National E-News SHORT ENDS ~ 1st February 2015


AC Magazines

AC Mag Issues 53 ~ 64 Editor, Dick Marks OAM.

Issue 53

~ The Land of Blood and Honey, with Dean Semler AM ACS ASC
~ Review of Shadowcatchers, Jonathon Dawson
~ Crawl, Brian Breheny ACS
~ Attachments on The Great Gatsby, Simon Duggan ACS
~ The Burning Man, Garry Phillips ACS

Issue 54

~ Snow White And The Huntsman, Greig Faser
~ Mark Toia, by Dick Marks
~ The Centenary of the Mawson Expedition, Peter Curtis ACS
~ Miss Fishers Murder Mysteries, Roger Lanser ACS
~ Beaconsfield, Toby Oliver ACS

Issue 55

~ Stormsurfers, Rob Morton
~ Joanne Donohue-Beckwith, David Eggby ACS
~ The Windon Boys (Part 1), Ron Windon ACS
~ Siggy Ferstl, David Burr ACS & David Gribble ACS
~ The Raven - Danny Ruhlmann ACS
~ The Zen of Bennet, Dion Beebe ACS ASC
~ Emil Novak HSC
~ The Final Move, Chris McHardy

Issue 56

~ The Morals of Shooting Wars, Famines & Disasters, David Brill
~ Ender's Game, Don McAlpine
~ I Am A Girl, Nicola Daley
~ 2013 Accreditiations
~ The Windon Boys, (Part 2), Ron Windon ACS
~ Postcard from the Hood, Phillip M Cross

Issue 57

~ Sweetwater, Brad Shield
~ Love Patrol, Daniel Maddock
~ Breeding in Captivity, Aron Leong
~ Blood Money, Dan MacCarthur
~ A MAsterclass in Budapest, Laszlo Barayai
~ The Pitch, Nicola Daley
~ Miller Sharp-Shooter, Rupert Dalton

Issue 58

~ DOP Iain MacKenzie
~ Everything You Wanted To Know About UAV's, Glen McGarry
~ Goddess, Damien Wyvill ACS
~ 2013 Cinematographer of the Year - Jo Rossiter ACS
~ THe Last Lab, Dominic Case
~ Mark Bliss

Issue 59

~ Rossy Emery ACS
~ Shooting While Beign Shot At, Rob Brown
~ From Great Heights, Mike Dilon AM
~ Cheating Time, Miles Rowland
~ Funding With Pocket Change, Kirsty Stark
~ Rapid TV, Peter Morris & Trent Miller
~ Sony F55, Pieter de Vries ACS

Issue 60

~ Our Greatest Documentary Turns Sixty, Geoff Burton ACS
~ Filming The Country of Lost Children, Geoff Burton ACS
~ Surviving The Deset on Walkabout, Geoff Burton ACS
~ One Night The Moon, Kim Batterham ACS, by Geoff Burton ACS
~ Making Tracks, Mandy Walker ACS ASC, by Geoff Burton ACS
~ Satelitte Boy, Geoffrey Simpson ACS, by Geoff Burton ACS
~ Journey Along Myster Road, Iven Sen, by Geoff Burton ACS & Brian Hannant
~ Love City Jalalabad, George Gittoes, by Aron Burton
~ Encounter, Mike Molley BSC ACS & Stanley Kubricck, by Geoff Burton

Issue 61

~ Wolf Creek 2, Toby Oliver ACS
~ A Life Exposed, Bonnie Elliot
~ Cave Spiders, Joe Shermesh
~ Jeff Darling
~ Hidden Universe 3D, Malcolm Ludgate ACS
~ The Railway Man, Garry Phillips ACS
~ The Encouncer, Michael Edols ACS & Martin Sharp

Issue 62

~ Mr Pip, John Toon NSCZ ACS (Australian Cinematographer of the Year)
~ Blood Pulls A Gun, Jeremy Rouse
~ DOP Pawel Achtil
~ IMAGO Vienna - Theme Director/Cinematographer Collaboration
~ Lost and Found, Joey Bania
~ Duong Dua, Kieran Fowler, by JoAnne Bouzianis Sellick
~ Bronze to Gold
~ The Art of Fous Pulling, David Elmes 1st AC
~ Kingswood Ohio, Anton Syzonov
~ DOP Profile - Matthew Chuang
~ Preserving The Craft, Tim Wood

Issue 63

~ Predestination, Benn Nott ACS
~ Chasing The Light, Geoff Young
~ The Lego Movie, Pablo Plaisted
~ A Monk In A Floating World, Director Chen Kaige, DOP Geoffrey Simpson ACS
~ Felony, Mark Wareham ACS
~The Art of Focus Puling, Matthew Toll
~ Galore, Stefan Duscio

Issue 64

~ Allan Collins ACS
~ NT Awards for Cinematography
~ The Water Diviner, Andrew Lesnie ACS ASC
~ Soul Mates, Dan Freene ACS
~ Ed Goldner
~ Symphony Of The Earth, Dr Jim Fraizer OAM ACS
~ Ukraine Is Not A Brothel, Director Kitty Green, DOP Michael Latham
~ Ignitedigi, DOP - Tom Waugh, Pilot - Chris Fox
~ What's Wrong With Australian Films?, Jason Kent

Editor: Lizz Vernon

In This Issue

- President's Report
- AACTA Award - Nominees and Winners
- Awards Update
- 2015 ACS National Award Nominees
- Accreditation reminder - Applications due in July
- The Production Book 25 years old now also going mobile!
- Miller Nominations closing soon
- David Lewis attends BSC EXPO with valuable assistance from Panavision
- Callan Green ACS ~ Fujinon Cabrio Lenses
- 2015 NSW Young Australian of the Year ~ Genevieve Clay-Smith
- NFSA update for the future ~~ Michael Loebstein
- ACS Merchandise
- Letter from LA LA Land
- 2015 NFSA Emerging Cinematographer Awards - Entries opening soon!
- ACS VICTORIA 2nd AC Course ~ Warwick Field
- AFTRS ~ February & March Courses & Links
- ACS Weblinks & Postcards
- Cine Apps Review ~ Sun Surveyor & pCAM Film & Digital Pro
- 10 Greates Moments in Australian Cinematography
- Imago ~ Towards a better tomorrow, 21st-22nd March
- ACS Sponsors

From The President

Greetings ACS colleagues,

The AACTA Awards have been decided and our heartiest congratulations go to all the nominees and the eventual winners.

