National eNews ~ November 2016


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National eNews ~ November 2016

Editor: Lizz Vernon

What's in this Issue:

  • Message from the President
  • Congratulations to our newest Accredited members
  • Camerimage
  • WA/SA Award Winners
  • Awards Booking & Details for NSW/ACT, QLD & VIC/TAS
  • Sony's new OB Truck
  • Postcard from LA ~ Toby Oliver ACS
  • AFTRS ~ Undergraduate, Postgraduate & Short Courses
  • Vale ~ Bob Pounds ACS
  • Nominations are in: AACTA Awards for Best Cinematography
  • Mick Jones shoots music video with Sony PMW-F55
  • Videocraft ~ Wings for Life World Run
  • Inaugural NZCS Awards
  • Farewell Guido Cartoni RIP
  • Canon Workshops
  • DFFANZ (Drone Film Festival) ~ Melbourne, Sydney, Brisbane & Aukland
  • ACS Shop
  • ACS Montage
  • Check out the links to Facebook or to update your records

Message from the President

Greetings ACS colleagues,

October saw 8 ACS members granted Accreditation, and it will be my great honour to present them with their pin and certificate at the relevant ACS State and Territory Awards presentations.

Those successful and their Accredited certificate number were:

Tony Gardiner ACS NSW ~ No. 372
Earle Dresner ACS Victoria ~ No. 373
Katie Millwright ACS Victoria ~ No. 374
James L Brown ACS Victoria ~ No. 375
Dave Le May ACS West Australia ~ No. 376
Bonnie Elliott ACS NSW ~ No. 377
Adam Howden ACS Victoria ~ No. 378
Jeremey Rouse ACS Victoria ~ No. 379

Congratulations to you all on this milestone in your careers as Cinematographers,
and may your contribution to the Society and our members continue.

November is also Camerimage time, and this year sees a number of ACS members travelling to Poland for this inspiring event. Among those we know of are NSW member Jovan Atanackovic whose ACS award-winning Student film “ Harvest" has been included in competition in the Student Etudes category at Camerimage. Our best wishes and good luck go with you Jovan, and thanks to Brett Smith at ARRI Australia for assisting with flight costs to enable Jovan to travel to Poland. Also attending are Velinda Wardell ACS, Peter James ACS ASC, Steve Windon ACS ASC, Marc Spicer ACS and the recipient of the Drew Llewelyn ACS Camerimage Scholarship; Drew English.

Also in the Main competition is “Hacksaw Ridge” shot by Simon Duggan ACS, "Lion” shot by Greig Fraser ACS ASC, “Tanna” from ACS cinematographer Bentley Dean and let’s not forget Honorary member, Anthony Dod-Mantle DFF ASC BSC who has “Snowden” in competition.But wait….there’s more, Ari Wegner is nominated in the TV Pilots competition for “The Kettering Incident” and Adam Arkapaw ACS will have his work on “The Light Between Oceans” as part of the Camerimage Special Screenings. Quite a line up so for more information -

Our ACS State and Territory Awards for Cinematography kicked off last Saturday in Perth with the WA - SA Awards presentation, you can read an entertaining review below from James Cunningham. The other Awards for NSW - ACT, Queensland and finally Victoria - Tasmania.
follow on in rapid progression.

There are booking links below, so please support your colleagues and attend one or more of the presentations. I look forward to seeing you there!

Until next time
Ron Johanson OAM ACS
National President

ACS Awards Go West

Saturday night saw the 36th Annual WA/SA ACS Awards for Cinematography with over 100 guests descending on Frasers Restaurant with a stunning Perth sunset as it's backdrop. The night kicked off with Master-of-Ceremonies Ernie Dingo AM welcoming both those gathered in Perth as well as South Australian members and guests who were enjoying the ceremony via live video link at an awards dinner in Adelaide.

