Editor:
Lizz Vernon
In This Issue
Presidents Report
ARRI Australia farewells Stefan Sedlmeier
Welcome ROSCO AUSTRALIA and KAYELL AUSTRALIA as our latest National Gold sponsors
Accreditation Applications Open July 1 - NOW OPEN
2016 ICS World Cinematography Summit
ACS Forum of Expectations
Sony Australia ~ wins tender to build OB Trucks
The Emperor of Time ~ A treat of a film suggested by James Cunningham
What ya up to? Justin Hartnell checks in
Landmark Ruling $540,000 compensation paid to Cinematographer of Das Boot
Videocraft ~ Hole in one
Nino Martinetti ACS Writes to us about the passing of Paul Cox
Anthony Dod Mantle BSC DFF ASC - Models ACS during Transpotting 2 shoot
AFI/AACTS - Become a member
Job opportunity - The New York Film Academy
Bus Stop Films' latest short 'Kill Off' with Jamie Brewer (American Horror Story).
AFTRS OPEN courses
ACS SHOP - Merchandise and so much more
A Message from the President
 Ron Johanson OAM ACS ~ in a Winter Wonderland |
Greetings ACS colleagues and friends, Lots to read in this very special July E News. But firstly, with a tinge of sadness, we bid a fond farewell to Stefan Sedlmeier, who after 10 years with ARRI Australia has decided to move on to greener pastures, and take a well earned break to spend time with his wife Barbara and his two boys. Stefan has become a true and respected friend of the ACS community, indeed the broader industry community. His support has been outstanding, unwavering and his generosity, enthusiasm and friendship know no bounds.
I consider Stefan a friend to us all, and I can say without fear of contradiction his presence at the ACS HQ and the ACS Awards he attended, along with the numerous ARRI Australia workshops that he hosted, and the fact that he was always available to speak with any of our members who needed technical help and advice, will be sorely missed. I do hope that Stefan will continue to attend our ACS Awards and other events, as he will be most welcome. We all wish you nothing but the best in your future aspirations Stefan, and we thank you for simply being you. Ron Johanson OAM ACS
 David Wakeley ACS, Franz Kraus - Arri Munich, Stefan and David Lewis ACS |
Welcome to our newest ACS GOLD SPONSORS
The Society is truly fortunate to have a group of supportive sponsors at Branch and at National level. Im pleased to welcome ROSCO AUSTRALIA and KAYELL AUSTRALIA as our latest National Gold sponsors. Our thanks to all of our sponsors for their ongoing generous support of the ACS, and I encourage all members to reciprocate this support, when seeking products and services.
ACCREDITATION Applications NOW OPEN
If you are considering applying for ASC Accreditation this year, then contact your Branch President or the National President president@austcine.org.au regarding your submission and an Application form. Applications will only be accepted from July 1 until July 31, but by all means make contact so your submission can be viewed and appraised before you officially submit.
"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 applicant pays the Application fee and then the submission is sent by the applicants Branch to our National Headquarters for this years round of Accreditation assessments. We look forward to hearing from you. Ernie Clark ACS Accreditation Committee Chair
Are you an ACS AWARD WINNER?
Why not contact Ron Johanson ACS at president@austcine.org.au to obtain an ACS Laurel to use on your web site etc. They are available for both State and Territory Gold winners, along with National Awards Gold Tripod recipients. See examples, which can include the title of the entry should you wish.
ACS Member Shields NOW AVAILABLE
The Society has recently developed, thanks to Victorian President, Warwick Field ACS a group of ACS Shields for you to use on your web site, business cards, showreel etc to let everyone know you are part of the ACS. See examples, available for ACS Accredited members, ACS Members, ACS Sponsors and ACS Supporters. Contact Ron Johanson ACS to organise your ACS Shield.
