly you need to know all that up front, everyone needs to know that before you start shooting not at the end. Colleen is very detail orientated, a real crafts person shes amazing. Nature is one of the themes so every outfit had about four layers of varying densities, we wanted a sort of transparency and shimmer, and she understands light too, if Ive got a request and were trying to achieve something she can really responds to that. We are often just holding up fabrics at the early stage just so we can see textures and sheen, see the effects if we open up or pull it down what happens to the costumes? One of the big decisions we made was to not do a green screen around the stage, so no set extensions by green screen instead a scenic artist (Greg Winter) painted backdrops to the entire forest, an unbelievable task considering the canvas was 30x500 feet around the stage, they wanted different looks all around the forest, We shot so much in there we kept having to sort of reinvent the space every time we went in, moving trees, moving things out of the way to get cranes in, bumping into trees and limbs, the very last shot we had a 50foot techno crane boom up above the canopy so we had to bulldoze our way in, so we kept the shot to then end Dion went on to explain that you have to be methodical and find reference points between your production and costume designers the defined your colour pallet and then test, I feel that there is nothing more effective than being in a theatre, the lights go down and you project some footage and you all look at it and the lights come up and you talk about it and you know what worked and what didnt and you can really start to respond to whats in front of you as opposed to speculating about how it might look, for me thats a really important part of my process. Dions Beebes range of lighting and camera positioning sets the mood while managing to maintain the hectic pace and frantic nature and urgency or hilarity of the many songs such as Agony and Your Fault. Rob and Dion go way back and they share a kind of aesthetic and have a trust for each other, which is apparent by their success together. Dion says there are always conversations where things will go one way or another but they both love movement and with the rehearsal periods theres plenty of opportunity to choreography the camera with the actors, so often we have a moving target, the operators and focus pullers have to get up to speed very quickly. Mostly we take a number from the top, particularly with Meryl, who doesnt know how to do anything half way, shes just remarkable. The song with Rapunzel in the top of the tower where Meryl is moving around the bed, we choreograph the song with two cameras in a circular room with both cameras moving around and just let her go, its a remarkable thing to watch as soon as you start rolling its on and you cant really tweak with Meryl you want to be ready. The with Your Fault a barrage of dialogue, people singing, a song that expresses so much, you really feel the power of the musical, the singing, the intention of that song, there is so much information as they go round, and backtrack through the circles ~ we go through everyones actions and then get to Meryls song, surprisingly all that was shot in an afternoon. With that song where you have multiple characters, loads of lyrics and complex lines, the film was going to play on faces, this movie was going to make or break in terms of the actors faces, so switching from one person to the next without skipping a beat; never slowing down but instead trying to build up the pace to Last Midnight which leads Meryl into her big finale. All the cues, all the lighting cues and build are tied to the music, which was one of the great things with working to music, you have this perfect backdrop to shooting as you already have the soundtrack right there and can react to the music, time yourself off the music, the movements of the camera can be set to the rhythm rather than having to find your own rhythm. Its an incredibly satisfying way to work. Though the pre-recording process is difficult too and what you realised is that if you are going to pre-record and then go and shoot that rehearsal period is crucial as the actor has to know the physicality of what they are doing, climbing up a tree, or lowering to a bended knee, to know their breath and all the physical movements in order to pay that off during filming and create that in their recording in the sound booth. The cast and crew they had to work pretty fast to get through the songs and deal with London weather and traffic given a budget of around $40 million for roughly a 50 day shoot, in terms of the Hollywood mode it was pretty tight (Edge Of Tomorrow had a more generous budget of over $150 million with over 100 days for shooting),
Asked if he had any advice he simple discussed the need to work bloody hard, make a lot of sacrifices, adapt to the gypsy lifestyle and if you have a family hope that they will embrace that lifestyle too as there is a lot of life on the road, you must be bold, and you need to find a voice, youve got to find what your language is as a cinematographer, find what separated what you do from what everyone else who can walk into a room and get an exposure, you need to push yourself to find your own sort of style.