The Best Cinematography, ~ FEATURES Category was a real treat with four ACS members being nominated:

  • Fell ~ Marden Dean (Victoria)
  • Predestination ~ Ben Nott ACS (Queensland)
  • The Railway Man ~ Gary Phillips ACS (NSW)
  • Tracks ~ Mandy Walker ASC ACS (NSW)

Personally speaking, there could have been 4 winners, as the cinematography in each film was outstanding, true to the text and the characters, and simply beautiful. Perhaps it would have been fitting for them to be presented with their Awards at the main televised presentation. But that was not to be….maybe next year!

The Society is very proud indeed of this years AFI – AACTA Award winning Cinematographers across 3 categories -

Features: Ben Nott ACS ~ for Predestination
Documentaries: Aron Gulley & Maxx Corkingdale ~ for Mothers and Sons
Television Drama: Martin McGrath ACS ~ for Broken Shore

How good is that!!

Link to 4th AACTA Award Winners…. »

Photo Credit: David Wakeley ACS

Our 2015 ACS National Awards for Cinematography are now only a little more than three months away, and bookings will open soon.

Don’t miss this opportunity to support your fellow cinematographers, and acknowledge the importance of our Awards, by booking your tickets as soon as bookings open. Especially as, bookings made within the first month of opening automatically go into the running for a $600.00 Travel Voucher as an Early Bird booking prize courtesy of our good friends at Stage and Screen Travel.

Sorry Tasmania, you're not eligible for this because you already live in Paradise.....Tasmania!

But there are many other reasons to make the journey….

  • Tasmania and the hospitality of all Tasmanian’s is the stuff of legend
  • Enjoy a reception at Tasmania’s Government House
  • A special Q&A screening at the State Cinema
  • Attend the 2015 ACS Awards at the celebrated MONA
  • Visit the ACS Sponsors Expo at The Grand Chancellor Hotel
  • Enjoy a Ray Martin AM Retrospective
  • Learn from a legendary Pieter De Vries ACS Master-class
  • Indulge in a Great Expeditions full day trip to Bruny Island which will include the Bruny Island Cheese Co, Get Shucked Oyster Farm, The Neck Lookout, Island Produce Fudge and the Bruny Smoke House where you will enjoy a fantastic lunch
  • Take High Tea at Hadley’s Orient Hotel, where you can choose from fine loose-leaf teas accompanied by freshly baked scones, finger sandwiches, pastries and indulgent sweet treats. Oh boy, I’ll be there!!

There is so much to see and do over the Awards period and beyond, if you think the time is right for a well deserved slightly early mid year break - Tassie is the perfect place!!

Need to know more? Then here’s the all important link that will allow you to book tickets and check out other ACS specials like Hadley's Orient Hotel, cruise to the Awards on The Spirit of Tasmania, stay at the Islington Hotel, and enjoy many other benefits of attending the Awards:

About the 2015 National ACS Awards »

I’m off to do some laps, to be prepared for the Hadley’s High tea, so until next time…

Ron Johanson OAM ACS National President

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 »

THE PRODUCTION BOOK ~ Turns 25 this year!

Latest version of the Production Book iPad App out now!,

The Production Book has released its latest version of the iPad and iPhone apps with the most current details for all the listings. It also includes UPDATED charts for 2015 for both Australia and NZ, including public and school holidays, tides, sunrise and sunsets, phases & apsides of the moon, latest grips crane chart and update on digital media explained.

Make sure you update to the latest version now! Go to »


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 Miller’s 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 »

BSC Expo Pinewood Studios London 2015 ~ Report from David Lewis ACS

BSC Expo ~ Day 1

It all started with a surprise phone call from President Ron Johanson last week asking :

"Can you attend the BSC Expo in London next week at Pinewood Studios in London and represent the ACS, Panavision Australia will help with the airfares and expenses".

Not having been to Pinewood and having been told so many wonderful stories about the many films that have been made there, off I went with no hesitation.

After many years of filming around the world at some of the major studios it's great that I still get excited at having the opportunity to walk onto a studio lot, what a fantastic job we have as cinematographers!

Pinewood didn't disappoint me, passing by the huge 007 Bond Stage, down Goldfinger Avenue now heading towards the Richard Attenborough Stage, I could feel and easily imagine the film history that now surrounded me.

Outside the stage there were four huge mobile cranes suspending a huge wire operated remote head with all it's workings as well as a giant Techno crane. It was fascinating to stand and watch technology at work on a sunny but cold English day.

Going inside the studio it was packed wall to wall with all sorts of new toys. The major suppliers had their stands with all their equipment on display for everyone to have a hands on experience of their products, as well as many smaller companies eager to promote their own new and sometimes very innovative products.

There was a great emphasis on moving the camera. From remote heads, hand held gyro kits, small tracking vehicles with telescopic arms, slider kits and to the very simple ground level push dollies with stabilized heads that could get into very restricted places.

LED lighting was heavily featured. Round ones, square ones, light panels of all sizes, huge fluoro light boxes on pulleys that could go up and down, tilt, dim, change color etc as well as large balloon lights of every imaginable shape that could fit anywhere and be easily adjustable. The 18K HMI on a lift crane with its own remote head looked pretty ordinary compared to these new toys.

It's amazing how far new technology has enabled us as cinematographers to do things now that were almost impossible just a few years ago.

After lunch I attended a forum of major cinematographers

~ Billy Williams OBE BSC (Ghandi),
~ Sean Bobbitt BSC (12 Years A Slave),
~ Barry Akroyd BSC (The Hurt Locker),
~ Haris Zambarloukas BSC (Mama Mia).