2016 ICS WORLD CINEMATOGRAPHY SUMMIT
ICS World Cinematography Summit Report by Ron Johanson OAM ACS & David Burr ACS
With contributions from Rolf Coulanges BVK, Richard Bluck NZCS, Nina Kellgren BSC & Photography from Rob Draper ACS and others. Greetings fellow ACS members and friends, Even though I had attended the first Summit in 2011, much had changed in the past 5 years, so both David Burr and I werent really sure what to expect at this, the second World Summit held with great generosity by the ASC, under the umbrella of COLLABORATION, which indeed it was. We had read the Summit program of events and wondered how we were going to fit it all in, but knowing the capacity and the organisational skills of Frederic Goodich ASC and ASC stalwarts, the ever enthusiastic Dynamic Duo, of Patty Armacost and Delphine Figueros not to mention ASC President, Richard Crudo ASC and the Board of Governors, we were always going to be in very good hands. This was further re-enforced by the incredible support afforded by the contributing sponsors and supporters of the ASC, without whom this event may not have been possible, and I pass on our collective thanks to you all. With 60 delegates representing 30 countries, it was a resounding success and it is with delight we present to you all an overview of what took place, during the week 6 June 9 June 2016 at the very welcoming and impressive ASC Clubhouse in Hollywood, where it was also an opportunity to catch up with fellow Aussies, Rob Draper ACS, Dion Beebe ACS ASC, Peter Moss ACS ASC and my old mate, Tony Politis who flew to LA from Florida and is operating on Chicago Fire.
Here's a small glimpse of what's in the full report...
The Societies were given the opportunity to provide a brief overview of our activities and future plans. I advised the group of our membership numbers and the various categories of membership, our Awards system and our CineKids initiative, which was received with great interest by all in attendance. Past IMAGO President, Nigel Walters BSC spoke briefly and paid a very emotional tribute to the two men missing from this Summit, the legendary Vilmos Zsigmond ASC HSC and Haskell Weller ASC, who both contributed enormously to world cinematography. RIP Vilmos and Haskell. Vittorio Storaro ASC AIC made the point that he believed we should be referred to as Cinematographers and not necessarily as Directors of Photography. As one would expect when he rose to speak, the audience hung on every word such is the respect he has. He agreed we do need to have the disciplines we learned under film return, given only technology has changed, not necessarily working practices.
FORUM OF EXPECTATIONS
Greetings ACS colleagues, Both Calvin Gardiner ACS and myself are looking forward to hearing from all ACS members wanting to contribute to the ACS White Paper and the FORUM OF EXPECTATIONS, which deals with the The Future of the Cinematographer" It could prove to be a very positive outcome if each Branch could put this on the agenda for their next meeting, to look at the power point presentation and discuss what comes from the membership relating to the subject, and pass the findings on to myself or Ron Johanson ACS president@austcine.org.au I look forward to hearing from as many members, from all Branches in order to make this very worthwhile initiative succeed. Peter James ACS ASC
Josh Stafield Chooses ARRI ALEXA Mini
Melbourne-based Josh Stafield paints a typical picture of a DoP whose success has grown year on year as a result of sheer hard work. Having worked in film and television in a variety of roles for ten years, in 2015 he made the decision to go fulltime as a freelance cinematographer and the camera he chose to accompany him was the ARRI ALEXA Mini supplied by ARRI Australia. Stafield explained, I owned another camera at the time which I was generally happy with if I used an external recorder but for the sort of jobs I wanted to tackle, directors and producers more often consider cameras manufactured by ARRI. Cinematography is an extremely competitive field in Melbourne and many up and coming DoPs are owner operators. That said I felt it would be difficult to vie for the same sort of jobs without bringing my own camera into the bargain. When deciding on the camera Stafield did his research not only with the technology but also with the market.
He explained, I toyed with idea of purchasing an ALEXA classic but the reality is that productions often demand the most recently released models of camera. Also the small form factor of the ALEXA Mini meant it could be configured for a variety of different jobs. That was important to me because my work requirements are quite varied, everything from simple corporate interviews through to high production value drama. Sometimes I'm on my own and sometimes I'm with a reasonably sized crew. Many people also require gimbal or drone work so the Mini increases the number of jobs I can go for. While I don't often use the 4K recording it's good to have the option if a production has that requirement. I also like having the option of shooting anamorphic even though budgets make that a rare occurrence." For Stafield, handheld work is a staple something his new ALEXA Mini is an ideal weight for as he added, Not too heavy, not too light. The other great thing about the Mini is that the short length allows you to get into tight corners or get close to the ground for low angle shots. I'm very critical and particular when looking at my own work so it's a nice feeling to see the rushes from every job come back and see the results have exceeded expectations, even with just a stock standard LUT applied. So with his camera well established and his choice validated all that was left for Josh Stafield was to reflect on the level of service and support he had received from ARRI Australia which he did as he concluded, Stefan and the team at ARRI Australia are such a great company to deal with. They are always keen to fix any issues rather than arguing with owners about why it isn't working. I like the fact that they care about my individual experience as a user. They have built their brand on reliability and quality and you can tell they make every effort to maintain that reputation. For more on Josh Stafield and his work go to:
AC Magazine Editor, James Cunningham sent the following through
Sony Builds Seven State of the Art OB Trucks for Racing NSW Six OB vans and one grip truck
Racing NSW recently launched a project to build and manage their own outside broadcast facilities and vehicles giving them greater control over the quality and capabilities of their broadcast product. Sony Australia won the tender to build six OB vans one Metro and five Country along with a grip truck that could provide outside broadcast facilities for coverage of thoroughbred horse racing events in NSW. Racing NSW Manager Special Projects Graeme Hinton explained, Sony Australia was ultimately successful as they have an outstanding track record for providing outside broadcast solutions in Australia and internationally. The new trucks are used for covering horse racing events across NSW with the Metro truck used for race coverage of Sydney metropolitan racing events at Randwick, Rosehill, Canterbury and Warwick Farm.