The first award of the night went to WA's own Luke Corbett in the 'Student Cinematography' category for the student film FAE produced at Central Institute of TAFE earlier this year. Corbett was thrilled to now have his work in consideration for a Golden Tripod at the National Awards in 2017. A Gold Award was then presented to Piers Mussared in the 'Experimental and Specialised' category, for his Virtual Reality project The Unseen House. Originally from Sweden, Mussared is an SA Branch member and is the Head of Production at Jumpgate VR in Adelaide.

'Music Videos', always a popular category, saw three well-deserved Golds awarded to WA's Dave Le May ACS for Moana's wonderful Vader music video, to WA's Denson Baker ACS NZCS for his outstanding work on Samantha Jade's Shake That and to SA's Nima Nabilirad for the incredible I Want U 4 Myself by Venus II. A hard-fought category with three very happy gold recipients.

South Australians Lennon Cooper and Tony Salvatore both picked up Gold in the 'Local/National News' and 'Current Affairs' categories, respectively. Salvatore is a Senior Cameraman at Seven Network and won for his work covering the controversial Manock Autopsy story in Adelaide. Gold in the Documentaries category went to WA's Emmy-nominated Jim Frater ACS for Fighter, a moving story about an Indigenous wrestler who relives the traumatic death of his mother.
The advertising categories are always too hard-fought, with outstanding work being presented in the 'Local/Regional' as well as 'National/International' categories. All Golds this year went to SA with David Parkinson for Penny's Hill, Randy Larcombe for Adelaide Cabaret Festival, Miles Rowland for Share The Road, Stephen Packer for Yorke Peninsula and David Tang winning two for Osteria Oggi and the University of South Australia.

A brief pause in the presentations was filled with speech by Guest of Honour, the four-time Milli Award-winning Cinematographer Peter James ACS ASC (Driving Miss Daisy). James spoke about the five 'Cs' of Cinematography (Camera Angles, Continuity, Cutting, Close-Ups and Composition), but added one of his own... Coverage. A valuable and poignant topic in today's shooting environments.

Two Golds were awarded in the 'Short Film' categories when the awards got back underway; to Damian Fasolo for the spectacular Sol Bunker about a sound recordist who is tending to his terminally sick wife, and again to Denson Baker ACS NZCS for MESSiAH starring David Gulpilil. Not to be outdone by himself, Baker went on to win his third Gold of the night, this time in the 'Cinema Features' category for his work on the well-recieved The Dark Horse, about brilliant but troubled New Zealand chess champion. A sure fire contender for the Golden Tripod at the National Awards next year as he later picked up the 'Milton Ingerson Award for Best Entry' on the night.

Both WA Branch President Simon Akkerman ACS and SA Branch President Ernie Clark ACS heaped praise on the high-standard of entries this year, while National President Ron Johanson OAM ACS thanked each of the hard-working committee branches for the organisation of a highly successful and enjoyable night. The 46th ACS National Awards for Cinematography will be held on 6th of May at NSW Parliament House in Sydney.

Just some of the winners from the WA/SA 2016 Awards...

CLICK THIS IMAGE to read the full list.

Ben Howden
Scott Summers
Ross Metcalf
Ben Berkhout
Jason Thomas

James Barker
Nicholas Jackson
David Le May ACS
Nigel Tomkinson
Simon Akkerman ACS

Luke Corbett
David Le May ACS
Jason Thomas
Jimmy Frater ACS
Damien Fasolo
Denson Baker ACS NZCS

NSW/ACT Awards ~ Last few days to get tickets

NSW & ACT Awards for Cinematography presentation evening presented by Fujinon - Fujifilm and NSW Platinum sponsor Red Apple Camera Rentals are almost upon us.

Sydney’s Masonic Centre
November 5th 2016

Dress code is Smart

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

NB: names will be held at the door rather than tickets sent out.


Fujinon-Fujifilm & Cutting Edge present the 2016 ACS Queensland Awards for Cinematography! 19th November

Grab your tickets for our major calendar date of this year, the 2016 Awards!

