National eNews ~ October 2016


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National eNews ~ October 2016

Editor: Lizz Vernon


You may notice some changes in this and the coming Months eNews!

Ron & I have been discussing how the eNews is getting bigger & longer each month due to our endeavour to capture and inform you all of so many wonderful happenings from Australia and abroad all while including our members valuable contributions.

We felt we would need to look at a couple of new formats for the eNews, so to start us off this month we've included some of the many stories as Article Links that can be accessed at the tail end of the current eNews, this format works in with the existing capabilities of the website, though we'd like to let you know that discussions on a website capabilities and improvements are underway and we look forward to a coming up with a better platform of delivery in the future...

In short Watch This Space

Please enjoy!

Kind regards,


What's in this Issue:

  • Message from the President
  • Ron's Imago Wrap
  • John Seale AM ACS ASC presented with a Lifetime Achievement Award @ Manami Brothers Festival of Cinematography ~ Bitola, Republic of Macedonia
  • Welcome New Bronze Sponsor EC3
  • WA/SA Awards Bookings Open
  • Antenna Documentary Film Festival@ MCA
  • NSW/ACT Awards Bookings opening soon
  • Art Gallery of NSW has a new program out
  • Soul Mates Season 2 - Aaron McLisky
  • Fujifilm Lenses
  • Canon - ACS Initiative Report
  • ARRI Lauches new Master Grips @ IBC 2016
  • Sony - New Portable 4K HDD Raid Drives
  • ARRI SkyPanel range grows: check them out!
  • ACS Shop
  • ACS Montage
  • Check out the links to Facebook or to update your records
  • ARRI Alexa SXT (Super Xtended Technology)
  • Sony, Sony, Sony Announcements: - PTZ Camera, OLED Monitors
  • Eastman Kodak joins Terre di Cinema 2017
  • AFTRS Degrees & Short Courses

Message from the President

Greetings ACS friends and colleagues,

October sees the completion of ACS Awards judging and the ongoing task to prepare for the various Awards presentations in Perth, Sydney, Brisbane and Melbourne during late October and November.

October is also the time the Accreditation panel will meet to screen the work of those ACS Full members applying for Accreditation. I wish each and every applicant nothing but good fortune during this process.

RJ & Nigel Walters BSC enjoying a moment. Photo: Louise Seale

In September I had the good fortune to attend the IMAGO Board meeting, which included the Manaki Brothers Festival of Cinematography in Bitola, Macedonia where John Seale AM ACS ASC was presented with a Lifetime Achievement Award.

It is with a great sense of pride to see John in his typical modest style accept this prestigious Award for the amazing contribution he has made to world cinema.

It was also fitting that Louise Seale be there to share the occasion.

Bitola is a city in the southwestern part of the Republic of Macedonia. It is located in the southern part of the Pelagonia valley, surrounded by the Baba, Nidže and Kajmakčalan mountain ranges, close to the border crossing with Greece.

The city is an administrative, cultural, industrial, commercial, and educational centre. It has been known since the Ottoman period as "the city of the consuls", since many European countries had consulates in Bitola.

Bitola is one of the oldest cities on the territory of the Republic of Macedonia, having been founded as Heraclea Lyncestis in the middle of the 4th century BC by Philip II of Macedon. The city was the last capital of Ottoman Rumelia, from 1836–1867.

According to the 2002 census, Bitola, after Skopje is the second-largest city in the country. It is also home to the Manaki Brothers International Cinematography Film Festival which Is the oldest film festival in the world established in honor and inspired by the abundant photographic/cinematographic work of the MANAKI brothers: Yanaki (1878-1954) and Milton (1880-1964).

The festival is a world class event and it is a must see.

