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| | ACCREDITATION APPLICATIONS FOR 2016 CLOSING SOON
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
A FORUM OF EXPECTATIONS - WE NEED YOUR FEEDBACK
At the end of May an initial meeting was held to determine issues relating to new technologies and the future role of the cinematographer, initiated by Peter James ACS ASC and Calvin Gardiner ACS at the ACS HQ, in the framework of their document - A FORUM OF EXPECTATIONS, which was raised at the International Cinematography Summit in Los Angeles on 6 - 9 June, where it was received with great interest. There will be much more to discuss, as we feel it is imperative that we as Cinematographers remain major contributors to the creative process, therefore I ask that you discuss this with your Branch committees and your members with a degree of urgency, based on the attached Power Point presentation, and should you have any feedback whatsoever please contact Peter James ACS ASC PJTallowood@aol.com or myself president@austcine.org.au in order to make this very worthwhile initiative succeed.
ABE2016 - SPECIAL 10% DISCOUNT FOR ACS MEMBERS
simply use the code abe10off when you register.
Peter Beeh flies high with Sony PMW-F55 on new Bentley TVC Above the Stuart Highway in the Northern Territory
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Aerial cinematographer Peter Beeh chose the Sony PMW-F55 camera to use on his latest project, a TVC for Bentley cars showcasing the 16MY Bentley Continental GT Speed being taken to its top speed of 331 km/h by Australian racing legend, John Bowe, on the derestricted Stuart Highway, Australia deep in the Northern Territory.
Beeh explained, The Stuart Highway covers a distance of 2,834 km from Darwin in the Northern Territory to Port Augusta, South Australia approximately the same distance as London to Istanbul or New York to Denver. It was hot and it was dusty. This was a shoot with a good, but not a huge budget, so we needed a camera that delivered very high quality images at a price that wouldn't break the bank.
For this particular shoot Beeh looked after the F55 rigged within the Shotover F1 stabilised camera system while fellow DP Matt Gormley was in charge of the second F55 kit used for the more traditional ground-based shots. The first day with the Shotover rig was devoted to aerial shots and on the second day Beeh and his team remounted the stabilised head onto a simple tracking arm fitted to a tabletop ute. The ground tracking shots were shot at speeds of up to 180km/h with focal lengths of up to 400mm.
Beeh continued, The ground camera run by Matt allowed him to move quickly and nimbly between setups. The compact form factor of the F55 was very helpful for this. The second camera was installed in a Shotover F1 stabilised camera system. We spent a day doing aerials and a day with the head fitted to a tracking vehicle. Again the form factor of the F55 allows it to fit well within a highly spec'd head like the Shotover F1.
The look of the TVC was very specific and the team used their knowledge of the F55 and what it was capable of to make sure they got what they wanted.
Beeh added, We wanted a large sensor feel and wanted to use cine primes and zooms so the F55 was ideal. As a two camera shoot we wanted a camera system where we could expect the images will match well without having to spend large amounts of time in post brining them into line. With all of that in mind we also needed to be able to shoot at a range of frame rates and needed a camera that would record at higher frame rates with a good quality codec. RAW recording was not an option as the producers needed to turn around the some of the footage shot quickly, with minimal time in post and there were also some very long lens shots required. All in all there aren't many other cameras that could give us all of the above. The F55 was perfect for the job.
Beeh often remarks on the F55s compact form factor and well matched 35mm sensors when describing how well the camera worked not only on this project but others too.
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He continued, The F55 has a good XAVC codec that simplified data management, allowed for some shots to be turned around very quickly and other shots to go through a much more comprehensive post path to deliver a more nuanced finish. It was a job featuring fast action and high speeds and the F55s global shutter was essential in delivering quality images without the risk of rolling shutter.
Working in remote, hot and dusty environment. Beeh was also quick to praise the F55 cameras for being well built, tough and reliable.
Theres more to this camera too. The F55 centre crop function allowed us to use high quality cine glass for most of the shoot and then activate centre crop to be able to record direct to camera with a much more telephoto feel. The camera also delivered pictures that could be distributed quickly to media during the three day event and then used for a more finessed clip released a month after the shoot.
All in all, according to Beeh the results were excellent and exactly what he has come to expect from the Sony PMW-F55. He concluded, It was hot, windy and dusty. There was high vibration and we were always moving fast. The F55 is the most flexible large sensor camera on the market. It is the ideal camera to have sitting on the shelf - so to speak - because it can be treated like a quality broadcast camera or, with a few menu changes, much more like a cine camera. The global shutter was a big reason for using the camera on this job but in truth the camera performed flawlessly. I have been operating an F55 since the cameras were released and it has never skipped a beat despite being dragged back and forth across the nation and to many overseas locations.
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ACS SHOP
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Personally road tested for you in a couple of very chilly parts of Australia, plenty of pockets handy for keeping batteries and hands warm between filming.Plenty of stock, plenty of sizes. Get one now!!!
| | CINEMATOGRAPHY SHORT COURSES - AFTRS OPEN
AFTRS 2017 BA INTAKE
Applications for AFTRS BA Screen open mid-July. AFTRS BA Screen designed to prepare Australias next generation of creative practitioners. It provides deeply engaging learning experiences that develop critical thinking and creative engagement and prepares graduates to be nimble operators in a platform agnostic world.
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Got a Question?
AFTRS OPEN - SHORT COURSES
Upcoming Highlights include: Camera & Sound Basics with Paul Warren in October and Lighting Fundamentals with Anna Howard ACS in November. All ACS members receive a 10% discount on AFTRS Open short courses.
LIGHTING FUNDAMENTALS Learn basic lighting skills in cinematography and how they apply to the visualization of a story or concept over 5 days with cinematographer Anna Howard ACS
7- 11 November
CAMERA & SOUND BASICS
This weekend intensive with Paul Warren (The Cup) will teach you techniques and practical skills to produce high quality images and sound for documentary and drama.
15-16 October
To view all Cinematography courses visit the AFTRS Open website:
Check out these titles via the below:
The Future of the Cinematographer
Who is the Author of an Image?
A Model of Collaboration in The Revenant
The Continuing Relevance of Film
Cinematography In Virtual Reality
Safety, Leadership and Opportunity
A Model of Collaboration in The Jungle Book
ACES at the Academy
Panavision & How Optics Influence the Aesthetic
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