2016 ACS Queensland Awards for Cinematography!

19th November
The Tivoli

2016 ACS AWARDS Ticket Prices:
ACS Member: $130
ACS Non-Member: $140
Student $120
*TABLE OF EIGHT Discount ~ We are offering a 15% off deal if you make a full table of eight in your booking, so get in early as tables will be filling up fast!
*15% discount to single bookings of eight (8) guests total.

Ticket sales will close on 11th November, 2016 - SO BOOK EARLY via the link below to reserve good seats!

*Conditions Apply


VIC/TAS AWARDS - November 26th

Don't forget we are only a few weeks away from the 50th Annual Vic/Tas ACS Awards for Cinematography!

Presented by Fujinon - Fujifilm in partnership with Platinum Sponsor Screen Tasmania we plan to make it a celebration!

Venue: Memo Music Hall, St Kilda. The Memo is a popular live music venue in art deco style on Acland Street in the hub of St Kilda.

Date: Saturday, Nov 26th

Pre-screening in the afternoon (Midday to 4:30 pm) drop in and see all awards entries being screened. Entries will be divided into four groups of categories and played on loop (with audio via headphones) on four big screens. It’s a great chance to come early, see the entries and brag to your family and friends. Bar open. Long-form entries will be cut down into short sections.

Main Awards Event opens from 6.30 pm and Awards Ceremony starts at 7pm. Short and punchy this year - so more time to mix after.

Ticket Price: $95 ($80 Students and CineKids)

Dress: Celebration!

Meal/Drinks: Gourmet hand-around food all night. Welcome drink on arrival along with a free drink token. Drinks include beer, wine, bubbly or a soft drink from basic list. Drinks sales at affordable bar prices thereafter.

Entertainment: Live Music after Awards by Nicky Bomba's Bustamento. Latin style dance music. Lots of fun and energy.

MC: RocKwiz host and film maker Brian Nankervis.

Door prizes will be given away including the big one from our Tasmanian sponsors – A night at Henry Jones and Saffire plus return car and cabin on the Spirit of Tas.

We have some great Tasmanian entries and sponsors this year so don't miss out. It’s going to be great.

VIC/TAS 2016 Awards Booking Link »

Sony builds state of the art OB truck for TDC Full local design and build

Formed over 30 years ago by owner Michael Hassett TDC has grown into one of Australia’s true specialists in video equipment solutions. By providing a broad range of video technology resources and running a combination of the most impressive fleet of LED screens, large scale projection equipment, outside broadcast trucks and broadcast camera systems, TDC has been involved in some of the most prestigious live events in Australia.

Recently the company had a requirement to expand their OB fleet and for that it turned to Sony Australia.

Hassett explained, “We had the opportunity to look at a number of trucks that were being built locally in Australia and the level of craftsmanship that was put into the Sony builds was clearly second to none. It’s evident in all aspects of our truck’s finish as to how much care has been put into the delivery.”

Sony’s ability to provide almost all of the truck build package was the fact that both companies were able to work on a design together that gave some significant advantages.

Hassett continued, “Working together with Sony made us feel that we would give the most value to our clients with the focus on flexibility, functionality and redundancy.”

The new TDC OB truck has been built around an Imagine Communications-based central 256 x 256 routing core with in-built multi-viewers and Imagine glue infrastructure. There are also Sony main and standby vision switchers and Sony HDC-1700 and HDC-4300 cameras that partner with Fujinon XA99x8.4BESM box and HA42x9.7BERD-U48 and HA18x5.5BERD ENG lenses.

Alongside these are Sony monitors, Miller and Vinten camera supports, Riedel 128x128 comms with new smart panels and the truck has been wired for 3 XT machines to accommodate both 8-channel and 12-channel EVS XT3s.

