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 | 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 ACS
~ DOP Iain MacKenzie
~ Rossy Emery ACS
~ Our Greatest Documentary Turns Sixty, Geoff Burton ACS
~ Wolf Creek 2, Toby Oliver ACS
~ Mr Pip, John Toon NZCS ACS (Australian Cinematographer of the Year)
~ Predestination, Ben Nott ACS
~ Allan Collins ACS
| Editor: Lizz Vernon In This Issue- President's Report
From The President
Greetings ACS colleagues, Our 2015 ACS National Awards for Cinematography, Dont miss this opportunity to support your fellow cinematographers, catch up with friends, and acknowledge the importance of our Awards, All you nominated cinematographers, join us in Hobart to be part of a fantastic celebration of cinematography, and relish the moment when your name is announced on the night. It's a great feeling!
Tasmania and the hospitality of all Tasmanians is the stuff of legendBut there are many other reasons to make the journey .
There is so much to see and do over the Awards period and beyond, so if you think it's time for a well deserved slightly early mid year break - Tassie is the perfect place!! Need to know more? Then heres 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:
Last month it was laps, now it's weights, so I'm prepared for the Hadleys High tea. Until next time
ACS HQ Report ~ David Lewis ACS
The ACS HEADQUARTERS TURNS 4 YEARS OLD on March 3 2015 It will be four years since the grand opening of the ACS Headquarters on March 3, time does fly. Over the last four years it has been a very successful journey for both the ACS and the Headquarters. Through this venue the Society has been able to showcase to its members, sponsors and friends some of many ways we can involve cinematographers, in current and future aspects of the industry. ACS Board meetings, State Branch meetings, AGMs, Accreditation sessions, Awards judging, used by Producers as a location and as a theatre venue, teaching classes, Drop Ins, Sponsors events, Guild meetings ,The Producers and Designers Guild meetings, Kids Flicks screenings and many other social events have made the Headquarters a very desirable place to visit and experience. During February the Headquarters has again been well utilized: Pieter De Vries ACS continues to conduct his very successful Digital Cinema Workshops. Ian Nicholson has held more of his short film classes on Wednesday nights this month. Leikamedia from Brisbane is now a regular user holding classes on several weekends. The Australian Production and Designers Guild now hold it regular monthly meeting on the last Monday night of each month. The NSW branch held another very successful Drop In featuring Andrew Lesnie ACS ASC, showing and discussing some of the challenges he faced shooting his very successful film The Water Diviner. 84 members, sponsors and guests attended. March is already shaping up as another busy month. KidzFlicks through Bardic Studios will host the Premier of one of its students award winning films for the crew, cast, family and friends on Sunday 1. Support the National Headquarters and the ACS at upcoming events and watch it grow.
NOMINATIONS Deadline extended!!! 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
The Borella Ride, 100th anniversary of the Gallipoli campaign. ~ Andrew Hyde
Theyve been called the Immortal 100 the 100 Australians that have been awarded the Victoria Cross on the battle field, and the achievements of the Northern Territorys only VC recipient Albert Borella are being remembered, and filmed, during the 100th anniversary of the Gallipoli campaign. In 1915 Albert Borella walked and rode from Tennant Creek to Darwin, a journey of some 1000 kilometres, to enlist in the Great War, ultimately becoming Australias oldest Victoria Cross recipient at age 36 on the Western Front in France in 1918. His epic trek is being re-enacted by a party including Borellas grandson Richard. Darwin based production company TV Works was contracted to produce a nightly 90 second television piece throughout the 14 day walk to Darwin, along with a daily 2 minute news feed uploaded via Dejero and, ultimately a broadcast documentary. In temperatures generally hovering around 40 degrees our production team of DoP Andrew Hyde, editor/cameraman Ian Richards, journalist Paul McLaughlin, production manager Jennifer Richards and camera assistant Felix Baker, had quite a physical and logistical task, following the re-enactment up the Stuart Highway. But the greater challenge was switching constantly between documentary and news style acquisition. Fortunately we had the camera kit for all occasions supplied by TV Works including the Sony F55 with a set of Zeiss prime lens and a Fujinon 19-90mm Cabrio lens, a Sony XD Cam for ENG production, a Sony A7S, a Canon 5D, a DJI Ronin and, most impressively, a DJI Inspire unmaned aerial vehicle. We needed to be able to quickly switch from shooting a news piece to shooting long form in 4K, which essentially sums up the role of the DoP in the Northern Territory being both flexible and self-sufficient in remote and hot conditions. This project has certainly pushed us physically, logistically and creatively. The Borella Ride concludes in Darwin on March 3rd.