For Dion Beebe ACS ASC he sees the biggest danger is that we lose the ability to tell stories through lighting, you need lights because you can craft the image you can shape the image with lights and while a night sky may look beautiful at night with nothing because of the sort of mixed light and the atmosphere and with an amazing performance, you dont need lights but there are moments where you do, and he worries that that part of what we do, the craft of telling a story through lighting may be lost, as younger cinematographers are asked by producers pushing this great camera, you dont need lights, just get out there and shoot while this is possible not every story has to be told that way. Ultimately its exciting there are a lot of things happening right now with digital and we have exciting times ahead. So that is the tale on my journey Into The Woods and back with Dion Beebe ACS ASC. Go see it for yourself. Due in Australian Cinemas ~ January 8th 2015 Lizz Vernon Sony Australia Head Office & Professional Solutions Support Centre Relocations
After 31 years at North Ryde, Sony Australias head office has relocated to North Sydney effective from 8 December, whilst our Professional Solutions Service Centre is set to operate out of a dedicated site at Newington from early in the New Year.
Also, for your information, Sonys new head office address is: Sony Australia
NEW AUSTRALIAN MULTI-PLATFORM SCI FI SERIES USES FUJINON CABRIO LENSES, SONY F5 CAMERAS AND VIDEOCRAFT
VETUS is a new multi-platform Australian sci-fi/fantasy/horror live action web series, comic book and video game set in 15th century Romania starring Mia Pistorius (Wonderland, Spartacus) as Rosa and Jai Koutrae (Terminus, The Half Dead) as Vlad that used Videocraft as an equipment partner and a Sony F5 camera and Fujinon Cabrio lens combo to shoot its live action. Producer and cinematographer on VETUS Benjamin Shepherd explained, I have been working on-set with the Sony F5 for sometime now, so much so that I fell in love with it and had to add it to my kit. Its such a versatile camera, you can spec up or down depending on the type of project and its requirement. I have found it serves as a great camera for about 70% of my work. I am still a big advocate in picking the right tool for the right job so my approach to each project is the same. That said its great to see the Sony F5 come up as often as it does. The camera and lens package needed to be small and nimble as they had a reduced camera crew and didnt want to jeopardise the Steadicam operators safety running with a large camera rig.
The versatility and quality of the F5 for the price point is fantastic. It can be built as a run and gun ENG style camera but then also specd up to a 4k RAW cinema camera. These days we are spoilt for choice with so many camera options, but I feel the Sony F5 is one of the best bang for your buck cameras in the market " The workflow on VETUS was simple and efficient. Dual recording 4K RAW on SSDs and 2K XAVC on internal SxS cards meant Shepherd walked off set with proxies ready to go. Offline was done in Adobe Premiere CC with Cutting Edge grading the teaser.
As well as choosing the right camera Shepherd had a choice of equipment partners to consider. His choice was a straightforward one, Videocraft and Panavision are my go to rental houses for the VETUS project. Videocraft being Sony specialists supplied me with specific Sony gear and also the Fujinon lenses. The Videocraft team are delightful to work with and with a relationship ongoing for close to 10 years now, they are one of my favourites. I have bought and hired plenty of gear with Shane in sales and Nick in rentals, as they have been very supportive and unknowingly a key factor to my growth as a cinematographer in the industry. With camera and equipment partners chosen all that remained was his choice of lenses. "The Fujinon Cabrio series are such a neat set of lenses. My criteria for the spherical lenses was resolution, clarity, speed, look and feel and practicality of on-set use. When researching my options I knew I needed to produce an image that maintained the 4K resolution but at the same time wasn't overly sharp. Pulling references and reading various articles I found that the Cabrio lenses performed at their sharpest at T5.6, but for my purposes it was too sharp, the image contrast and resolution was looking a little too harsh so I shot the with the Cabrios around T4, as wide open at T2.9 They are a touch softer compared to T4 but once closed down by half a stop the image settles nicely."