The session was moderated by Ron Prince (Editor BSC Magazine).

They openly discussed their experiences of working on both the big major pictures as well as the smaller independent ones.

Surprisingly they all preferred to work on the smaller budget productions as they felt it was necessary to be more innovative, work faster and stick to their true roots as they had all started their careers working on documentaries and low budget films.

They also felt that as the cinematographer they could have a greater input into telling the story and getting the directors vision onto the screen.

On some of the larger productions they felt that although there was much more money and time the story was sometimes lost and not always more money meant a better film.

An hour well spent and very inspiring.

David Lewis ACS

Next off to the John Barry Theatre to experience some new ARRI 65 mm footage shown on a 4K projector, fantastic images. Although this camera is very new and not had much production time it was very impressive.

Another day tomorrow when I will visit the BSC clubhouse at Pinewood as guest of Nigel Walters BSC (Vice president BSC and President of IMAGO) a wonderful host who along with Frances Russell and the BSC have made me very welcome.

I have taken many pictures and will present these at the next Thurs Drop In (NSW) in March.

BSC Expo ~ Day 2

I visited the BSC clubhouse today with Nigel Walters BSC, which is a very tiny but quaint old house on the grounds of Pinewood Studios. It has lots of history and sentiment attached to it and I was very pleased that I got to go there.

The Expo again had good crowds today but not as many a yesterday...

There was another forum of BSC cinematographers moderated by John De Borman BSC ( If I Stay ) discussed their hardest shots to choreograph and light and how they achieved them.

The panel consisted of John Mathieson BSC (Gladiator) Tony Miller BSC (Quirke -TV Series) and Sean Bobbitt BSC (12 Years a Slave). It was very informative and quite humorous as they discussed the trials and tribulations of achieving a great shot.

It became even more humorous when the studio lost all power and they had to talk in the dark for a little while, this didn't phase them or stop them and it was good fun.

The event has now finished it was a great success and the BSC now look forward to their next Expo. My thanks to Panavision for the opportunity to experience this fantastic event.

David Lewis ACS


Genevieve Clay-Smith has been named the 2015 NSW Young Australian of the Year.

The filmmaker and social entrepreneur, 26, is the co-founder of not-for-profit organisation Bus Stop Films, which teaches members of diverse and marginalised communities how to create short films that voice their experiences.

‘‘I’m feeling very overwhelmed,’’ Ms Clay-Smith said after the awards were announced in Sydney on Australia Day.

‘‘I’m so excited to use this award to raise awareness for the things I stand for, to have a platform to advocate for people who are marginalised. You don’t understand someone’s potential until you give them an opportunity to rise to the occasion.’’

The ACS is a staunch supporter of Bus Stop Films.

Genevieve Clay-Smith

Letter from LA LA Land ~ Tristan Milani ACS

Hello Peeps,

It is with great joy in my heart and love on my lens that I write to you this month. Looking on from afar I can see that our new Australian family film (AFF) Paper Planes has taken off at the local box office.

With a lot of thrust behind it from Village Roadshow and the new found turbulence of Youtube and Facebook the word of mouth was incredibly strong for the film.

At the time of writing we have made nearly $ 1.9 million with previews in the opening 4 days! Look up the competition we were up against (the Xmas/New Year) listings.

Rotten Tomatoes have a 100% review listing on their site. As usual with all the incredible reviews the really bad one had to come from »

I am not too sure what film the reviewer was watching but it was not the film we were making. If you have seen the film have a read of her review....

My part in the film's promotion was to attend the Palm Springs International Film Festival on behalf of the producers and director. What a great festival it is. So well organised and promoted, I will have to go back next year. Over 196 feature films were screened from around the world. Paper Planes screened twice and I attended the Friday night at 5pm screening. I brought 6 loyal fans of mine from LA

and as we arrived I saw the longest queue to get into our little film. The screening was sold out!

The screening of the film was an incredibly joyous experience, people were cheering and clapping throughout. Here is the rub, I counted only 4 kids under 15 years of age in the audience the rest were retirees! We make a film for kids to enjoy (7-12) and the reaction from an audience some 4 times that age group was incredible. I couldn't get to the stage to do my Q & A, I was mobbed by the Californian blue rinse set, and I am no Justin Beiber!

The enthusiasm, joy and respect the audience had for the film I will take with me for the rest of my life!

Off to Berlin Feb 4th for the screening of Paper Planes in 3D at the Berlin International Film Festival. We are opening the Generation Section of the festival.

Please confirm is this the real Tristan Milani???? ~ RJ

This is why I make Australian movies!

Stay Cool

Tristan Milani ACS

ACS VICTORIA 2nd AC Course Melbourne ~ Warwick Field - Victorian Branch President

Roughly a year ago the Victorian Branch of the ACS decided to form a sub-committee to establish a course to train 2nd Assistant Camera crew.

This was in response to feedback from DPs and 1st AC’s about the dwindling numbers of professionally competent 2nd’s available for productions.

ACS determined that this was due to the demise of the traditional “training grounds” such as TV production company giants like Crawford’s and Grundy’s. Film academies were running excellent courses but none were aimed specifically to train Camera Assistants comprehensively enough to be “set-ready”.

On January 27th this year, ACS Vic began its inaugural 2nd AC 9 Day intensive course in Melbourne.

At time of printing, this course was still underway. The course is being led by expert, active technicians at the top of their game to ensure the students are learning appropriate and relevant techniques that will prepare them for working on a real set, trained with regularly used equipment and utilizing current industry best practice methods.

The class is limited to 10 students. Venues include Cameraquip. Lemac, Panavision, Gear Head, Vision House and Soundfirm for post-production.

There are presentations and training from Ellery Ryan ACS, Laszlo Baranyai ACS, Warwick Field, Aaron Farrugia, Chris Child, Sunny Wilding, Meg Perrott and 1st Assistant Director Brendan Campbell, PM Elisa Argenzio, Sound Recordist Gretchen Thorburn, Gaffer Les Frazer, Grip Rob Hansford and the Prep Techs from all the rental facilities.