ARRI ANNOUNCES COMPACT AND LIGHTWEIGHT ALEXA MINIARRI has announced its new ALEXA Mini, a versatile additional tool in the ARRI ALEXA camera range that combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry. Designed for specialised shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows crews to eliminate the complications of working with third-party cameras by keeping everything within a single system that is trusted all over the world. To maintain ARRIs famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and environmentally sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.
The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arms length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions. The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, the ALEXA Minis interchangeable lens mount can be replaced with any of those designed for the ARRI AMIRA, allowing the use of B4 video and EF mount stills lenses. Equipped with a 4:3 sensor, automatic de-squeeze mode for anamorphic productions and frame rates of 0.75-200 fps, the ALEXA Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously a compelling option for multi-camera setups such as 360° plate shots. Images from the ALEXA Mini will perfectly match those from all other ALEXA cameras, making the final grade easier and quicker. Integrated functionality is at the heart of the ALEXA Minis efficient and self-contained design. A built-in lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, while ARRI Lens Data System (LDS) technology provides frame-accurate metadata that can save time and money both on-set and in post. Wi-Fi connectivity means that iOS or Android devices can be used to remotely control camera functions such as the motorized internal ND filters, which permit rapid responses to changing light conditions without adding bulk to the camera configuration.
The body design is optimised for use with new-generation brushless gimbals, multicopters and other specialised rigs. It is compact enough in the lens direction to allow the use of standard PL mount lenses even on lightweight and space-constrained rigs, such as gyro-stabilised aerial systems. The cameras superb low-light performance makes it perfect for underwater work; dedicated underwater housings are currently being developed by leading manufacturers. Like the ARRI AMIRA, the ALEXA Mini can record 4K UHD ProRes images, facilitating real-time 4K UHD output and simple pipelines for high-resolution deliverables. More importantly, the Mini and all other ARRI cameras with the ALEV III sensor offer unrivalled overall image quality by focusing not just on spatial resolution, but also on other parameters such as colourimetry, skin tones and High Dynamic Range (HDR). This is equally true whether the chosen output is HD, 2K, 4K UHD or one of the native resolution outputs like uncompressed ARRIRAW 2.8K or ProRes 3.2K, ensuring that images captured with the ALEXA Mini are future-proof, whatever new industry standards emerge. The ARRI ALEXA Mini is scheduled to begin shipping in May 2015, with orders being taken from March.
Letter from LA LA Land ~ Tristan Milani ACS
Hello peeps Dateline Berlin, Germany! Coming to you all from the Berlin International Film Festival (BIFF) 2015 where Paper Planes is the opening night film of the Generation K section of the festival. What an honor it is indeed to be asked, the generation K section has a wonderful history and the festival organizers are very proud to have over 65 films screening in the section. It is interesting to note as well that the judges are all children of various ages.. I am in Berlin with the director Robert Connolly, the two producers Maggie Miles and Liz Kearney. Two of the cast members are with us Ed Oxenbould and Julian Dennison. Julian has flown in from NZ with his mother on a short 30 hour flight!! First things first, lets go grab a schnitzel! Words cannot describe how delicious schnitzel is in Berlin. It was the finest schnitzel I have ever eaten without word of a lie. It came with the world's largest Pilsener and a side of cucumber salad and luke warm potatoes! The crust was perfect and the meat so tender, I can still taste it a week later.. Onto the business of films and I was so impressed by this festival. 7000 entries and only 400 films in all categories were accepted this year. The cinema we screened PP in was absolutely beautiful. A timber paneled auditorium with wonderful acoustics. The screening was sold out as were all 4 of our screenings. In fact word got around about the film very quickly and on the Saturday screening, people were turned away. One American woman (why are they always American?) got very upset there were no seats left! The response to the film from the German audiences was wonderful. The children asked such intelligent questions and the festival staff handled them all with such respect! One Q and A went for well over an hour and continued outside the cinema where Ed and Julian signed so many autographs! This is the universal language of cinema. You cannot tell me children are somehow different from one country to another! They all desire to imagine and learn... The kids handled the publicity with great patience and professionalism. As did the producers and this is what I learnt the most and want to express to the readers of the ACS bulletin. Making an Australian film is one thing, selling the film is an entirely new energy altogether. If you all realized how many films were in the European film market you would never believe me. This is what I believe Australian filmmakers do not understand. How hard it is getting international sales for your film.