Manaki Brothers Festival »

Being one of 50 countries as part of IMAGO is a real bonus for us as a Society, as it’s inclusiveness really opens doors to many new ways of thinking. This was evident in the broad areas of discussion that took place, which included:

  • Establishing an IMAGO AWARDS committee to organize the very first Awards to be held in Helsinki in 2017.
  • Confirmation of a re-vitalized Authorship Committee including Chair - Luciano Tovoli AIC, Vittorio Storaro AIC ASC, Jost Vaccano, Nigel Walters BSC, Simon Plum and from Estonia Arko Okk ESC. I have been asked to provide information regarding the situation here in Australia, in order for the Committee to determine procedures for countries outside Europe. I’m certain Mark Swadel representing the New Zealand Society will be doing the same thing.
  • A Gender & Diversity Committee was established with Nina Hellgren BSC and Elen Lotman ESC as co Chairs with events already planed for Camerimage. Velinda Wardell ACS is also a member of this Committee.
  • Our membership of IMAGO has already reaped great rewards and afforded us the opportunity to voice an opinion from the Southern hemisphere. It’s important we continue to be part of, and support this great organization.


US based EC3 combines the creative and technical expertise of two of the industry's most respected post production houses - EFILM and Company 3. EC3 brings our skills straight to your location, saving time, money and providing greater creative flexibility.

From transcoding to dailies color correction, EC3 is unlike any other on location system. Imagine a true mobile studio that perfectly mirrors the equipment and calibration our artists use at Company 3 and EFILM. »


Awards bookings are now open for the WA/SA Awards for Cinematography, so please go online to secure your tickets to the 36th SA & WA Awards for Cinematography. This is the second occasion the SA & WA Awards are to be held in Western Australia at:

Kings Park, Perth
6:00pm Saturday, 29 October. 

Dress is 'Cocktail', please note tickets to be collected at the door. Below is the all important booking link.

Hosted by iconic WA Indigenous Yamatji Actor/ Writer, Ernie Dingo. This awards ceremony will be a celebration of excellence and achievements in Australian cinematography. The ceremony will also be broadcast live to the South Australian Branch Awards dinner in Adelaide. 


Antenna Documentary Film Festival

Check out this upcoming festival (Oct 11-16th) @ MCA

Kirsten Johnson is one of the most notable cinematographers working in documentary cinema today, having shot CITIZENFOUR, HAPPY VALLEY, FAHRENHEIT 9/11 and many other acclaimed documentaries.

With the award winner CAMERAPERSON, Johnson presents an extraordinary and deeply poetic film of her own. Johnson delves into her vast catalogue and weaves together scenes from 25 years of work, each illuminating a little further the complex relationships between filter and filmed and between story and craft. Coupled with new material, what emerges from this cinematic exercise is both a visually radical personal memoir and an elegant meditation on the relationship between storytelling and the camera frame.

Kirsten Johnson ~ Cameraperson

Screening at Antenna on Sat 15 Oct 1:00 PM at the Museum of Contemporary Art Australia.

"One of the most acclaimed films to emerge from Sundance this year, and perhaps the most unique... a transcendent documentary experience" Indiewire.

For more info and to buy tickets: HERE »

NSW/ACT Awards bookings open on 4th October

Bookings for the upcoming NSW & ACT awards night will be open from Tuesday 4th October 2016.

With a near record number of entries this year that saw all categories being represented, it is expected that tickets for the gala event (to be held at Sydney’s Masonic Centre on November 5th 2016) will quickly sell out.

Dress code is ‘Cocktail’ and names will be held at the door rather than tickets sent out.

Our MC for this year is highly respected Renee Brack and the guest of honour is celebrated actor Michael Caton.

The NSW & ACT awards night features some of the top image makers from our industry along with door prizes, champagne arrival, live music, excellent food and drink and socialising, it has become a must-attend event.

A link for tickets will be made available on Tuesday 4th October.

AGNSW - New program out!