After ongoing assessments and final examinations, successful participants are presented with a Certificate from the ACS verifying they have completed the course and demonstrated a solid working knowledge of the role of the 2nd AC.

The Certificate will be recognized by future employers and rental companies as a validation of the holder’s proficiency.

There are plans to run the course annually and also to conduct a similar course for 1st AC’s.

Interested people can contact ACS Victoria at »


The Australian Cinematographers Society will celebrate a year of creative ingenuity at its 44th Annual National Awards for Cinematography ceremony in Hobart this year.


In 2012, to commemorate the release of the ‘The Shadowcatchers’ SBS Film sought the guidance of the book’s author, Martha Ansara, and Heidi Tobin, assistant editor of the Society’s publication, Australian Cinematographer, to help compile a list of the 10 greatest moments in Australian cinematographic history.

Assisted by Australian Walter Barnett, Lumiere camera operator Maurice Sestier filmed ten 60-second reels chronicling Cup day from the arrival of crowds to the winner, Newhaven, being presented the trophy. The six surviving reels were returned from the Cinémathéque Française to Australia in 1969.

No less than three cinematographers - Millard Johnson, Orrie Perry and Reg Perry – were employed on Charles Tait’s landmark film, considered to be the earliest feature length film and famous for its iconic image of the legendary bush-ranger making his last stand. The immersive experience provided by the crowded frame – policemen retreat, guns blazing, as Kelly grows in stature from the rear of the image to the foreground - indicates the trio had a profound grasp of the power wielded by their camera.

Commonwealth cinematographer Bert Ive in studio holding a lens component next to a Debrie camera.

Queensland-born cameraman Bert Ives would become the primary visual diarist during a period of incredible national growth in his role as the Commonwealth Government’s official cinematographer. For 26 years, Ives captured the changing face of our cities and the ongoing struggle of the people who tended our land. His 1932 film This is Australia provides an invaluable snapshot of Sydney and its vibrant beach-going culture of the day.

Profiled in Perth’s Western Mail newspaper on November 25, 1937, Cinesound’s in-house cameraman George Heath said, “Light is the medium with which the photographic artist fashions his pictures.” Australian audiences had never seen their favourite stars (Elaine Hamill, Helen Twelvetrees, Shirley Anne Richards) look so beautiful as when Heath manipulated shadows and textures on the 16 Cinesound features he shot.

(Western Mail article)

November 1942. Kokoda. Accompanying the first Australian patrol that reached Kokoda, Damien Parer, Official Cinematographer, (right) meets his brother Cyril

Melbourne-born Parer was official movie photographer for the Australian Imperial Force and had already seen action aboard the HMAS Sydney and in Libya, Greece and Syria by the time he joined Australian troops in the jungles of Papua New Guinea. Using the now iconic Eyemo camera, his footage would win its director, Ken G Hall, an Academy Award. Parer was killed in action soon after, but his legacy is seen in the documentaries of John Pilger and in the work of our warzone news-cameramen worldwide.

One of the most influential inventions in over a century of film-making has been the fluid tripod head by Australian Eric Miller, who patented his first prototype in 1946. The cumbersome gear-driven camera-mounts of old all but disappeared with the arrival of Miller’s operator-friendly device, that allowed for fluid tilts and pans. Decades later, Australian Peter Hannan would be at the forefront of industry innovation when, with co-horts Richard Loncraine and Laurie Frost, he invented the camera crane known as Hot Head; the trio would win a technical Oscar in 2006 for their breakthrough.

In April of 1949, cameraman Reg Pearse accompanied director Maslyn Williams to the refugee camp at Lepheim, Bavaria, to begin filming the dramatised documentary, Mike and Stefani. Pearse’s dark shadows and stark daylight scenes ensured his director’s intent – to expose the truth and consequence of the nation’s immigration policies – was achieved. Finally released in 1953, it found favour with critics (The Sydney Morning Herald said, “...the most grown-up and craftsmanlike film ever made by Australians”) but was not embraced by moviegoers.

Few films have come to represent the Australian film renaissance period of the 1970’s more than Sunday Too Far Away and Picnic at Hanging Rock. And few local films have ever exhibited the skill of their respective DOP’s. Sunday’s... Geoff Burton became the toast of Cannes when the film wowed attendees; Picnic’s... Russell Boyd would collect a BAFTA Award. Both parlayed their success into international careers whilst still servicing their home-grown industry; their combined filmographies include Gallipoli, The Chain Reaction, Phar Lap, The Year of Living Dangerously, Storm Boy, Stir and The Year My Voice Broke.

Under the guidance of fellow Australian John Weiley, local DOP’s Malcolm Ludgate and Tom Cowan capture incredible 15/70 film images of the icy world of Antarctica for what would become the most successful IMAX release in the formats history (US$40million in North America alone). Weiley and Cowan were rewarded with a project much closer to home and heart in 1996 – IMAX’s epic outback travelogue, Wild Australia.

Industry icon Donald McAlpine (Don’s Party; The Getting of Wisdom; Breaker Morant) would see his Oscar for Moulin Rouge slip through his fingers and into the arms of ‘youngster’ Andrew Lesnie (The Delinquents; Babe; Doing Time for Patsy Cline) for his work on The Lord of The Rings: The Fellowship of the Ring.

There you have it! We thought you may like to have a good read once again, and if you wish to add to the list, simply send a paragraph through to: »

IMAGO - Towards a Better Tomorrow.

The Society is pleased to advise that National President, Ron Johanson ACS will be attending this vitally important conference in Brussels during March, to explore ways to improving our working conditions here in Australia.

The "preferred" model is a Northern Hemisphere one, using the Danish industry as a guide, but there will be input from all countries, including Australia.

Should any of you wish to comment or would like Ron to raise an issue on your behalf please email: »
Website Members Login » »

The ACS is Proud to announce...