For more on VETUS go to:
MR. TURNER (2014) - review by James Cunningham
JMW Turner was a painter who used light on his canvas in a manner unlike many of his contemporaries, and Director Mike Leigh OBE (Secrets & Lies, Another Year, Vera Drake) has described his most recent picture Mr Turner as being all about light. It is here that we see the films strengths lie in its visuals. Leigh and his longtime Cinematographer Dick Pope BSC show us Turners vision, as well as the artists visual legacy, through the background and the light in a scene and not always in the scenes which Turner is painting. Pope received a well-deserved special jury prize (The Vulcan Award) for his contribution at the 2014 Cannes Film Festival. This project, close to Leighs heart, had been on the cards for most of the British Directors lifetime. On the outside Mr Turner is about the life, career and struggles of just one painter; but it is much more than that. It is a broader commentary on the life of any artist; perhaps even holding up a mirror to Leighs own story as an artist - the balance between work and family life; the battle to be relevant in a changing world, artistic insecurities, the advance of new technologies into ones own techniques and methods, or even the public and critics picking apart your work (such as in this review). Perhaps Leigh is showing us shades of his own life through the life of another. Refreshingly, the film is one of the seldom seen examples of a movie-about-an-artist that does not simply feed the audience with indulgent scenes of art being made (see The Agony And The Ecstasy, Nightwatching, Pollock). One of the most visually arresting shots in the film is simply of Turner, alone, fishing from a small boat. Cinematographer, Dick Pope BSC studied Turner's colour palette from the collection of his paintings at the Tate, London, and used this in creating the look of the film. The paletton of Turner became the paletton for Pope. It was less reproducing the work, more evoking the spirit of what he was looking at, what he was seeing, what inspired him. says Pope who shot Mr Turner on the the ARRI ALEXA (not the first time Pope has shot a feature digitally, but certainly the first for the Mike Leigh). Turners life spills onto the screen for 144 minutes and becomes the perfect summation of Leighs career to date. Elegant, intelligent, and a little cranky. Here, a truly beautiful picture has been produced three-and-a-half stars. JAMES CUNNINGHAM NEW ARRI PRO CAMERA ACCESSORIES FOR SONY PXW-FS7
ARRI has announced a full complement of professional-quality accessories from its PCA range, specifically tailored to Sonys PXW-FS7 camera. These accessories will be available individually, or in several competitively priced sets, providing unrivalled reliability and compatibility with industry-standard tools. The ARRI Adapter Plate for Sony PXW-FS7 is compatible with ARRI's BP-8 and BP-9 bridge plates, as well as VCT-style tripod adapters such as the ARRI Quick Release Plate QRP-1 (when used with the supplied wedge adapter). Incorporating an ergonomic shoulder pad, the adapter plate also boasts sturdy extended rosettes that fit both Sonys original telescopic handgrip and all rosette-based handgrips and handgrip extensions. There is a built-in 15 mm rod console and an optional 15 mm rear rod console for accessories such as image transmitters, displays and batteries. The ARRI Lens Adapter Support LAS-1 is a sturdy lens adapter support that fits an extensive range of third-party lens adapters, including EF and PL mount. The LAS-1 also supports special optical adapters such as the Metabones Speedbooster. The ARRI Top Plate for Sony PXW-FS7 is a low mode plate with numerous 3/8-16 and 1/4-20 threaded accessory interfaces, as well as an optically centred built-in console. Compatible with ALEXAs CCH-1 handle, ALEXA M's CCH-2 handle and the original Sony FS7 top handle, the top plate incorporates two solid metal focus hooks positioned at the sensor plane level. Furthermore, the plate is slightly raised above the camera top surface, meaning accessory screws that are longer than the thickness of the plate will not damage the camera. The ARRI Viewfinder Bracket for Sony PXW-FS7 is a tried and trusted viewfinder bracket, as used on current ARRI cameras. It offers by far the best adjustment range and sturdiness for this type of viewfinder. ARRI PCA accessories for the Sony PXW-FS7 will be available from February 2015.
ACS members in NSW and Tasmania have been working hard to produce some of the fantastic coverage throughout the 2014 Sydney Hobart Yacht Race.Four ACS Tasmania Members: She was a sight under full spinnaker on a glorious sunny afternoon.
Peter Curtis ACS leaning over side of inflatable - " Low and Live - ACS Tassie Branch President Peter Curtis ACS succeeds in getting an angle the ABC helicopter would struggle to achieve Peter Harcourt taking a moment to appreciate the priviledge of being up close and personal with a 100ft yacht belting towards the finish line Pete's Dad, Andrew Harcourt, using an easy-rig to stabilise his live streaming shots to the 7 network, and save his back! Wild Oats XI surrounded by a flotilla of spectator craft media boats and helicopters cruises up the Derwent River and into yacht racing history.
Come on down to Tassie for the 2015 National Awards ~ You know you want to....
| The ACS is Proud to announce...
