Editor:
Lizz Vernon
In This Issue
FUJINON - FUJIFILM 45th Annual Awards for Cinematography ~ Live Streaming LINK - also on the home page of the website
ACS - SAFC Southern Light Expo 2016 and associated presentations event ~ as part of the ACS National Awards Weekend
MILLER: Arrow X Series
Nigel Walters BSC at the ACS HQ
ARRI @ NAB
21st Asian Television Awards
AFTRS 2016 MID-Year Intake
SONY @ NAB
Miller Prize @ NAB
AFTRS AFTRS ~ Black Shot Initiative
Cine Gear Expo: Los Angeles 2016
Accreditation Applications Open July 1
MPIBS - Raffle, check out the prizes
AFTRS OPEN courses
ACS SHOP - Merchandise and so much more
THE Awards will be LIVE STREAMED ~ from Adelaide, South Australia on Saturday, April 30th @ 7:45pm
The 45th Annual Awards for Cinematography on Saturday 30 April will truly be a celebration of the best Cinematography Australia has to offer and a taste of the wonderful things Adelaide has on offer. If you can't get to Adelaide, let the LIVE STREAM link take you there. The awards will be streamed starting at @ 7.450pm.(ACST)Meet the Nominees and John Seale AM ACS ASC & David Burr ACS Masterclass streamed as per the ACST times of events.
Awards event over the 'long' weekend include:
Friday 29/4/16
- ACS - SAFC Southern Light Expo 2016 and associated presentations @ Hotel Grand Chancellor on Hindley
-
Exhibitor Presentations
Saturday 30/4/16
- ACS - SAFC Southern Light Expo 2016 and associated presentations @ Hotel Grand Chancellor on Hindley
-
Exhibitor Presentations
-
Ray Martin Stills Retrospective Hotel Grand Chancellor on Hindley
-
Meet the Nominees Screening/Q&A moderated by Kim Batterham ACS Hotel Grand Chancellor on Hindley
-
Dean Semlers Road to Hollywood documentary presented by David Brill ACS Hotel Grand Chancellor on Hindley
-
2016 National ACS Awards Adelaide Convention Centre, Riverview Rooms 6, 7 & 8
-
After Party?... Make your own, try Bank, Peel or Leigh Streets or if youre really brave give Hindley Street a go!
Sunday 1/5/16
- National AGM: Hotel Grand Chancellor on Hindley
Monday 2/5/16
 John Seale AM ACS ASC & David Burr ACS |
MILLER CAMERA SUPPORT, INTRODUCES FOR THE FIRST TIME IN AUSTRALIA, THE NEW ARROW X SERIES OF FLUID HEADS AT ACS SOUTHERN LIGHT EXPO 2016
New Range Features Revolutionary CB PLUSTM Sequential Counterbalance Design
Miller Camera Support, a leader in the production of innovating camera support solutions, will be unveiling the new arrowX Series at ACS SOUTHERN LIGHT EXPO 2016. An evolution of the companys popular Arrow Series, this new range of fluid heads will include the arrowX 3, arrowX 5 and arrowX 7
A new key feature of the arrowX Series is Millers 16 CB PLUSTM, a unique sequential counterbalance design, which takes traditional counterbalancing a step forward, resulting in repeatable, accurate and rapid setup. Unlike other solutions where a continuous counterbalance or a boost button would shift the whole range by four steps, causing the user to have to start over finding the right position, 16 CB PLUSTM features eight larger counterbalance steps, allowing the user to get to their needed position quickly and efficiently. The CB Plus switch adds a half step enabling counterbalance refinement. This new feature makes the arrowX Series perfect for ENG, EFP, Studio, field OB, or any other use where frequent and fast re-rigging is required. With the industry moving towards smaller cameras with many accessories, we decided to take our Arrow range to the next level with the arrowX, says Mark Clementson, managing director, Miller Camera Support Equipment. Millers CB PLUSTM, adopted into arrowX, enables our customers to rig and re-rig setups quickly and efficiently. As a result, they are able to make concise and exact changes on the fly, and quickly get on with the main task of shooting.