 Racing NSWs new Metro and Country OB vans and Grip Truck built at Sonys unique OB vehicle production facility in Beresfield near Newcastle, north of Sydney. |
Inside the 16-camera Metro van is an array of state of the art equipment that included twelve Sony HDC-2400 camera chains, a Sony PDW-680 RF camcorder and Vislink wireless link, Sony MVS-6530 Vision Switcher, Fujinon ZA22x7.6BERD lenses, Fujinon HA42x9.7BERD lenses, Fujinon XA55x9.5BESM and Fujinon XA77x9.5BESM box lenses, Vinten and Miller camera supports, Imagine Communications Platinum MX router and multi-viewer, Sony PVM-A170 OLED professional monitors for CCU and technical monitoring, Soundcraft Vi4 digital audio mixer, MADI audio transport, RTS Telex Zeus-III intercom, Tait UHF communications and a Sony HawkEye Officiating Review System (ORS) for stewards replays. Graeme Hinton concluded, We are very pleased with all of the new Sony trucks as the high quality images they produce create a professional HD product for broadcast. The Sony HDC-2400 cameras together with the HawkEye ORS system allow stewards to efficiently review race footage in native HD quality with an easy to use intuitive multi-screen interface. He went on to say "All in all we have seven of the highest quality state of the art OB trucks now at our disposal and the results we get from them are truly excellent.
RJ Hard at work...
 Photo: Brian Lowe |
We would like to HEAR from you
82-Year-Old 'Das Boot' Cameraman Will Finally Get Paid ~ by Scott Roxborough
In a landmark decision, a German court grants cinematographer Jost Vacano $540,000 in compensation and a share in the future profits for his contribution to the Oscar-nominated war drama.
It's taken more than a decade, but a court in Munich this week ruled in favor of Oscar-nominated cinematographer Jost Vacano, saying he should be better compensated for his contribution to the success of Wolfgang Petersen's anti-war classic Das Boot. The court said Das Boot producers Bavaria Film and WDR, as well as distributor Eurovideo, have to pay Vacano 475,000 ($540,000) in compensation, his share of the revenue the pic earned during the period from 2002-2014. In addition, Vacano will receive a 2.25 percent share of all future Das Boot earnings. The 82-year-old cameraman, who enjoyed Hollywood success with director Paul Verhoeven on films such as Robocop, Showgirls and Total Recall, was initially paid 180,000 Deutsche Marks (around $200,000) for his work on Das Boot. He was not given a share of the profits on the film. But in 2002, the German government, changed the law, adding a so-called best-seller clause, allowing people to sue if their initial compensation was conspicuously misappropriate to the ultimate financial success of a project. Vacano filed suit, claiming he had a substantial impact in shaping Das Boot. The court agreed and ordered the producers to pay up.
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The compensation is based solely on Das Boot earnings from 2002 to 2014. Previous revenue the film has earned more than $100 million worldwide was not included in the suit as it fell under earlier copyright law.
According to court documents, Das Boot earned Bavaria Film $9.5 million over the 12-year period and $10.8 million for Eurovideo, which holds DVD and VOD rights for the film. WDR, a regional public channel which holds TV rights, has to pay compensation for rebroadcasts of the pic, which aired some 54 times on German TV between 2002-2012. Vacano had initially demanded 3.5 percent of future Das Boot earnings. Producers had offered him a 1.5 percent cut. The court's ruling on compensation did not include interest payments on the money owed to the lenser, something that could push his lawyers to appeal. Michael Neubauer, managing director of the German Association of Cinematographers, noted that excluding interest payments, or some other form of punitive damages, sets a dangerous precedent. If there is no punishment for denying or delaying payment, there is no incentive to properly compensate rights holders from the start, he told the German newspaper Suddeutsche Zeitung. Vacano's lawyer, Nikolaus Reber, said he will study the court's decision before deciding what, if any, future action to take. A spokesperson for Bavaria Film said the company will appeal the ruling.