We have reached $ 8.2 million for PP at the Australian box office and had a review in VARIETY magazine few filmmakers would ever get in a lifetime of making films and still the producers worked all day and all night on getting sales. 8am in the morning there was Robert, the producers and international sales agents sitting around the table discussing strategy. I was with Robert and the gang at a party at Midnight (the same day) and they were meeting financiers, distributors and agents. I woke up the next morning sure enough 8am, there they were again meeting new peeps! You getting the message guys and girls? Time to sleep..... stay cool Tristan Milani
FUJINON ANNOUNCES COMPLETE LENS RANGE ON DISPLAY AT NAB 2015
At this Aprils NAB convention in Las Vegas, the Optical Devices Division of FUJIFILM will show off its impressive range of lenses, including its latest Cine-Style, broadcast studio, and field lenses. The NAB Show will run from April 13-16 at the Las Vegas Convention Centre. The Optical Devices Division of FUJIFILM will exhibit in Booth #C7025 with Simon Becker, national sales manager for the Optical Division of FUJIFILM Australia and New Zealand, on the booth during the show to give demos and answer any questions.
The XA55x9.5 HDTV Telephoto Box Style lens is designed for large venues that require tight shots from long distances. This lens is available with a built-in lens support bracket for mounting on an ENG-style camera. Also built-in to the XA55x is optical image stabilisation, making it ideal for any application where the camera operator must maintain a steady close up shot for long periods, such as sporting events, houses of worship, corporate presentations, or concerts. The XA77x9.5 telephoto field lens also comes standard with image stabilisation. An exclusive anti-fogging design minimises lens fogging and reduces downtime due to moisture. It features EBC coating to reduce ghosts and flare, and increases light transmission. From full servo to full manual, an assortment of operator controls is available. The digital architecture provides accurate and configurable control. Full remote control via RS-232 serial data port is possible and 16-bit encoder output is standard for virtual applications. For more information or to arrange a demo at NAB 2015 contact Simon Becker on +61 429 400 133 or at
Mad Max: Fury Road Evening ~ Lizz Vernon
Recently just over 80 guests had the pleasure of sitting down with With the permission of Kennedy Miller Mitchell we were able to view the latest Trailer and look at what went into achieving the final look. ACS National sponsor Deluxe kindly hosted the evening at their studios in Lane Cove and for future viewing the evening was filmed with equipment provided generously by both Videocraft and Panavision. We were treated to a lively discussion around the theme of: "HOW DID THEY DO THAT?" I really can't give too much away, (at least until the film is screened in May) but expect an action packed film with a live stunt approximatley every 5 seconds, footage shot day for night that in a way I can't wait to tell you about and a film that will keep your attention drawn to the action just as George Miller wants you too...This film has a terrific team working tirelessly to bring out their Directors vision and I think you'll really enjoy what they bring to the screen. Till then I would like to say three things: 1. ~ John Seale ACS ASC sees the future of film heading towards much greater collaboration. 2. ~ I can't wait to see the film! 3. ~ WHAT A LOVELY EVENING.