Category 1 ~ Cine Kids

Gold ~ Tori Aston
Drop The Game ~ Cat Warren
Lego Adventure 3: Attack of the Giant Pig! ~ Maxim Hussey

Category 2 ~ Student Cinematography

Fell ~ Francis Thompson
Twenty Forty Three ~ John Farmelo
The Crane Wife ~ Jordan Agutter
Child's Play ~ Nathaniel Kelly
Sailboats ~ Benjamine Cotgrove

Category 3 ~ Experimental & Specialised

Dreamworld Corroboree - Yugambeh Museum ~ Ron Johanson ACS
Coral Sea ~ Pawel Achtel
Drift Dive ~ Malcolm Ludgate ACS

Category 4 ~ John Bowring ACS TV Station Breaks/Promos

Paddock to Plate ~ Tony Luu ACS
Channel News Asia - Clarity ~ David Franjic
Mnemonic ~ Daniel Christie

Category 5 ~ Music Clips

Russel Morris - Van Diemans Land ~ Brad Francis
The Jungle Giants - Pair of Lovers ~ Daniel Graetz
Violent Soho - Saramona Said ~ Daniel Graetz
Beyoncé - Mine ~ Stefan Duscio
Guy Pearce - Storm ~ Edward Goldner
Jessica Mauboy - To the End of the Earth ~ James Brown
Willow Beats - Merewif ~ Scott Summers
Milan - Promises ~ Nima Nabilirad
Domino - Caravan ~ Nima Nabilirad
Ted Egan - Song for Grace ~ Chris Tangey
Missy Higgins - Shark Fin Blues ~ Ross Giardina
George Michael - Let Her Down Easy ~ Callan Green ACS
We Are The Brave - Your Ghost ~ Kieran Fowler

Category 6 ~ Syd Wood ACS Local / Regional News

Ski Test 2014 ~ Mark Steven
Chia Boom ~ Mitchell Woolnough

Category 7 ~ Neil Davis International News

Myanmar Refugees ~ Bradley McLennan
Nagasawa Bike Builder ~ Joel Lawrence
Tsunami Anniversary ~ Joel Lawrence
Aid Relief ~ Mark Dobbin ACS
Fiji Sugar ~ Daniel Soekov ACS
Phillipines Typhoon ~ Simon Manzie
Gaza Conflict ~ Luke Wilson

Category 8 ~ Current Affairs

Ukraine Uprising ~ Cameron Bauer
The Edge of the Mountain ~ Ron Ekkel
101 East - Stray Bullets ~ Lee Ali
101 East - Nepal Slave Girls ~ Lee Ali
Brazil-Showtime! ~ Robert Hill
Buffalo Export ~ Ian James Redfearn
The Last Straw ~ David Childs
Killer Crocs ~ Benjamin Foley
The Assassination Capital ~ Benjamin Foley

Category 9 ~ TV Magazine, Lifestyle & Reality

Sunday Night - Ghost Island ~ Leigh Hubner
Sunday Night - Prayer Book ~ Leigh Hubner
Landline Irrigation ~ Peter Curtis ACS
Dreambuild (Series 2 - Inner House) ~ Greg Ashman
Dreambuild (Series 2 - Angorophora Home) ~ Greg Ashman
Power to the People ~ Louie Eroglu ACS

Category 10 ~ Corporate & Educational

Continue to Drive ~ Lincoln Williams
STEALTH - The Shape of Things to Come ~ Greg Parish ACS
Norwood ~ Hugh Turral
Study Adelaide ~ Aaron Gully
Adelaide Oval ~ Aaron Gully
Egan ~ Timothy Wood
PCYC NSW Traffic Offenders Intervention Program ~ Gavin Banks
Intelligent Sounds, Featuring Flume ~ Timothy Tregoning

Category 11 ~ Web & New Media

Edworth Moustache Magazine ~ Mitch Kennedy
HAN Woolmark Prize ~ Danny Camara
House of Arras ~ Tony Luu ACS
Huawei Presents Mary Day ~ Aaron Farrugia
Seafolly ~ Stefan Duscio
South Australian Tourism ~ Adam Howden
The Currant Shed ~ David Parkinson
Parla and Alskare ~ David Parkinson
Wastelander Panda (Episode 1 - Exile) ~ Viv Madigan
Mataranka Virtual Journey ~ Cody Riedel
Cattle Scars - The Pastoralist ~ Andrew Hyde
David Jones We Are ~ Josh Flavel
Jewels of the Arctic ~ Abraham Joffe
Hidden Graphics, Mountain Dew ~ Timothy Tregoning

Category 12 ~ Documentaries, Cinema & TV

Survive the Tribe - Eagle Assasins ~ Brad Dillon ACS
Ukraine is not a Brothel ~ Michael Latham
Ngurra Wangaggu ~ Torstein Dyrting ACS
Who's Been Sleeping in My House? (Ep - Palmerston) ~ David Le May
Who We Are: Brave New Clan ~ Dylan McDonald
Talking Language with Ernie Dingo (Ep 6) ~ Dylan McDonald
Buckskin ~ Murray Lui
The Colony ~ Ben Emery

Category 13 ~ Nature & Wildlife

Mountian Air - Valley Mist ~ Joe Shemesh
Sixteen Legs ~ Joe Shemesh
Iconic East Africa ~ Abraham Joffe

Category 14 ~ Virtual Cinematography

Little Darling ~ Damian Smith

Category 15 ~ Commercials Local / Regional

QLD Ballet 2015 ~ Brad Francis
TAFE ~ Tony Luu ACS
Townsville Curiosity ~ Sam Scoufos
Lynx - Red Cross ~ Adam Howden
Portland The One For You ~ Peter Corbett
Territory Day ~ Miles Rowland
Gagudju Dreaming ~ Simon Manzie