New program of films starting at the AGNSW, 8 October - 6 November 2016. Please support this rare chance to see 35mm & 16mm prints projected of post-war, independent Japanese filmmakers. »

Soul Mates Season 2 ~ Aaron McLisky

The shooting of Soul Mates Season 2 occurred over five weeks in February 2016.

The series was shot predominantly on the Arri Alexa Mini and the Arri Amira.

The entire season was shot using two Cabrio Fujinon 19-90mm T2.9 and one 24-290 Optimo Zoom T2.8

It is a Soul HQ production in association with ABC TV, SeeSo (NBC Universal), Screen Australia and Screen NSW.
Series 2 of Soul Mates reunites viewers with many of their favourite characters from Series One.

Bondi Hipsters, Dom and Adrian explore alternative careers, including turning their hand to the barista business, opening the “Closed Cafe” – an establishment so unconventional, it’s only open when it’s closed. Cavemen, Rocky and Sticks are now parts of a fledgling community grappling with early social evils like the invention of middle management and monogamy, while Kiwi Assassins, Roger and Thinge are now son and step-father on a mission to stop an evil Australian people smuggling ring from stealing New Zealand’s most precious natural resource: schoolboy rugby players. Joining these familiar faces are two new, Ancient Egyptian mates: Seti, the disgruntled Eunuch son of Queen Hatshepsut and Seti’s favourite Israelite slave, Amran

Soul Mates Season 2, was my first experience shooting a television series. In my short career as a cinematographer I had only worked with the Van Vurren brothers on a music video, ’Hipsta’ by Timmy Trumpet Featuring the Bondi Hipsters. It was during the filming of the clip that we hit it off, sharing a similar energy and sensibility to filmmaking.

The shooting schedule was the most challenging aspect of this series, with some days shooting up to twelve pages. My approach to the ambitious schedule was a combination of standard television two camera coverage with the occasional run and gun style documentary approach.

This season we didn’t want to re invent the wheel but the boys wanted to lift the cinematic quality and push more distinguishing characteristics into the worlds. After days of reference sharing and discussions we designed a few ‘styles’ for each of the worlds. The Caveman world evolved from two shot coverage to accommodate the larger narrative and assemble cast embracing steadicam and more complicated blocking. The Kiwi Assassins continued the comedy of cliche using long awkward zooms and offensively coloured back light. The Bondi Hipsters this season was entirely handheld and introduced various digital camera’s to shift between documentary and ‘cinematic’ documentary. Then finally the Egyptian world was a the most ambitious with a nod to popular series ‘Game of Thrones’ and ‘Rome’ deciding to keep coverage wide and static so to take in the texture and environments created by the incredible production design.

The series can now be seen on ABC iView and if you are in the US NBC’s Seeso digital platform.

Aaron McLisky


SKY NZ (SKY) uses the best technology and equipment to bring their clients’ broadcast vision to life. They are renowned in New Zealand as being a leading supplier of outside broadcast services and covers anything from live sport, entertainment programmes to special events. As you can imagine, offering this kind of service requires not only the best equipment but lots of it. Recently the time came for SKY to have their entire fleet of Fujinon lenses serviced and repaired for which they turned to Fujifilm Australia.

An image of Terry Kasai servicing SKY’s fleet of Fujinon lenses is attached to this e-mail and embodied in the attached Word document

SKY’s Engineering Manager Nick Haines explained, “We had several lenses which were suffering from too many years on the road in New Zealand’s typically harsh environment for the high quality electronics and mechanics of our Fujinon lenses. We discussed several options for circulating five lenses through the Sydney repair facility when Fujifilm Australia instead suggested assessing and repairing the lenses on site in our Auckland workshop. Not only would this save us considerable time and inconvenience but it would also give us the opportunity to upskill our technical staff as to what they could do to solve some of our minor issues and help in future decisions as to when we need to return a lens for service.”

With the decision made Fujifilm Australia arranged for their Senior Specialist Lens Technician Terry Kasai to spend a week at SKY with Terry’s first job to service multiple 101x lenses.