2015 NATIONAL AWARDS NOMINEESCategory 1 ~ Cine KidsGold ~ Tori Aston Category 2 ~ Student CinematographyFell ~ Francis Thompson Category 3 ~ Experimental & SpecialisedDreamworld Corroboree - Yugambeh Museum ~ Ron Johanson ACS Category 4 ~ John Bowring ACS TV Station Breaks/PromosPaddock to Plate ~ Tony Luu ACS Category 5 ~ Music ClipsRussel Morris - Van Diemans Land ~ Brad Francis Category 6 ~ Syd Wood ACS Local / Regional NewsSki Test 2014 ~ Mark Steven Category 7 ~ Neil Davis International NewsMyanmar Refugees ~ Bradley McLennan Category 8 ~ Current AffairsUkraine Uprising ~ Cameron Bauer Category 9 ~ TV Magazine, Lifestyle & RealitySunday Night - Ghost Island ~ Leigh Hubner Category 10 ~ Corporate & EducationalContinue to Drive ~ Lincoln Williams Category 11 ~ Web & New MediaEdworth Moustache Magazine ~ Mitch Kennedy Category 12 ~ Documentaries, Cinema & TVSurvive the Tribe - Eagle Assasins ~ Brad Dillon ACS Category 13 ~ Nature & WildlifeMountian Air - Valley Mist ~ Joe Shemesh Category 14 ~ Virtual CinematographyLittle Darling ~ Damian Smith Category 15 ~ Commercials Local / RegionalQLD Ballet 2015 ~ Brad Francis Category 16 ~ Commercials National / InternationalLadbrokes ~ Jason Hargreaves ACS Category 17 ~ Dramatised DocumentariesCharlie Rowan Walking Dead ~ Matthew Peterson ACS Category 18 ~ Fictional Drama ShortsI Am Emmanuel ~ Nicola Daley ACS Category 19 ~ Telefeatures, Mini Series, TV Drama or ComedyDevil's Playground ~ Andrew Commis ACS Category 20 ~ Features ~ CinemaThe Railway Man ~ Garry Phillips ACS Dion Beebe ACS ASC ~ Filmography includes~ "Into The Woods" - 2014
~ Shades of Cool - 2014 Fun AFTRS Film FactsDion Beebe ACS ASC, along with his wife Unjoo Moon & Brother Anton Beebe are all graduates of AFTRS. Even young Axil Beebe, (Son of Dion & Unjoo) has attended an AFTRS Short Course! COMING SOON - THE ACS ONLINE SHOPMore details coming really soon. ACS MERCHANDISE:
Contact David Lewis on the links below NEW STOCK
GET YOUR SKATES ON~ Don't try this at home!!
Have you heard of the Motion Picture Industry Benevolent Society?
LEND A HELPING HAND
Founded in the years of the Great Depression by people in exhibition and distribution, to help colleagues who had fallen on hard times. MPIBS more recently, 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. For information about how to donate please visit the MPIBS web page on the below link. 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 Check out the link above...
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.
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!
Fujinon ~ Cine Lenses ~ Check 'em out now!
First public try-outs in real-life conditions for the Alexa 65
~ by François Reumont for the AFC ...Set up in the gymnasium that has already been used for a number of other Master Classes, the new Alexa 65 mm camera went through its baptism of fire before an audience composed of students and professionals, who were very curious to see it in action. Cinematographer Daniel Vilar who has worked in the past with the likes of Mabrouk el Mechri and Fernando Trueba set up night-time lighting on a set simply decorated as an apartment. A couple of takes ensued with the new Arri camera lenses. It was a risky exercise, explained Niel Fanthom, of Arri United Kingdom, and to tell you the truth, we hadnt done this type of real-time try-outs in public before. Although the shooting itself was quite tame with essentially close-ups on the actors faces it was in post production that the true challenge lay. Indeed, the camera generated six minutes of dailies for this test, the equivalent of 273 GB of images. The Codex team only needed about 40 minutes to treat the ArriRaw images and to generate a 4K DCP ready to be projected onto the screen installed above the set. What struck us when we saw these images, explained Neil Fanthom, was their extreme definition, and yet the softness with which they rendered flesh tones and faces. The short focal length helped us to fix the focus exactly on the eyes, which left the rest in a very subtle haze. In order to illustrate the cameras abilities, Mr. Fanthom then showed a more classic demo in the main assembly hall of the festival. Landscapes filmed with very slow camera movements, often with a short focal length, alternating with shots of materials, faces, and an extremely contrasted scene filmed indoors in daylight (depicting a blacksmith at work). In order to prove the very high precision of the sensor, one of the shots was even magnified a number of times in postproduction in order to extract a detail, which kept its structure and definition. Later asked about the near-absence of any moving or travelling shots, Neil Fanthom took out his mobile phone and showed, within the privacy of the Arri stand, a dozen minutes of freestyle trials carried out outdoors during the daytime, with a shoulder camera, and vintage Arri 765 lenses. These were images of perfect quality, with a blurrily silhouetted actor against the backdrop of the sky with sun and clouds that almost could have been tests for a Terrence Mallick film To see the original article follow the link below.
Out And About On Location ...Send us a postcard to let us know!
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