SONY Newscast
This is your one-stop source to learn about newly launched Sony products, get product updates, and read snapshots of customers who are successfully using Sony professional products in real-world applications. The Sony Content Creation Team Click on the Image above to read what's happening
ARRI ALEXA SUP 11.0 WITH ProRes 3.2K NOW AVAILABLE AND NEW AMIRA SOFTWARE UPDATES INCLUDE 4K UHD AND MPEG-2 MXF RECORDING
ARRI has announced the upcoming release of Software Update Packet (SUP) 2.0 for AMIRA cameras, and the subsequent release of SUP 3.0. The former unlocks 4K UHD recording for high-resolution pipelines, while the latter enables MPEG-2 MXF recording for streamlined, broadcast-friendly workflows. Together they stretch the already wide spectrum of AMIRAs deliverable options at both ends of the scale, making the camera an even more versatile production tool. Underlining the positioning and success of AMIRA as the perfect camera for productions ranging from documentaries, reportage and corporate films to TV and low-budget movies, these two major software updates in the first half of 2015 will enhance the feature-set in ways that respond specifically to customer requests and industry trends. With its flexible, re-programmable system architecture, AMIRA will continue to expand in functionality over the coming years in the same way that ALEXA has done since 2010, allowing it to keep pace with a rapidly evolving market and deliver a strong return on investment. AMIRA SUP 3.0 scheduled for release mid-2015 Click the link below to read full article.
Film Review: 71 review by James Cunningham
'71 is a film that lingers long after one has left the comfort of the cinema. Riveting, impressive and somewhat personal, it tells the story of young Gary Hook (Jack O'Connell) whose British army unit is dispatched to help with peacekeeping in Northern Ireland. Amid the growing pressures of this violent and brutal year (1971) things inevitably go wrong for Hook. ~ JAMES CUNNINGHAM
Panasonic Varicam - HURRY RSVP
SYDNEY - Wednesday 4th March Each day will be split into two sessions;
John Stokes ACS finds warmth in Winter with the Sony PMW-F55 CineAlta camera
Winter is an Australian mystery-drama-thriller television series currently airing on the Seven Network directed by Ian Watson, Shirley Barrett and Lynn Hegarty with John Stokes ACS as its director of photography. The series, highly acclaimed for its look and feel, was shot exclusively with Sony PMW-F55 CineAlta cameras rented from Lemac. Explaining his choice of camera Stokes said, I wanted to shoot and see which camera looked the best for our lead actor, Rebecca Gibney, so I did side by side tests with the ALEXA, Sony F65 and the F55 and to tell the truth Bec looked equally beautiful with all of them. So I chose the F55 based on what the post budget had allowed for the data rate, its compact size and its excellent image quality. Stokes capture choices were ALEXA ProRes HD 444 12-bit, F65 SStP SQ 444 10-bit or the F55 shooting 2K RAW with 16-bit colour space and the ability for the camera to ingest a 3D LUT. Stokes continued, The F55 was my choice. Like most television drama you shoot at a very fast pace and as we were a location only shoot with some of the locations proving to be very tight, the F55s compact size definitely influenced my decision. Also we were shooting lots of urban night exteriors with very small lighting packages and the high ISO rating of 1250 was also a huge bonus. Often, I would be bumping the ISO up to 2500 and on a few occasions up to 5000, with very pleasing results.
Stokes has had great success with Sony F Series cameras shooting another highly acclaimed drama, A Place to Call Home, on the Sony F65 so he was very familiar with the cameras capabilities. That said he was still very impressed with the F55 adding, I think it is a very flexible, capable camera that delivers excellent image quality. I was particularly impressed with the F55s image quality in low light, its ability to shoot 240fps and its compact size. Also the global shutter really does make a difference in eliminating the rolling shutter effect. I also liked the Centre Scan option which allowed me to blow up the image in-camera by 100% without any noticeable quality loss. So a 250mm became a 500mm at the flick of a switch. This was a real time saver on occasion. Shooting 2K RAW, Stokes ended up using three F55s on Winter, two as standard studio setups and one as a dedicated Steadicam camera. With much praise coming from critics about how Winter looks, Stokes made mention of what goes into an attractive look and how much can be attributed to the camera commenting, As always there are many facets to making a show look good, not the least being the art direction and costume design. The F55 did an excellent job of capturing these. Also our locations were diverse, from rugged sunlit oceanfront cliff faces on the South Coast to the dark gloomy streets of Darlinghurst at night. We also had a large fluoro-lit office that doubled as Police HQ and was surrounded by windows, so everywhere you pointed the camera you saw the urban landscape outside. This was a great look but also was the most challenging location in so far as extremes in exposure go. Again the F55 handled all of our challenges beautifully.
