The CANON - ACS INITIATIVEThe CANON - ACS INITIATIVE is well underway, and we are asking for interested parties to contact us with your filmmaking ideas, in order to utilise the range of Canon equipment being made available to you, our ACS members. Applications will only be accepted via email to CANON - ACS convenor: Helen Barrow
SUNSTUDIOS ACS TVC SHOOTOUT.ACS NATIONAL GOLD SPONSOR SUNSTUDIOS are contributing to the development of our ACS members with an initiative we've called SUNSTUDIOS ACS TVC SHOOTOUT. More information and details will be available in the September National E News. BOB MILLER - ACS TECHNICAL & INNOVATION AWARDMILLER CAMERA SUPPORT, a sponsor and partner of the Society for decades will again offer the BOB MILLER - ACS TECHNICAL & INNOVATION AWARD, which was presented to Tasmanian member, Pawel Achtel at the 2015 National Awards, for his innovative 3D underwater housings. Applications will be open early in the New Year, so keep watching this space! VIDEOCRAFT - ACS CineKids SponsorThis year will see VIDEOCRAFT become our first National sponsor dedicated solely to ACS CineKids. The ACS will work closely with Jeanette Taylor and Heidi Tobin at Videocraft to further promote and develop ACS CineKids in order for it to reach a broader group of eligible children, who will benefit from participating as a member of ACS CineKids. ~ Prize vouchers for the ACS National CineKids Gold certificate winner presented at the National Awards in 2016 and for the State & Territory Awards Gold certificate winners in each age category NFSA JOHN LEAKE OAM ACS EMERGING CINEMATOGRAPHER AWARDSince 2010 the National Film and Sound Archive (NFSA) have been instrumental in the progress of the careers of many young ACS members via the NFSA JOHN LEAKE OAM ACS EMERGING CINEMATOGRAPHER AWARD, and will continue their generous support in 2016. Those successful recipients from 2010 2015 were: ~ 2010 Kirsty Stark SA, Invitation A unique evening in conversation with Michael SeresinYou are invited to an evening conversation with Micheal Seresin, best is known for his work on Dawn of the Planet of the Apes (2014), Harry Potter and the Prisoner of Azkaban (2004), Midnight Express (1978) and numerous other films. Michael's story is about a Kiwi who left his job as a PA at Pacific Films in Wellington in 1966 to pursue a career as a freelance camera assistant in Europe. From 1970 he combined commercials work with shooting movies, becoming a director of photography for Harold Becker, Adrian Lyne and Alan Parker, on films such as "Bugsy Malone", and "Angela's Ashes." Come and hear him draw on his unmatched experience to give you insights that you'll never get anywhere else. All this while sipping on a glass of some of New Zealands finest wine from Michaels own winery, Seresin Estate. Hope to see you there,
Looking For Grace in competition at the Venice Film Festival Director: Sue Brooks Cinematographer: Katie MilwrightAfter delivering a critical and crowd favourite with 2003s Japanese Story, writer/director Sue Brooks' new film Looking For Grace is in competition at the prestigious Venice Film Festival. Brooks has nabbed a top-tier cast in Richard Roxburgh (Rake, Moulin Rouge) and Radha Mitchell (The Waiting City), who will play the parents of 14-year-old runaway, Grace (newcomer Odessa Young), who hit the road with a retired detective (Terry Norris) to try and retrieve her. The film was produced by Lizzette Atkins, Sue Taylor and Alison Tilson, and executive producers are Antonio and Benjamin Zeccola of domestic distributor Palace Films. The Cinematographer is our very own ACS Victorian branch member, Katie Milwright Tristan Milani ACSThe great news here in LA LA is my favorite reality show Naked and Afraid (Nat Geo Channel) has been nominated for an Emmy this year in the TV reality unstructured section. This series puts two naked people in the jungle, that dont even know each other, to survive on their wits for 21 days totally in the buff. The show is my new favorite and taken over from my preference of other favorites including Red- neck Island and Say yes To The Dress, New Jersey. Reality television is booming in LA and many production crew are happy to work on the shows because they can remain in LA and not have to travel interstate. In my wildest dreams I never imagined I would ever be involved in a reality production but last year I helped a director out and shot a pilot.. There is an explosion of camera rental houses now in LA that just cater to the reality world of TV. SoCal and Rgear are but two I am going to mention. The cameras come with a huge technical dept to wrangle the cameras and data all beamed by microwaves into a central control room. In the control room the director sits closest to the screens, then the 3 EPs and then the network. The story producers all have their own monitors on the other side of the room. Most of the reality series are non union so there is no time and a half on the sixth day. More often