VIDEOCRAFT SCORES HOLE IN ONE AT OATES VICTORIAN GOLF
Provides OB live streaming facilities for mens and womens tournaments
This year organisers Golf Victoria wanted to raise the standard and level of innovation higher than ever before and include live streaming of the tournament. For that they turned to Sean Mulcahy from Australian Network Productions and Videocraft who provided all the OB and live streaming facilities.
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We asked Videocraft for a professional, high quality production and live streaming solution that could be backed up and supported by a substantial local presence and be very cost efficient to work within our tight budget. Im delighted to say they 100% delivered. Most impressive was the way they answered all of our requirements with the utmost dedication and commitment. This meant I could trust them as I always have and knew I could rely on their solution. Mulcahy and the Videocraft team designed and implemented a flexible and powerful onsite OB setup that included Yamaha audio, six channels of EVS, a Blackmagic 4K switcher, Ross Xpression graphics and RF links all based around Videocrafts unique FlyPack. With the production day at the Open starting early and the live feed going to air at midday everyone on the team had to be prepared.
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Sean Mulcahy concluded, I am extremely proud of our team for the job they did at the Oates Victorian Open. Golf Victoria were ecstatic with the result and can now comfortably lay claim to this country's most exciting golf tournament. I must again thank Videocraft who really went above and beyond in terms of service. They were committed, dedicated and professional at all times from prep to tournament to pack up and debrief, striving always to produce a job that everyone would be happy with. I genuinely couldnt have done it without them.
A LETTER FROM NINO MARTINETTI ACS REGARDING THE PASSING OF PAUL COX
 Paul Cox |
I am very, very sad. I have no words to express how I feel. Paul Cox was my teacher, mentor, confidant, colleague and above all a true friend. He changed the course of my destiny when I first arrived in Australia in 1973.
Paul shaped my career as a successful Award winning Cinematographer and we shared some unforgettable, indelible experiences together. Working with Paul was a life journey and he will stay in my heart forever. I am so grateful, privileged and honored I had the opportunity to share my work and my life with him. Not many Directors in the world have the opportunity to be so prolific making personal film with total control of casting and the final cut, and he did it without wasting too much taxpayers money. Now he is dead. It really makes me vomit reading all the headlines and peoples statements about how great he was
a legend of the Australian film industry
a Pioneer
 Paul Cox & Nino Martinetti ACS |
The same industry that when he was alive would not finance his films, would make fun of him, would criticizes him, crucify him. He was never mentioned in the top ten or twenty Australian Directors list. People used to say Paul Cox was exploiting people and thats how he was able to make low budget films. He put his own money in, and I now get offered fees lower then what Paul used to pay me twenty-five years ago. Look at the exploitation now when some people even pay to work on a Z grade movie. I get to the point: You are all a bunch of hypocritical wankers. Nino Martinetti ACS
Anthony Dod Mantle BSC DFF ASC
Anthony on location in Scotland with
Director, Danny Boyle shooting Trainspotting 2.T2 is due for release in the USA
in early February 2017 Anthony Dod Mantle BSC DFF ASC is nicely
rugged up against the wind in his
ACS weather jacket!
AFI / AACTA ~ Become a member now!
With an annual events program comprising more than 40 film, television, documentary and short film screenings, complete with cast and crew Q&As, AACTA connects you with friends and colleagues working across the entire industry. Hear first-hand from our industrys best at year-round masterclasses and events, including AACTAs annual Meet the Nominees events, held with each of the Guilds. All events are complimentary for AACTA members, and by joining the Australian Academy, your vote recognises and acknowledges excellence in your craft and creates new jobs and opportunities for AACTA Award nominees and winners. ~ Meet the creators at 40+ complimentary member events ~ Be amongst the first to hear from screen creators through engaging Q&A events following Film Previews and Television Premieres on the big screen. ~ Save on AACTA Award tickets ~ Enjoy member discounts of up to $85 when you purchase AACTA Awards Luncheon and Ceremony tickets. ~ Have voting rights for the AACTA Awards ~ With 75% of AACTA Award winners receiving new opportunities, your vote into the AACTA Awards truly matters. ~ Watch exclusive content with AACTA TV ~ Access entertaining online content, including nominated short films, documentaries and feature films.