 |
In addition to 16 CB PLUSTM, the arrowX Series delivers several additional features that provide the right feel that has become Millers trademark. These include the ability to remove the clamp stud to easily mount the head on flat base surfaces such as sliders. Where extra rigidity is required, a Mitchell Base adaptor can be fitted. All arrowX models come with 120mm sliding plate travel to help quickly re-balance changing camera payloads. Precision ball bearing supported pan-tilt movements help deliver silky smooth starts and soft stop fluid actions. Precise floating pan-tilt calliper locks ensure bounce free on-off locking. These features enable arrowX users to eXpress their ideas and tell their story as intended quickly and efficiently. With that power of eXpression, videographers and cinematographers are achieving higher quality work than they ever could before. The arrowX 3 boasts a payload range of 1-17kg, 16 positions of counterbalance and 5+0 pan and tilt drag positions. It is designed for lighter cameras used in ENG, documentaries and EFP applications. The arrowX 5 has a wide payload range from (1-19kg, 16 positions of counterbalance and 7+0 pan and tilt drag positions. It is designed for larger ENG and EFP applications including documentaries, drama and television commercials. Finally, the arrowX7 has a payload range from 6-26kg, 16 positions of counterbalance and 7+0 pan and tilt drag positions. It is designed for heavier rigs, including in-studio and OB applications. ooOooAt the recent NAB show in Las Vegas, Miller Camera Support also launched the new Combo Live Pedestal Series. Comprising of two models, Combo Live 30 (30kg) and Combo Live 55 (55KG), the Combo Live Pedestal series offers users a sturdy, in-shot, design for maximum stability, with reliable and simple to use features, making it perfect for live studio applications. With a carry handle for the column and dolly, this compact and portable pedestal range offers an easy setup with column tension control and a safety lock. Its air adjustable column system also allows for quick payload balancing. The Combo Live Pedestal series features precise-smooth low noise in the shot column with a 450mm stroke, an independent dolly wheel axle brake system, multiple wheel positions for linear or radius dolly tracking, 125mm dual ball bearing wheels for quick swivel-turn action and a central hub locking column with adjustable spider arm supports. Finally, the series was built with a steering wheel diameter of 294mm and 400mm, a dolly tracking width of 964mm, sturdy adjustable cable guards and a portable hand pump with pressure gauge. The pedestals will be available as a system paired with several of Millers popular fluid heads. For more information, call +61 2 9439 6377 or visit www.millertripods.com.
AFTRS 2016 MID-YEAR INTAKE
Don't wait until 2017 to jump start your screen and broadcast skills. AFTRS 2016 mid-year intake opens April 22 through to June 27.
Part-time courses, all delivered by highly credentialed and respected industry practitioners, in Camera, Art Direction, Editing, Directing,
Documentary, Sound Radio, and VFX are on offer.
Look who's in town!
 L-R: David Burr ACS, David Lewis ACS, Nigel Walters BSC and David Wakeley ACS (Photo: Kim Batterham ACS) |
ARRI @ NAB
So many announcements: Here is just a few.... ARRI Announces New Features for ALEXA SXT With the ALEXA SXT cameras, ARRI is rolling out a new look management workflow that is already finding enthusiastic support from leading manufacturers of on-set color grading and digital dailies software. Based on what we have learned, all the way from the ARRILASER to the ALEXA Mini, we have now created a system that supports a tight, end-to-end color workflow. Color can be easily tweaked on-set, color information from the set can be used in automated dailies creation, editors can see the same look the director saw, and in final grading there is no question anymore about the cinematographers intent. We have worked hard with our partners to ensure that this is automated and transparent to reduce complexity for the user." ~ ALEXA Product Manager Marc Shipman-Mueller The new ARRI Look Management workflow is based on the new ARRI Look File ALF-2. Created with the ARRI Color Tool or the ARRIRAW Converter -- both available as free downloads from the ARRI website -- this file contains a 3D LUT (Look Up Table), an ASC CDL (Color Decision List) and the name of the target color space (Rec 709, DCI or Rec 2020). ALEXA offers the best overall image quality and efficient workflow with the SXT cameras. By striking a perfect balance between pixel size and resolution, ALEXA SXT produces beautiful images in HD, 2K and 4K, while also delivering the highest dynamic range of any camera in the market. New recording formats
ALEXA SXT cameras offer a total of 14 recording formats, including the following new modes: ProRes 2K and 4K Cine Anamorphic
These plug-and-play options offer the most economical route to the best overall image quality with anamorphic lenses. Open Gate ProRes 3.4K
Open Gate with a lower data rate. ARRIRAW 3.2K
Offers the largest pixel raster that also fits inside the image circle of most ARRI Super 35 PL mount lenses and reaches 120 fps. More flexibility for on-set monitoring
ALEXA SXT now features four independent monitoring outputs, catering to the needs of different people on set. Each output has completely independent settings such as: image processing, surround view, status info, peaking, and false colour.