than not the shows shoot for 24hrs and bring on an an entire new camera team after 12 hours. There are between 8 to 12 remote cameras recording as well with an operator in the control room. These productions are huge I had 10 electrics working for 3 weeks to pre light the spaces... What I found is that the young camera operators are a force to themselves. They carry these very heavy cameras (approx 20-25 lbs) on their backs for hours on end and if a light is in their way they just move it. Forget old school this is the new way. I had a Cam Op even ask the gaffer to move a light out of his way. This happened on multiple occasions. The ADs have little or no regard for the directors opinions because the cameras are constantly rolling. There is no off button... If you find yourself on one of these reality productions as a Cam Op please take great care of your backs. When I suggest to these young people what they are doing to look after their spines I just get stared at..they just look right through me! Reality TV is on the up and up and up. It is very cheap to make, no union issues and no cast costs! It didnt take long to discover is was not my thing! I prefer to watch the silliness than make it... Tristan Milani ACS Hillary: a mountainous challenge Landmark NZ TV drama shot with a SONY PMW-F55Faced with capturing on screen the essence of venerated Kiwi climber and adventurer Sir Edmund Hillary, New Zealand cinematographer David Paul NZCS knew he would be asking a lot of his camera. The choice of a Sony F55 camera for this production was a no-brainer, he says, I can just grab it and I am ready to go. I have used all the main cameras, and so sometimes people wonder out loud why it is now my camera of choice, but when they see the pictures they go quiet. Straddling a pitch-black crevasse Paul remembers that the thought flashed through his mind that this would be impossible had he chosen any other camera. The global shutter is a huge advance, says Paul. Suddenly you are not worrying about vertical lines or panning even within a static frame it's quite subtle, but add these little things together and they count. Paul and his AC Sam Mathews repacked the camera baggage several times, eventually stripping the Nepal main camera kit down to just five cases. We could only fly with 130 W batteries to Nepal, and we ran the camera all day on four batteries. Paul and his AC Sam Mathews repacked the camera baggage several times, eventually stripping the Nepal main camera kit down to just five cases. We could only fly with 130 W batteries to Nepal, and we ran the camera all day on four batteries. To read the entire article please click the link below:
Film Review: Strangerland (2015) review by James CunninghamBeautiful cinematography by Irish-born PJ Dillion ISC (New Boy, Vikings) isnt enough to rescue Kim Farrants feature debut Strangerland from its passionless narrative and bland reality. Catherine (Nicole Kidman), and Matthew (Joseph Finnes) are newcomers to Nathagari a remote, fictional remote Australian town. Their strained marriage and parenting of troublesome teens Tommy (Nicholas Hamilton) and Lily (Madison Brown) is pushed to its overstated limits when the children go missing during a dust storm. Australian cinema has a dear place for lost in the wilderness films, yet they rely on a humble and detailed approach. All the elements seem at odds in Strangerland, it has a false modesty that is difficult to pallet and cant seem to figure what it is. Light is continuously natural and justified. Almost throughout the movie, light is soft and diffused and shadows are rare but well employed, creating an elegant and calm atmosphere, in contrast with the characters of the story. three stars. JAMES CUNNINGHAM
AFTRS OPEN CINEMATOGRAPHY SHORT COURSESAFTRS OPEN CINEMATOGRAPHY SHORT COURSES 15 - 16 August Modern Cinematography ~ Ellery Ryan ACS Shooting HD on your DSLR ~ Gareth Tilson 29-30 August Shooting HD on your DSLR ~ Gareth Tilson Camera & Sound Basics ~ Paul Warren Led by experienced cinematographer Paul Warren (The Cup, Wrath), this course is suited to those who have limited camera and sound recording experience. It will introduce you to techniques and practical skills that will enable you to produce high quality images and sound for documentary and drama - with an eye to great storytelling, the goal of all good filmmaking. 12 - 13 September Camera & Sound Basics ~ Paul Warren Content Creation on your iPhone/iPad - Online ~ Gareth Tilson From the comfort of your keyboard, learn how to shoot quality videos with your iPhone or iPad and create stories on the go, in this five week online course. Filmmaker and cinematographer Gareth Tillson will lead this course featuring video tutorials, weekly assignments and a weekly online chat session, where you will get real time feedback from the tutor. Starts 24 September, online, 5 weeks Content Creation on your iPhone/iPad~ Gareth Tilson © 2019 Australian Cinematographers Society |