Category 16 ~ Commercials National / International

Ladbrokes ~ Jason Hargreaves ACS
MS - Trapped ~ Simon Ozolins ACS
Origin - Fresh ~ Jeremy Rouse
SBS ~ James Brown
Your Story Matters ~ Timothy Wood
Energy Australia - Power to Move ~ Peter Eastgate
Airforce - Anything Anywhere ~ Peter Eastgate
Natural Gas ~ Daniel Ardilley

Category 17 ~ Dramatised Documentaries

Charlie Rowan Walking Dead ~ Matthew Peterson ACS
Breaker Morant - The Retrial ~ Jaems Grant ACS
The War That Changed Us (Ep 1) ~ iJm Frater ACS
Desert War Alamein ~ Jim Frater ACS

Category 18 ~ Fictional Drama Shorts

I Am Emmanuel ~ Nicola Daley ACS
May ~ Peter Eastgate
Grey Bull ~ Callan Green ACS
The Fan ~ David Le May
Injury Time ~ Ernie Clark ACS
Doors ~ Dylan McDonald
Can You See Them? ~ Jody Muston
Rhododendron ~ Ryan Alexander Lloyd
Stuffed ~ Jeremy Rouse
A Peaceful Man ~ Tony O'Loughlan

Category 19 ~ Telefeatures, Mini Series, TV Drama or Comedy

Devil's Playground ~ Andrew Commis ACS
Power Games ~ Bruce Young
Redfern Now (Series 2, Ep: Dogs of War) ~ Jules O'Loughlin ACS
ANZAC Girls (Ep 4 - 'Love') ~ Geoffrey Hall ACS
True Detective (Ep 4) ~ Adam Arkapaw ACS
A Place to Call Home (Ep 8) ~ John Stokes ACS

Category 20 ~ Features ~ Cinema

The Railway Man ~ Garry Phillips ACS
Tracks ~ Mandy Walker ACS
Wolf Creek 2 ~ Toby Oliver ACS
Touch ~ Aaron Gully
Riddick ~ David Eggby ACS
Patrick ~ Garry Richards
Fell ~ Marden Dean
The Philosophers (After the Dark) ~ John Radel ACS
Predestination ~ Ben Nott ACS


Mr Michael Loebenstein CEO, NFSA

Strategic Plan and forward planning:

I have let all the feedback from the various public workshops, internal planning sessions, and individual meetings with partners and stakeholders sit for a while, and now I’m tackling the task of not only condensing it down to as precise and clear a document as possible, but to plan the sequence of events and activities to flow from its release.

I’m looking at completion of the plan over the next 3-4 weeks, and a launch online late February.

Further to that two key strategic documents and policy papers to flow from the plan have been confirmed internally:

(1) We will release a discussion paper (working title is the enigmatic number “2025”) that establishes key arguments regarding digitisation of audiovisual collections across the national collecting institutions: their size, life time, what is required to address large-scale digitisation and the return on investment of such an endeavour . I expect this paper to create a public debate around an often under represented issue.

(2) In late March we will release a first version of the NFSA’s Three-Year Public Programs framework , outlining vision, objectives, priorities, areas of engagement, and organisational models to support a relaunch of our audience engagement activities from July 2015.

In April we will host the International Federation of Film Archives (FIAF) congress in Sydney and Canberra — a unique opportunity to have international experts, peers and colleagues here to debate issues of managing intellectual property in an environment marked by the desire for permanent (and online) accessibility of collections.

We are are in stage one of the strategic planning for web redevelopment — a program which will see us review our online audience engagement programs fundamentally over the next years.

All of that flows into budget night, and the completion of the organisational transition which commenced in July 2014. Quite a year.

I will be emailing everybody who has participated in the engagement around the plan’s development directly later in the week too.

Expression of Interest for screening programs at Arc Cinema

One result of the consultation with stakeholders, supporters, as well as visitors to our Canberra facilities is the interest in broadening the scope of programs we can offer at our headquarters in the former Institute of Anatomy building.

The Arc Cinema is one of only a few remaining facilities in Australia to screen archival film prints as well as the current digital formats, and there’s considerable interest by non-for-profits, commercial entities and individuals (curators, programmers etc) in lodging program proposals, in using the facilities for cultural programming as well as for activities that potentially deliver revenue into the NFSA’s budget.

The most constructive and transparent process to assess the scope of potential additional usage for Arc is a public approach to market. An advertisement will go up on NFSA online, select national media, and a few online platforms and publications as from Wednesday 21 January. Mind you — this will not replace NFSA’s own cultural screening activities, but enhance them, and increase usage of this facility. It’s all part of a more transparent and inclusive NFSA, and we want to attract as many good ideas, people and concepts as possible for consideration.

I would be grateful if you could point your readers who represent such a broad range of filmmakers, curators, artists, critics and academics towards this expression of interest. It can be found here: »

Michael Loebenstein - CEO

Callan Green ACS goes Prime Less with Fujinon Cabrio Lens

Uses Cabrio on latest Audi TVC

According to Callan Green ACS, his new Fujinon 19-90mm Cabrio zoom lens is so good that he has been able to sell his set of primes and is more than happy to zoom it alone from now on.

Green explained,

“Last year one of my MK3 super speeds was dropped on set and was unable to be repaired due to the MK3’s discontinued production. This worried me a bit so I started exploring a replacement set like the Leica Summicron T2s. They were beautiful lenses however at AUD$120,000 I was unable to afford them even after the sale of my supers.”

He continued,

“I have always respected Director Of Photography John Seale’s ACS ASC approach to camera operating as he was one of the first to shoot only with zooms on a production. I remember him telling me that he copped a lot of flack, even from his own 1st AC on Harry Potter - The Sorcerer's Stone for this decision. So much so that he had to fire him and get a new, more forward thinking 1st AC. I can fully understand that only using a zoom on a job would scare many filmmakers. In the past drawbacks with most zooms involved their range, resolution, weight and speed - important factors to consider as a cinematographer. However in recent years – since the MK2 Angenieux 25-250mm HR came out - zoom technology has come on leaps and bounds and in the past five years I feel that zooms have become a perfectly good alternative to primes, if not better due to their time saving attributes.”