ooOoo
ARRI takes over artemis camera stabilization systems and launches production version of Trinity ARRI has taken over the artemis range of camera stabilizers from Sachtler/the Vitec Group Comprising stabilizers such as the renowned EFP HD and Cine Broadcast, as well as vests, spring arms and other accessories, the modular artemis system is highly regarded by professional camera operators and widely used on film and television productions all over the world. Trinity stands out from other systems by combining well-established mechanical camera stabilization with modern, 32 bit ARM-based gimbal technology. This combination enables uniquely fluid, wide-ranging and precisely controlled movements for unrestricted shot-making and total creative freedom.
ooOoo
ARRI Pro Camera Accessories Support Sony, Panasonic and Red Gear ARRI's Pro Camera Accessories (PCA) bring the high quality design and durability that ARRI is known for to cameras from other manufacturers. ARRI is pleased to announce new accessories are available for RED DSMC2, Sony α7S/R II and Panasonic VariCam LT. Two ARRI PCA base plates are available for the RED Weapon, Scarlet-W and Raven DSMC2 cameras. The ARRI Cine Plate for RED DSMC2
The documentary-style ARRI Broadcast Plate for RED DSMC2, compatible with VCT-style plates such as the ARRI QRP-1. The ARRI Top Plate for RED DSMC2 ARRI PCA for Sony α7S/R II is a camera-specific support built tightly around the 15 mm LWS rod system. PCA for Panasonic VariCam LT The ARRI Base Plate for Sony α7S/R II is a camera-specific support built tightly around the 15 mm LWS rod system.
Its your time to shine!
 |
As the tradition goes, the 21st Asian Television Awards is Now Open for Entry Submissions!
Highlighting the efforts of providing knowledge, nostalgia, thrill and spills while breaking barriers through the quality and creativity of the Television Broadcasting industry, we are humbled and delighted to invite you and your talented team to submit your program for nomination for the 21st Asian Television Awards, 2016.
As Asian Television Awards is the Asias most widely participated television competition, the award show reached out to over 300 million audiences in 2015, through our live telecast event across Asia Pacific. With 26 Programming Categories, 9 Performance Categories and 6 Technical Categories, we are looking forward to elevate your work to the next level.
The call submissions is now open. Please download the entry form at www.asiantvawards.com/entry-pack.
The closing date for submission will be on 30th June 2016. So, remember not to leave your best works behind.
For further enquiries, feel free to contact me at alvin.chong@contineomedia.com , or call +65 6521 9750.
Warm Regards,
Alvin Chong
Executive, Event Operations
Sony goes beyond definition at NAB 2016
Professional A/V technologies for production at all levels - Imaging, HD, 4K, High Dynamic Range, IP transmission and storage
Sony showcased new technologies and workflows for HD, 4K, high dynamic range (HDR), storage and IP transmission, and provide the tools to drive professionals creativity.
Integrated solutions continue to evolve and develop into new business opportunities, ~ Anthony Kable, Senior Product Manager, Sony Australia.
Cameras and camcorders
Sony cameras are used in every production genre at every budget level: high-end feature films, low to mid-budget feature films, news, documentary, episodic television, sports, commercials, OTT and more.
 |
Sonys new HDC-4800 camera system combines 4K resolution with enhanced HFR capabilities 8x in 4K, and up to 16x in full HD. This is combined with HD cut-out and zoom capabilities for live sports and event production. The new camera, HDC-4800, is complemented by the BPU-4800 combination baseband processor unit/replay server, creating a fully networked, 4K live ultra-high speed production workflow.
The HDC-4800 uses a new Super 35mm 4K CMOS sensor and wide color space (BT.2020 and BT.709). It supports PL mount lenses that can capture high resolution, clear and crisp images for live sports shooting. HDR support is under development and will be available in near future.
 |
Sony increases its 4K line-up in the XDCAM family. This includes the latest XDCAM shoulder-mount camcorder, PXW-Z450. Capable of capturing superb 4K (3840 x 2160) picture quality with the new 2/3-type Exmor R CMOS sensor, the PXW-Z450 achieves exceptional weight balance and low power consumption alongside excellent networking features. Another addition is the PXW-Z150 featuring the 1.0-type sensor that delivers low-light performance and networking features for fast turnaround and high quality workflows.