The New York Film Academy
The New York Film Academy Gold Coast is seeking a part-time instructor to teach Cinematography for long-term (Diploma/Advanced Diploma) Filmmaking students. This foundational course concentrates on camera and lighting basics with digital cameras, utilizing industry standard halogen, florescent and HMI lighting systems. Students start on handy-cams while developing simple framing and staging skills, then move quickly to Canon 5Ds, the RED Scarlet and RED Epic in the advanced classes.
Essential Job Functions:
~Prepare syllabus in accordance with accreditation requirements.
~Deliver course in an inspirational and disciplined method to creative student body.
~Conduct critiques of student work in a productive and effective manner.
~Communicate effectively with support and logistical staff.
~May serve on departmental committees.
~Perform other related duties as assigned, including student consultations. The ideal candidate will have mastery in the following areas:
~Cinematography
~Film and Fine Arts Experience:
~Extensive industry experience.
~Teaching experience.
~Certificate 4 in Training and Assessment Please submit your resume along with a cover letter to: Steve Pratt
Chair of Filmmaking - Australia
New York Film Academy
Win valuable OZ FILM Magazines
1) About 25 industry/guild mags Lumiere and Script, Screen & Art 1969-1974 -- for example, the issue pictured which asks on the cover "Is the chunder enough to build a film industry on?". 2) An almost complete run of CINEMA PAPERS. Email Martha Ansara which you magazines you are interested in (one or both) and your reason why in 25 words or less to hotdox@iinet.net.au Martha will then get in touch with the winner/s who can pick them up in Hurlstone Park, Sydney or pay for shipping. Closing date: July 20.
SPECIAL SCREENING - John Seale AM ACS ASC & The English Patient
State Library
Wednesday
July 13
2pm John Seale AM ACS ASC will be attending a special public screening of The English Patient
(20th anniversary this year of his multi award winning work)
at the State Library of NSW on July 13 from 2pm, which will be followed by a discussion of the film, moderated by Andrew Urban. More info and bookings at:
Bus Stop Films ~ Making Kill Off
In late May, the Bus Stop Films team travelled down the south coast to Unanderra in Wollongong to shoot on location at Flagstaff, an industrial laundry. The film shot was Kill Off, a dance-dramedy short about a woman with Down Syndrome who forms an unlikely friendship with an African refugee through their mutual love of street dance.
Bus Stop Films is an organisation which is dedicated to bringing industry professionals and people with a disability together to make short films. The shoot took place over two days and included an overnight stay which accommodated the whole cast, crew and a class of 10 people with an intellectual disability who were mentored on set.
The students were involved in 10 months of film studies and production workshops prior to the shoot, to teach them about the film industry and how the magic of cinema is brought to life. This year training included a lighting workshop at the ACS headquarters, a hands on excursion at Panavision and a post-sound masterclass at Big Bang Sound Design. Working with the students was American actress and disability activitst, Jamie Brewer star of three seasons of Emmy award winning TV show, American Horror Story and the first woman with Down Syndrome to walk the cat walk at New York Fashion week. Bus Stop Films brought Jamie to Australia to star in the short film, mentor the students and advocate for more diversity and inclusion in cinema. Jamie successfully raised awareness for more inclusion during her time with Bus Stop, featuring on the 7.30 Report, Studio 10 morning show, channel 9 News and various other print and radio media outlets. The camera department mentored five different students at various stages of the shoot, and thanks to Panavision, they were able to enjoy watching an Arri Alexa in action! Director - Genevieve Clay-Smith
DOP - Henry Smith
Producer - Erin Black Lead Cast - Jamie Brewer, Abby Earl, Mandela Manthia All photos by Susan Trent
ACS SHOP
NEW MERCHANDISE including MENS & WOMENS WINTER VESTS in all sizes ~ $52.00 plus gst and delivery
ACS CineKids T- shirts now available from the ACS Online Shop.
Limited sizes at $18.00
Buy The Production Book, and get a FREE 12 month IF Magazine subscription
The Production Book is clearing the remaining stock of the 2016 directory. The directory contains 18,000 listings across 245 categories containing contact details of almost the entire Australian film and television industry. Weve slashed the price of the directory to $99 inc gst, and were throwing in an annual subscription to IF Magazine, completely free-of-charge. Stocks are limited.
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