Green researched available options and found that Fujinon Cabrios were definitely a range of zooms worth exploring.

He explained,

“I already own a Fujinon/ARRI Alura T2.8 15.5mm – 45mm as well as a T2.6 45mm – 250mm Alura - so I got in contact with Fujinon here in Sydney and tried out their new MK2 19-90mm Cabrio zoom on a music video and absolutely loved it - so the following week I bought one.”

The Fujinon 19-90mm Cabrio zoom lens features an exclusive detachable servo drive unit, making it ideal for doco work and productions involving a lot of handheld shooting. The Cabrio also features flange focal distance adjustment, macro function and is LDS (Lens Data System) and /i metadata compatible. It is also made from the same glass as the ARRI Alura and Leica Summicron lenses.

Green continued,

“The more I used the Cabrio the more I loved it, so much so that it has now replaced my primes entirely. Quite honestly the quality is so good that I would challenge anyone to distinguish the difference between a shot taken on a high-end prime at T2.8 and the Cabrio at T2.9. If there is anything even borderline not so great about the Cabrio it could possibly be the T2.9 speed of the lens. However after many years of shooting everything at wide-open T1.3 I have moved on and feel that T2.8 – T4 is better on the eye and a far healthier stop for focus pullers. It is also my opinion that very soon most professional mainstream digital cameras will move on from an 800ASA native base to 2000ASA and beyond, which will also negate any lens speed and lighting issues we may experience right now.”

Such was Callan’s enthusiasm for his new Cabrio that he recently used it exclusively to shoot the latest Audi TVC at Sydney’s Fox Studios.

Green concluded,

“We had a reasonable amount of shots to complete in the one day we had at Fox Studio’s studio 7 so I didn’t want to be slowed down by anything other than what was totally necessary. The Cabrio was so good that we shot the entire TVC with it and never took it off. Not only were the images great but also the fact that we never had to change lenses, recalibrate remote focus or re-balance the head saved us a massive amount of time. The 19mm wide end of the Cabrio is also excellent for shooting cars as it stops you from shooting too wide and therefore forcing them to appear a bit bulbous which can so easily happen if shot at 15mm or 16mm for example. I can’t say enough good things about the Cabrio – it looks fantastic, its range is the same as a standard set of primes, it’s lightweight, sharp but not too sharp and the macro function saves the need for diopters. Before you couldn’t shoot with zooms as they were too soft, too slow and too heavy. Now you can. I simply don’t miss my super speeds any more – despite how beautiful they were.”


More details coming really soon.


New design by Scott Windon

Contact David Lewis on the links below


Click for ACS merchandise »

2015 NFSA - ACS John Leake OAM ACS Emerging Cinematographer Award.

Entries will open in early March for the 2015 NFSA - ACS John Leake OAM ACS Emerging Cinematographer Award.

The Award is named in honour of the Australian Cinematographers Society co-founder and industry icon, John Leake OAM ACS (1927-2009). John began his cinematographic career as a 15-year-old with Movietone News in 1944 before moving on to Supreme Sound Studios. He served as both NSW President and Federal President of the ACS and was the Society’s Official Historian until his passing.

"Partnering with the ACS to present this award also allows us to raise awareness in the creative sector for the need to capture and preserve the diversity of Australian stories. Today's news program or short fiction is tomorrow's history."
~ NFSA CEO Michael Loebenstein.

“The partnership between the NFSA and the ACS is one of vital importance to the continued growth of our industry. It is the policy of the Society to foster and encourage emerging and aspiring cinematographers to pursue their craft and their dreams at every opportunity. This is one of those opportunities.”
~ ACS National President, Ron Johanson ACS

For more details contact: »

Have you heard of the Motion Picture Industry Benevolent Society?


MPIBS has been providing financial and emotional support to members of the cinema industry for more than eighty years!

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.

Click here to find out more about: MPIBS »

The ACS Proudly supports the MPIBS and we encourage members of the ACS to contribute to this fantastic cause…

Check out the link above...




Links to ALL COURSE below

AFTRS Open Upcoming highlights include Modern Cinematography with Ellery Ryan in both Melbourne (Feb) and Sydney (March), plus Data Wrangling on Set: File Based Cameras in Sydney this April.

Modern Cinematography with Ellery Ryan
What is great cinematography, and how is it achieved? This two day course, led by two time AFI Award winner Ellery Ryan (Is This The Real World, I Love You Too, Van Diemen’s Land, The Rage In Placid Lake) explores the techniques of effective visual storytelling.
Melbourne 21-22 February
Modern Cinematography with Ellery Ryan ~ Melbourne
Sydney 28 - 29 March
Modern Cinematography with Ellery Ryan ~ Sydney

Content Creation for iPhone/iPad: Online
From the comfort of your keyboard, learn how to shoot quality videos with your iPhone or iPad, and create stories on the go. Filmmaker and cinematographer Gareth Tillson will lead this four-week online course featuring video tutorials, weekly assignments and a weekly online chat session, where you will get real time feedback.
Starts 26 Feb, 4 evenings, online
Content Creation for iPhone/ipad

Camera & Sound Basics
Ideally suited to those who have limited camera and sound recording experience, this course will introduce you to techniques and practical skills to produce high quality images and sound for documentary and drama - with an eye to great storytelling, the goal of all good filmmaking.
14 - 15 March, Sydney
Camera & Sound Basics

Data Wrangling on Set: File Based Cameras
This one day course is an introduction to managing data from file-based cameras in an on-set environment. Working in the AFTRS Studio, you will get an overview of all types of data and metadata from file-based cameras from manufacturers including Sony, Canon, Blackmagic, Arri & Red and you will learn how to prepare for and manage this data confidently and responsibly in a high pressure on-set environment.
12 April, Sydney
Data Wrangling on Set: File Based Cameras

AFTRS Short Course »

Apps you may wish to check out!!!