Storage
Sony is unveiling the second generation of its Optical Disc Archive (ODA) system which adopts new, high-capacity optical media developed jointly by Sony and Panasonic. This affordable new media is rated with a 100-year shelf life and doubles the capacity of a single cartridge to 3.3 TB. The Generation 2 ODA system also introduces the 8-channel optical drive unit[1], doubling the read/write speeds of the previous generation to meet the data needs of real-time 4K production.
ODA technology is designed as a near-line, deep archive storage or disaster recovery system, ranging from large scalable robotics down to stand-alone archive systems. Sony is embracing an open platform approach for broad compatibility, providing technology and support to encourage other manufacturers to develop complementary products for the technology. Currently, 42 companies have announced their support for ODA.
 |
High Dynamic Range
At NAB 2015, Sony introduced its first 4K OLED reference monitor for critical viewing the BVM-X300. The monitor has since become the de facto reference standard for 4K and HDR grading.
This year, Sony adds a new monitor the PVM-X550, a 55-inch OLED panel with 12-bit signal processing, perfect for client viewing. The PVM-X550 supports HDR through various Electro-Optical Transfer Functions (EOTF), such as S-Log3, SMPTE ST.2084 and Hybrid Log-Gamma, covering applications for both cinematography and broadcast. The new quad-view OLED monitor allows customized individual display settings across four distinct views in HD. Equipped with the same signal-processing engine as the BVM-X300, the PVM-X550 provides a 12-bit output signal for the best picture accuracy and consistency. It also supports various industry standard color spaces including the wider ITU-R BT.2020 for Ultra High Definition. These all work in tandem with TRIMASTER EL technology to ensure that professionals across the broadcast and cinematography industries are provided excellent, vibrant and reliable images.
Technology Upgrades
Sony continues to support customers by extending the life of their current Sony technologies through the introduction of upgrades, enabling new features and performance. These include:
BVM-X300:
Update for support of both Hybrid and Log-Gamma formats; safe and aspect markers; XYZ color modulation; 1.5G dual link inputs. F55:
Version 8 adds support for XAVC 4K class 480, for professionals who want a higher data rate in XAVC. FS7:
Center crop functionality, a feature traditionally found on higher-end models like the F55; flexible spot focus; true 24P. FS5:
RAW external recording; auto variable ND filters; among several other features. Rounding up the total workflow for professionals, Sonys exhibit highlighted new wireless microphone systems with enhanced diversity features, solutions for media asset management, and more, across its entire product line. These include:
HXC-FB75 Camera HXC-FB75
A successor model to Sonys HXC-D70, the HXC-FB75 is a cost-effective entry-level studio camera. No camera adapter is required for fiber transmission to the CCU, and Sonys HDVF interface enables smoother and sharper focusing. The lens, viewfinder and microphone packaged model is available in addition to the camera body sole model.
 |
XVS Series Switchers, XVS-7000, XVS-6000
In response to the growing demand for 4K production and IP interfaces, Sony is adding to its multi-format switcher line-up. Joining the XVS-8000, the new switchers create a family of 4K/IP professional production switcher systems. The XVS Series inherits versatile features from Sonys widely used MVS Series of switchers including enhanced frame memory, format conversion, multi-viewer capabilities, and a wide range of input and output video formats. The XVS Series also supports HDR imaging. Users can configure SDI and IP option boards in a single processor. This XVS family offers smooth migration not only from SDI to IP, but also from HD to 4K, promising efficient return of investment. · XVS-7000 supports: In HD, 6ME operation with 112 inputs; in 4K,3ME operations with 28 inputs. · XVS-6000 supports: In HD, 4ME operation with 48 inputs; in 4K, 2ME operation with 12 inputs.
XDCAM Air
Sonys XDCAM technology is a standard for ENG and field production, evolving from optical disc to file-based workflows. Sony is developing new wireless workflows to support the current requirements of news production, using 4G/LTE networks for media delivery. XDCAM Air is a cloud-based ENG service that integrates existing Sony wireless solutions and adds new features such as a mobile application, live streaming edit integration with NLE and enhanced remote control capabilities.
DONT YOU WISH YOU ATTENDED NAB 2016 AND VISITED THE MILLER BOOTH.
 The lucky winners of the daily Miller prize draw. |
AFTRS - BLACK SHOT INITIATIVE
The ACS is a proud supporter of the AFTRS Indigenous Unit, BLACK SHOT- Cine initiative. (facilitated by Allan Collins ACS).