Post production on Winter was taken care of at Blue Post with Annelie Chapple as the colourist. Stokes continued, Annelie and I created a single LUT in Da Vinci Resolve from early test footage. This was loaded into the F55 via an SD card. From that point onward what we saw on the on-set OLED monitors and monitors in the edit suites was the original look applied in pre and that carried all the way into the grading suite. So Annelie, the director and producers were all seeing exactly what I was seeing on set and Annelie would grade off the original RAW files with the LUT applied. This was an effective way of communicating the look of the show to everyone so that there were no surprises in the final grade. Im delighted to say working with the F55 in post was very straightforward and the results were excellent. All in all the F55 performed very well throughout the Winter shoot. Its ability in low light is extraordinary and its compact size was a big plus. John Stokes continues working with the Sony F series on the next series of A Place to Call Home which will again be shot with Sony F65 4K CineAlta cameras.
Panasonic AG-HPX250 camcorder and Peter Curtic ACS takes on Tasmanias Totem Pole for ABCs 7.30 Report
The rugged sea cliffs that tower along the Tasman Peninsula are home to one of the most iconic playgrounds for outdoor rock climbing, the Totem Pole. The ABCs 7.30 report joined a group of climbers filming an ascent of the narrow 60-metre sea stack at Cape Hauy, with cinematographer Peter Curtis ACS filming the adventure using a Panasonic P2HD handheld camcorder. The AG-HPX250 is our first P2HD handheld camcorder with master-quality 10-bit, 4:2:2 independent-frame, 1920 x 1080 resolution AVC-Intra 100 recording. This lightweight, ergonomic-designed camcorder incorporates high-sensitivity 1/3″, full-HD 2.2 megapixel 3-MOS imagers and a 20-bit Digital Signal Processor to capture stunning high resolution images. Peter Curtis ACS said that he opted for the compact AG-HPX250 as its light weight made a big difference on the long walk in and out, not to mention the tight space on the cliff tops. He also pointed to the advantages of the Image stabiliser on the AG-HPX250EN very helpful on long lens (20x optical zoom) shots in 50km horizontal winds.
"I was away shooting some crazy rock climbers in SE Tasmania. I am feeling buggered after hiking all the gear in and out for four hours up and down, up and down, up and down. Plus standing literally on the top of a 300m cliff for 5 hours solid in 50kmh winds and sea mist, Curtis said.
| The ACS is Proud to announce...
Category 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
NFSA - JOHN LEAKE ACS OAM EMERGING CINEMATOGRAPHER AWARD
APPLICATIONS OPENThe National Film and Sound Archive Australia in conjunction with the Australian Cinematographers Society is presenting a $3000 cash prize and a certificate to an emerging Cinematographer. The award is to be used toward furthering the knowledge and experience of the applicant including, but not limited to, current study or international study, conference, workshop, master class, internship etc. This award is named in honour of John Leake OAM ACS in recognition of his contribution to the Society and the Australian film industry. Applicants must be a member of the ACS at the time of applying and be either currently enrolled at a recognised Australian film school or beginning their professional careers. In the case of the latter, the applicant may be nominated by an industry practitioner. Applications are now open until April 3, 2015.
For an application form please contact Ron Johanson ACS
COMING SOON - THE ACS ONLINE SHOPMore details coming really soon. ACS MERCHANDISE:
Contact David Lewis on the links below NEW STOCK
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...