Terry Kasai servicing SKY’s fleet of Fujinon lenses

Haines continued, “We made the lenses available to be cycled through to Terry and set up a room with Terry’s equipment and a camera for final testing. We also had a wide angle and a 22x ENG lens that also required attention so Terry was able to use his many years of excellent knowledge and technical test equipment to identify and fix the issues. Many of the lenses’ issues came down to disassembly – quite a process to witness to this level - re-lubricating and cleaning out the guides for the lens carriers to run on. There were also a couple of electronic faults where Terry managed to identify the faulty components and arrange spares for us. It really was a very efficient and effective process.”

Haines and his team were particularly impressed with Terry Kasai’s knowledge and professionalism irrespective of whatever issues came up. The end result gave SKY many benefits moving forward.

He added, “Terry is incredibly calm and composed when fault finding and very thorough and precise in making sure he had achieved the result required. He was also very forthcoming in explaining his findings and solutions to our staff. The main advantage we gained is that time and risk were both significantly reduced. I didn’t have to ship the lenses to Australia, which is a minimum of two days each way and can easily slip to four days depending on our carrier. Time was also a big factor as effectively each lens was only out of service for one day, a more than reasonable amount of downtime that we could cope with.”

With Kasai packing multiple lens servicing and repairs into every day Nick Haines and his team were not only impressed but particularly grateful for the entire week’s work and results.

Haines concluded, “The tips and care suggestions from Terry will be a huge help in the future now he has now worked with our staff and understands our capability, skills and requirements. Time wise we achieved so much in a week which typically would have taken at least four or five weeks so all in all it was a great job extremely well done. To that end we’re already planning Terry’s next trip.”

CANON - ACS INITIATIVE report from film-maker Blue Lucine

As a young filmmaker, one of the biggest challenges is getting access to high quality gear that is current in the industry. You need time to practice and experiment to really hone your craft. This takes patience, access and a desire to better yourself. In the last year I believe my cinematography skills have really advanced, and it’s all due to the Canon Initiative. Never before have I been able to learn at my own pace and been so encouraged and excited to extend my knowledge of the gear. My documentary continues to unfold, the political tension is rising and the resident’s stories are constantly evolving.

The mobile nature of the C100 and C300 have enabled me to film at protests, in small houses, on busy streets- its versatility and accessibility are amazing. I can pack up within minutes and be where I need to be to capture the moments that are important to the story. They are also fairly covert and I find they do not intimidate people. Being about to melt into the background is essential in filming candid moments and I really value this feature in the cameras.

I think as a woman I’ve also been less bold to handle gear, I suppose from a fear of being compared to men who might be stronger than myself.
So being able to take the time to familiarize myself with the equipment at my own pace and have the courage to try new angles and approaches without the fear of judgment or competition has been liberating. I am confident in my ability to use the cameras and making the right lens selection, and am proud of how I’ve progressed in the time.

This documentary is telling a universal David and goliath story, and I believe the film will have a powerful impact, not only on those from Sydney but around the world. Communities matter everywhere, and I endeavor to highlight the importance through this film, as well as having the courage to stand up for your rights and beliefs. Big business can’t replace human relationships. By getting behind the headlines and telling the heartfelt story underneath, I believe I will make an emotionally impactful and socially engaging documentary. Had I not been awarded the Canon Initiative I would not have been able to continue making this documentary at the same production quality, which will have a large impact on the overall aesthetic of the film. I never would have dreamed that I’d end up filming with cameras of this caliber.

The events of the documentary are continuing to unfold, and as is often the case, I don’t know how the story will end. This is the beauty and fragility of true-life stories- they keep us on our toes. I’m finding it essential that I react to the events as they happen rather than try to make the story go my way. I’ve had to start filming at the drop of a hat, rush to different scenes and be ready to roll, so having direct access to the cameras, rather than having to borrow or hire equipment, has meant the difference between catching the action or not. I’ve also has the opportunity to film high profile people for the film, and without the quality of these camera, I don’t think they would have taken my shoots seriously.