AFTRS have support to place 4 participants on Productions.
If any of our members could suggest or recommend upcoming Productions that would be willing to take an Indigenous Camera Department Placement it would be appreciated. The Participants & productions will need to put in applications to Screen Australia Indigenous Unit by 20th May.
Cine Gear Expo: Los Angeles 2016
Cine Gear Expo 2016 is the premier annual event for professionals engaged in the technology, entertainment and media industry. The show lasts four days in Los Angeles this June in Hollywood, California. Cine Gear features more than 300+ exhibits, new product and service introductions, 30+ complimentary seminars led by industry leaders, master classes, film competition, awards ceremony, special screenings in state of the art theaters and ample opportunity to network with peers within a studio environment. Dates: June 2nd - 5th, 2016 June 2 Film Series Competition Screenings, Pre-Conference Sessions
June 3-4 Exhibits, Premier Seminars, Exclusive Screenings, Awards Presentations, Special Events
June 5 Master Classes For regular updates continue to check back at www.cinegearexpo.com Register via the links below:
ACCREDITATION APPLICATIONS OPEN JULY 1
If you are considering applying for ASC Accreditation this year, then please talk to your Branch President or the National President regarding your submission and an Application form. Applications will only be accepted from July 1 until July 31
"ACS Accreditation is the highest honour that can be bestowed on an ACS member. Any cinematographer who has been a FULL ACS member for a minimum of three years can apply or may be encouraged to apply for Accreditation.
The Accreditation process begins at the Branch level where the work to be submitted is, where possible, screened to confirm all material has been shot by the applicant and general assistance and advice relating to the submission may be offered. The President of the Branch can discuss the submission with the applicant. It may be suggested the submission should be strengthened, changed or maybe even suggest to wait for another year or so before submitting. Once deemed suitable, the submission is sent by the applicants Branch to our National Headquarters for that round of Accreditation assessments. Look forward to hearing from you. Ron Johanson ACS
National President
OUR INDUSTRYS CHARITY, MPIBS, URGENTLY NEEDS YOUR HELP!As part of the National Awards presentation in Adelaide, we will be holding a special raffle for those attending, with some fantastic prizes, and all proceeds going to the Motion Picture Industry Benevolent Society. Every little bit helps, so please dig deep for this very worthy cause.
Here's what you could win...
1st PRIZE
~ EMPYRE BOUTIQUE HOTEL in Castlemaine, Victoria - 2 night Luxury getaway including breakfast and champagne Courtesy of Tony and Angela Forrest.
AND
~ A 3 day Thrifty Car rental voucher courtesy of STAGE AND SCREEN TRAVEL
2nd PRIZE
~ South Australian Tourism Commission - 2 Adelaide Oval Roof Climb tickets.
3rd PRIZE -
~ Justin Langer Autographed cricket bat - courtesy of a cricket tragic.
The Motion Picture Industry Benevolent Society (MPIBS) of NSW provides financial and emotional assistance to industry workers who have fallen on hard times. Established in 1931 for cinema exhibition and distribution workers hit hard by the Great Depression, it has accepted beneficiaries from the film production and post-production sector since 2003. It is the only state benevolent society providing support to current or former workers and their spouses - in all states throughout Australia. Without additional contributions, the Society cannot meet the increasing demand from the film production & post-production sector. The MPIBS recognises the challenges faced by film production and post-production personnel who need to set aside funds for a possible rainy day, especially in an increasingly uncertain production environment. In the knowledge that the MPIBS will be there to provide support and comfort, we appeal to you to make a donation to support the vital work the MPIBS is doing on behalf of you and your colleagues. Please make your donation cheque or money order payable to: Motion Picture Industry Benevolent Society (no abbreviations please) and send to Bruce Leonard, Secretary/Treasurer MPIBS, 9 Collins Crescent, Lapstone NSW 2773. Donations can also be made by direct deposit to the MPIBS's ANZ bank account, BSB 012-010 Account Number 86 43764. (Please note - If paying by direct deposit, please e-mail Bruce Leonard at brunard@optusnet.com.au with your mailing address so he can send you a receipt for tax purposes.) Donations of $2 or more are tax deductible. I greatly appreciate and value your support. Thank you very much. Yours sincerely,
Murray Forrest,
Chairman, MPIBS.
ACS SHOP
ACS CineKids T- shirts now available from the ACS Online Shop.
Limited sizes at $18.00
| 