AFTRS OPEN CINEMATOGRAPHY SHORT COURSES
AFTRS OPEN CINEMATOGRAPHY SHORT COURSES
Six Scenes Every Cinematographer Must Know
Over five intensive days, join industry Cinematography expert Steve Arnold ACS (Man-Thing, Disgrace, McLeod's Daughters, JFK: The Smoking Gun, Last Cab To Darwin) for the tips and tricks you need to know to successfully plan, light and shoot six commonly found scenarios.
Out And About On Location ...Send us a postcard to let us know!
Isn't it time we heard from YOU
SMPTE ~ Australia Section
and our guests On Tuesday 3 March and Thursday 5 March Ioan Allen, Dolby's father of all things related to cinema sound (for which he was awarded an Oscar and many industry accolades) is coming to Sydney, and we've arranged for SMPTE members, guild partners and our guests to be in the audience for two exciting events. Tuesday 3 March: Ioan Allen delivers his widely acclaimed "Egg Show", a travelogue through development of cinema sound and technique illustrated by... well, eggs. The Egg Show is regarded as one of the best discussions on the topic, and has been a fee event at conferences. Courtesy of Dolby Labs, you can be in the audience for Egg Show for this one-time opportunity. You must register to attend, but registration is quick, and no charge. For all the details, see the Egg Show article at www.smpte.org.au The second event with Ioan Allen is presented by SMPTE in conjunction with the ASSG. We'll take the industry discussion of loudness to the next level, as we invite Ioan to join us for a more intimate session at the AFTRS Theatre on the evening of 5 March. Ioan will present a new paper, "How loud is a movie? A work in progress... exploring a new metric to quantify the subjective loudness of an entire theatrical movie." followed by an open question and answer session. If you have any interest at all in film sound, from capture through to delivery, and from cinema to TV, then you're bound to get something from this session. Pull out those questions you've always wanted to ask about the future of sound in film and TV. www.smpte.org.au The Call for Papers for the SMPTE15 conference has an extended deadline. We're after your ideas for a paper, a panel or a presentation, and we'll help you to develop your idea. Could be about something you've done, a technique that works, a technical development, or a project underway. Submission is fully online, and all we need at this stage is your details and the outline information. www.smpte.org.au
Cinematography in Progress
27th & 28th of November 2014 Louvain-la-Neuve & Brussels Table of Contents 0. Introduction I. Camera Technology II. Digital Workflow III. Color Grading IV. Visual Effects V. Monitors VI. Conclusion Full Detailed Report in on the ACS website. The conference Cinematography in Progress is not licensed; anyone who wants to organize one, is free to do so. This report was a joint work of Marc De Backer, Lucas Jodogne, Louis-Philippe Capelle, Willy Stassen, Ella Van den Hove and Dylan Belgrado. First, I would like to tell you how pleased I am that so many of you joined us to reflect on and discuss the question of cinema education and more specifically the teaching of image in cinema. Image Progress, two words to define our reflection. But what image and what progress did we want to talk about? Doesnt this topic evoke both the disappearance of an almost mythical support, the motion picture film, and the breakthrough of a fast-changing and ever-evolving digital technique that has finally swept away the good old image just as it had swept away editing and sound. Isnt it also to be seen as the recognition of the loss of the « only master on board » status of image specialists? You have tracked this image and this progress throughout five workshops. You have also tracked the place and the methods of teaching, which have or have not changed with the advent of digital technology, which are different or not depending on the cultures, regions, schools, teachers and learners. It is thus in the diversity and in the convergence, in the discovery of what someone does or of what we all do, that the main interest of your works resides. You will find a summary of this diversity and these convergences in the document attached hereto. I would like to end up by saying how happy and proud I am that the IAD embarked on this adventure and by expressing my gratitude to our partners, the SBC and Imago who accepted to take up this challenge with us. I also want to convey my thanks to all those who put their time and effort in the practical organisation of these two days, without whom they wouldn't have taken place. Lastly, I would like to thank Marc De Baker who provided the initial impetus for this organisation and who supported it from the very first day. Serge Flamé
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