AFTRS ~ Undergraduate & Postgraduate Courses

Applications for @AFTRS undergraduate and postgraduate courses are now open! Learn using state of the art facilities with industry experts to guide you. AFTRS is a great way to kick start your industry career, or, if you’re already in the industry, upskill and accelerate your career. Check out the different courses HERE


There are people you `click’ with the moment you meet, the young man standing in front of me was one of those. He was 18 years old, fresh of face and had left school only a few days before. “This is Bob Pounds” the Programme Manager of the local Toowoomba television said, “He’s joining us as of today and we’d like you to show him the ropes” he concluded.
That meant that Bob was now part of the News Department, which to that moment, had a whole cast of three. Dixie, our lovely typist, Ian Leslie and myself as news gatherers, and I as reader.

As our news wagon was just outside and visible through the glass door of the newsroom, it became Bob’s first `introduction’. “Bob, meet Bongo” I said. It was a gutless green van, so named because its overall paint was officially Bongo green.

The film processor was next on the list. Processing the nights 16mm black and white reversal film became a regular part of Bob’s new job, and he quickly mastered the process. The processor developed the news film in two stages. After stapling the film to the machine’s leader in the dark, a light proof cover was positioned over the first row of chemical filled tanks and the processor started. Rising up out of the developer side, the film passed under a re-exposure light and into the second row of tanks to complete the image stability. From there it went into the heated drying cabinet…..and from there, to the film editor.

Bob, Ian and I all operated the processor at times, and the thing that had the ability to give us the `horrors’, was to find the processor had stopped with the metal staples in the `acid’, and had been eaten away over-night.

Bob soon became a valued part of the news team, as we were soon running the main bulletin and 3 `news up dates’ 5 nights a week. After a time, Bob began to suffer the media disease of `itchy feet’, and it was time for him to move on.The move was the first of five he would make in his working life.…..and this one took him to TNQ 7 in Townsville as news cameraman. At this point he and I lost contact, but without either of us knowing, destiny was drawing our work paths together again.

After Bob’s TNQ stint he went to television in Wollongong, and from there to Canberra, where he joined the television section of the Federal Government’s Australian Information Service (AIS). The films produced by that small unit were exclusively for world television and not Australia.

In 1968 my family and I moved to Canberra and, after 4 years with Canberra’s then CTC 7, I joined the AIS TV unit and was once again working with Bob.
Coincidentally, the TV unit was headed by another Toowoomba cinematographer, the late Eric Kenning ACS.

The previous attack of `itchy feet’ he suffered in Toowoomba bit him again in Canberra, and in the very early 1980s, Bob swapped his cinematographer’s hat for that of a journalist within AIS, having graduated from what is now the University of Canberra.

Wearing his new hat he worked on the visit to Australia of Pope John Paul II and George Bush. The AIS became part of The Department of Foreign Affairs and Trade and they posted him to Canada and Thailand.

In 1997 he joined the Department of Veteran’s Affairs as Public Affairs Officer. As such, he received a request from America, asking if Australia would participate in producing a series of 60-second profiles on Vietnam service personnel, which would be screened nationwide under the title `A Grateful Nation Remembers’.

Bob asked me if I would be interested in making them; I said “yes.” He also told me that the same request was made of the other allied participants, but Australia was the only one who did. The reason behind the screening was that they were to be an apology, a very late apology, for the low level of enthusiasm and welcome shown to the returning veterans by the public. Not only during their coming home parades, but to the vets in general. Regretfully, Australia’s attitude was similar to that of America.

Sadly, in 2014 Bob was diagnosed with cancer, which, after encouraging indications at first, spread to two other parts of his body. He died in Canberra, surrounded by his family, on June 30 this year, he was just 69.

Although Bob enjoyed his time in journalism, there was a special spot in his heart for his years as a cinematographer. If you walk into his home today, you will see a Gold Tripod sitting proudly on the mantelpiece. It was awarded to Bob for his filming of the parachute jump of the Crown Prince of Thailand as he twisted and turned in a successful attempt to untangle his lines and allow his canopy to open fully.