Due to the development around the area it is always changing visually, and capturing this change has been a priority for me. It’s almost unrecognizable from the suburb I first saw in March 2014 when I first visited the area.
This journey so far has taken me on many ups and downs. It’s not been easy (as documentary never is) however the use of the canon cameras and the confidence that has given me has made it a fantastic and enjoyable experience, and my film (and myself) are far richer for it.


ARRI Launches New Master Grips at IBC 2016

Sony Ultra-fast Rugged Portable 4K HDD Raid

Director of photography, video editor and co-founder of Venture Films, Gavin Rawlings, recently chose Sony’s new rugged and portable dual 3.5 inch HDD... More »

ARRI SkyPanel range grows with the double-length S120-C and new SkyPanel Remote and firmware update

ARRI has expanded its range of SkyPanel LED soft lights with the new S120-C, the biggest member of the SkyPanel family. The highly acclaimed ARRI... More »


Get yourself an ACS Vest Personally road tested for you in a couple of very chilly parts of Australia, plenty of pockets handy for keeping batterie... More »

The ACS Montage Reel

With the outstanding support of ACS National Gold sponsor, THE POST LOUNGE, our ACS Promo reel is available for viewing by clicking on the link below ... More »


Update your user page or checkout our Facebook page... More »

ARRI announces completion of ALEXA SXT development

ARRI is pleased to announce that development of the ALEXA SXT cameras (Super Xtended Technology) is completed.   ARRI will now make good on its prom... More »

Sony PTZ camera line-up - Sony adds 4K to its BRC series

Sony is expanding its BRC series of robotic PTZ cameras with the latest addition of its first 4K model - the BRC-X1000 - alongside the Full HD version... More »

Sony expands its line-up of TRIMASTER EL™ OLED master monitors

New HD monitors are capable of accurate colour reproduction, supporting ITU-R BT.2020 colour space for 4K production In conjunction with IBC 2016,... More »

Eastman Kodak joins Terre di Cinema 2017

Film matters: that's why we are extremely proud to announce Eastman Kodak's decision to join TDC17 as a main technical partner. This will give the pa... More »


Applications are now open for AFTRS new 2017 Undergraduate and Postgraduate Cinematography courses.

In this 2-year intensive course, Australia’s only full time Masters in Cinematography, you will substantially advance your skills. AFTRS MA Screen has a maximum of 6 places per discipline (11 disciplines total) so you can have one-to-one industry mentorship!
MA Screen: Cinematography
Applications close 18 November 2017

Sharpen your eye as a cinematic storyteller and strengthen your professional knowledge, skills and practices in cinematography. (part time, 32 weeks)
Graduate Certificate Screen: Cinematography
Applications close 18 November 2017

Learn the craft of cinematography. Develop your ability to confidently capture quality picture and sound across a range of shooting requirements. (16 weeks)
Diploma in Camera
Applications close 15 January 2017

AFTRS 3-year, Bachelor of Arts Screen: Production is designed for people with a passion for storytelling and a commitment to a career in the screen industries.
BA Screen:Production
Applications close 30 November 2017


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.
Camera & Sound Basics
15-16 Oct

This intensely practical five-day course will introduce you to the duties and professional requirements of the Camera Assistant in drama, documentary, Reality and commercials. 2 Start dates available.
Camera Assistant's Workshop
24-28 Oct // 28 Nov - 4 Dec

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.
Lighting Fundamentals
7- 11 Nov

In this practical, hands-­-on workshop with Richard Wilmot will give you skills and knowledge about the different techniques and equipment used to achieve camera movement in current screen production processes.
The Moving Camera
19 - 21 Nov

To view all Cinematography Short courses visit the AFTRS Open website AFTRS Open »

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