Sun Surveyor

Sun Surveyor predicts Sun & Moon positions (azimuth, altitude, time) with a 3D Compass, Interactive Map + Street View, Augmented Reality and a detailed Ephemeris. Sun Surveyor is useful for film and photo location scouting, photographers, architecture, solar panel positioning, gardening, real estate, film grips, Earth Science geekery, and more! Plan for every sunrise, sunset and super moon!

Use the interactive controls to:

- Predict and plan for the golden hour, blue hour and every sunrise, sunset, moonrise and moonset 

- Find the time of year and angle to shoot a location at Sunrise or Sunset, or compositions involving the Moon

- View augmented reality projections of the Sun and Moon paths, pinpoint the time the sun or moon will be at a particular location in the sky
- Visualize the Sun and Moon throughout the day or over a year for any location on the earth

- Observe the Summer and Winter Solstice paths & Equinox paths for any location

Some of the Features included:

- Sun & Moon Bearing and Altitude, Sunrise & Sunset, Shadow Ratio, Moon Rise & Set, Moon Phase & Illumination %, Twilight Times (Civil, Nautical, Astronomical), Summer and Winter Solstice Paths, Equinox Paths, Golden Hour and Blue Hour Times, Solar Noon, upcoming moon phase dates and a Super Moon finder!

- 3D Compass - A 3D projection of Sun and Moon positions and events overlaid onto a compass representing the device's bearing and orientation in the world

- Augmented Reality View - View through the device's camera, visualize where the sun and moon will be in the sky, or when they will move behind a building

- Map View - A top-down view of Sun and Moon event positions overlaid onto an interactive map
. Lock down your shooting point and align your shot with Sun & Moon events! Uses the new Google Maps API featuring Terrain maps and rotation and tilting of the map view. Also features elevation lookups and the ability to determine difference in vertical angles between two locations.
- Street View Panoramas - (new!) A 360 degree interactive panorama when available from the Map View for your selected location
- Import and Export of Locations - (new!) import Google Earth .kmz/.kml placemarks, and export to share with others or for backup purposes
- Time Machine Slider - Visualize events for a single day, or watch the days get longer and shorter and the Moon's path get further and closer throughout a year

- Offline Usage (excludes Map View)
- Elevation calculations - determine the height of a particular location, relative to another, and the difference in vertical angle between them
- Enter Coordinates, Save & Load Locations with no data connection or GPS available

- Send screenshots and details

- Sun shadow ratio and projection, visualize the shadows cast from the Sun

sun-surveyor »


• 24 bundled Cinematography and Still Photography apps useful for Photographers, Directors of Photography, Camera Operators, Camera Assistants, VFX Supervisors, Script Supervisors, Gaffers, Grips, Motion Picture Editors, Production Designers, Art Directors, Film and Photography Students.

• 62nd Primetime Emmy Awards. Won an Engineering award for Outstanding Achievement in Engineering Development from the Academy of Television Arts & Sciences.

• Technical Achievement Award from Society of Camera Operators. “For outstanding contributions to cinematography through the design and development of the pCAM Film+Digital Calculator.”

• Includes: Depth of Field - Hyperfocal – Image Circle - Splits/Aperture Finder - Field of View (Picture Sizes) - Field of View Preview in both Portrait and Landscape camera positions (with 8 images to size shots) - Angle of View – Relative Sizes (compares sensors) - Focal Length (lens) Matching – Triangulate - Exposure - Running Time to Length - Shooting to Screen Time - HMI Flicker-free - Color Correction (choosing color correction filters) - Diopter - Macro - Time Lapse - Underwater Distance - Scene Illumination (beam intensity) - Light Coverage (width/distance) - Mired Shift (with suggested color correction gels) - Light (Eye-light or Catch-light) - Light Effects (Animated light effects; fire, strobe, neon, siren, etc.) - Conversion calculator - Siemens Star (Focus chart) - Insert Slate - Reference (Technical charts, lists and tables: Cine Film stocks, Cine Lens Manufacturers, Miniature Shooting, Safe Panning Speeds, Zone System).

• Differs from other Photography apps. Easy to use and its graphical interface helps the user understand how each calculation is applied. It was designed specifically for professional photographers and filmmakers and has the correct Still, HD Video and Motion Picture Camera manufacturer’s specs for Image Size and Circle of Confusion.

• Created in 1998 for the Palm device and originally called pCAM Film+DIgital Calculator, this award-winning app has become a time-tested industry standard. The developer’s a working Camera Assistant who understands that calculations must be done quickly, simply, and on the run.

• Features:
- Works on iPhone, iPod Touch and iPad.
- Graphical interface with retina screen High Resolution. IPhone 6 and iPhone 6 Plus ready.
- Calculates instantly and automatically as each entry is changed.
- Saves entries until you change or reset.
- Quick Gestural finger changes to Depth of Field’s Distance and Aperture inputs.
- Customizable, user-defined Camera Formats, CoC and Filters.
- Easy Picker wheels for Aperture, Camera Formats and Light Sources.
- Quick Buttons for Camera Formats; Jumps to “Film,” “Video,” “Stills,” or “Custom.”
- Global settings for Feet & Inches or Metric - EI or ASA - Foot-candles or Lux, Exposure defaults, Depth of Field nudging increments.
- Built-in User Guide on each screen.
- Motion Picture formats: 8mm - 16mm - 35mm - VistaVision - 65mm - 70mm - IMAX.
- HD Video formats: 1/4”, 1/3”, 1/2”, 2/3” HD CCD - 35mm Still Lens Adapters - Digital HD SLR’s, Super 35mm-sized HD - 65mm-sized HD.
- Still Camera formats: 35mm Standard - 4/3 - APS - Panoramic - DSLR - Digital backs - 6x6 cm - 6x7 cm - 4x5 - 5x7 - 8x10.

pcam-film-+-digital-pro »

Out And About On Location ...Send us a postcard to let us know!

Isn't it time we heard from YOU

Check out who we've heard from... »

© 2019 Australian Cinematographers Society