The Award says ACS - 1977 Award for cinematography, Newsreel, Cinema and TV. Presented to - Robert Pounds for `Parachuting’.

Robert Edwin Pounds: as another Bob once said ‘Thanks for the memories’…..
Thank you old mate for mine…..I’ll miss you. Robert Hargreaves ACS.

Editor note: The ACS thanks Robert Hargreaves ACS for his very personal tribute to Bob, and you can read the full article on the ACS web site, just click on the link Read full Tribute HERE

Nominations are in: AACTA Award For Best Cinematography

In Television
A Place To Call Home Episode 1 - A Nagging Doubt Henry Pierce ACS – Foxtel
The Beautiful Lie Episode - 3 John Brawley – ABC
The Kettering Incident Episode 3 Ari Wegner – Foxtel/Showcase
WOLF CREEK Wold CreekEpisode 3 - Salt Lake Geoffrey Hall ACS – Stan

In Features
Girl Asleep Andrew Commis ACS
Hacksaw Ridge Simon Duggan ACS
Spear Bonnie Elliott
Tanna Bentley Dean ADG

In Documentary
Another Country Matt Nettheim
Changing Minds:The Inside Story Episode 1 Simon Morris, Cian O'Clery – ABC
DNA Nation Episode 3 Simon Morris – SBS
In The Shadow Of THe Hill Dan Jackson

The winners of the 6th AACTA Awards presented by Foxtel will be announced across two major events in Sydney at The Star Event Centre:
~ The 6th AACTA Awards presented by Foxtel | Industry Luncheon presented by Blue Post on Monday 5 December


~ The 6th AACTA Awards presented by Foxtel | Ceremony & Official After Party on Wednesday 7 December, and televised on Channel 7 with an encore screening on Foxtel.

Tickets now on Sale!!!

Mick Jones rides the Waves for Dean Lewis with the Sony PMW-F55

For Dean Lewis’ new single Waves, well-known Sydney-based Director and DoP Mick Jones decided to use his trustworthy Sony PMW-F55 as the main camera on the shoot.

Jones explained, “As an owner of an F55 it’s been my go to camera for almost four years now. It’s basically my workhorse camera and I used it once again on this music video project because of its versatility. It’s light and compact and I used it entirely handheld on this three-day shoot. I also used lightweight stills lenses to keep the overall size and weight down.”

On Waves, Jones and the crew had to be particularly quick, nimble and flexible so his choice of camera and lenses was key.

He continued, “I shot at multiple frame rates 25, 33 and 50 fps and wanted to have a 4K master so the camera ticked all those boxes. I shot with Zeiss, F mount lenses using an FZ-Nikon adapter. The FZ mount highlights how versatile this camera is. I can use PL, EF, or Nikon mount glass without any problem and it’s a matter of seconds to change the mount if need be. The fact that the camera has very low noise means I can use it in a variety of lighting conditions. Some shots on this shoot were lit, while others were done only with available light. So that meant I was dialling up the ISO to 2000 and above on some shots and the image handled it without any problems.”

Having worked continuously with the F55 for so long Jones is used to the results it can produce but he says others who are not so familiar with the camera are surprised by its quality.

Mick Jones with his Sony PMW-F55 on the set of Dean Lewis’ Waves music video

On the Waves shoot he had some particularly interesting comments, “So far the feedback on this music video has been extremely positive, with the overwhelming feeling that everyone likes the “cinematic” look we achieved. We very much set out to make the music video have the tone, feel, shooting style and performances of an indie movie referencing films like Eternal Sunshine of the Spotless Mind and Good Will Hunting. The music video has been chosen to premiere at the Clipped music video festival along side some amazing international talent, so the reaction so far has been very positive.”

There were lots of locations and lighting conditions to encounter on the Waves shoot with many of the more typical shots covering human interaction, intimacy, love and conflict.

Jones said, “We put the camera inside a clothes dryer at a laundromat as one of the opening shots of the video which was kind of fun. Good job it’s small enough to get in there comfortably! I also shot in a video game arcade location so mixed colour temps and exposure constantly but the colour held up amazingly in the grade. One shot we had inside a movie theatre with a 1.8 HMI blasting and flaring straight at us. Using the cinema screen as a bounce it lined up a nice exposure for the cinema mood. I also shot a lot of exteriors with available light in a pine forest location, tracking through the woods with the two cast members. As mentioned, it was all handheld and the great dynamic range of the F55 really came into play on many of these setups. Some high contrast interiors were shot with no lighting inside and a HMI out the window as a key light but also providing the ambient levels and falling off to shadow inside. The narrative pieces were blocked through and we generally covered it from a number of angles and with wide and long lenses. Keeping the camera floating and moving to give an energy to compliment the mood and energy of the shots.”


Wings for Life World Run is the unique charity event that raises money by running for those who can’t. The twist? Everyone runs worldwide, on the same day, at the same time creating a race of epic proportions with runners chased by Catcher Cars to literally catch the runners not running towards a finish line but away from the finish line and culminating in just one lone runner left at the end. The OB for the Australian run, held in Victoria, was provided by Videocraft.

Wings for Life World Run’s Australian production company was the award-winning Screencraft and their Michael Fardell explained some of the challenges involved in this year’s event, “The run kicked off at 1pm in Austria – home of Red Bull – which was 9pm in Melbourne. As the runners set off and try to get as far away as possible the Catcher Cars follow thirty minutes later. Bearing in mind the logistics with this event runners can get up to 80km from the start point so we needed the most flexible and nimble OB solution possible. I’m delighted to say Videocraft gave us just that.”

After discussions with Videocraft’s MD James Taylor the company provided not only their fully-loaded, state of the art OB truck for the event but also an ingenious and cost effective mobile broadcasting solution.

Fardell continued, “Videocraft had four wired OB cameras at the start line. Then, once the race started they had four mobile cameras on motorbikes following the runners and doing interviews along the way. The key here was that all the links were provided by 4G bonded streaming solutions.”

On the ground and on the motorbikes Videocraft deployed four Teradek Bond 2 Encoders that were securely linked to Teradek Sputnik servers in the cloud. The Sputnik servers were in turn downlinked to the Videocraft OB truck and decoded using Teradek Cube decoders.

Fardell added, “This was a brilliant, cost effective and efficient solution as we were able to broadcast the OB using 4G on the cameras and didn’t need to use helicopters which would have been tricky at night and very expensive. Once the footage arrived in Videocraft’s truck they switched and dealt with it as they would any normal camera source.”

Although the clever OB solution was completely reliant on mobile communication lines Videocraft were still able to factor in redundancy and mobile dead zones by using multiple carriers and extracting the highest possible data rates.

Fardell commented, “The data rates Videocraft were able to get were so high that we did the entire broadcast in HD. Quite a feat. Once we’d ingested the footage we then sent it to the Austrian world feed and received back the World Programme so people in Australia would watch the entire worldwide event. Again, quite a logistical feat.”

In total there were 34 outside broadcasts worldwide all with no fixed end point and all of which covered a significant amount of terrain. This complicated set of variables meant advanced planning was key.

Fardell explained, “Videocraft did their homework beforehand and checked there was mobile coverage with at least one carrier in all areas. The fact that there was enabled the four mobile cameras to be switched live in 4G and for me showed us the future for certain types of OB jobs. As this type of mobile solution becomes more robust it will only improve. This also means companies like Videocraft can offer live links for events at a reasonable cost that previously would have cost thousands and involved helicopters and satellite trucks.”

In reality, for what was a very broad event geographically it was only the first 500 metres that were covered by fixed wired cameras. The other 79.5km was all covered by Videocraft’s mobile 4G camera solution and OB truck.

Michael Fardell concluded, “I can’t speak highly enough about Videocraft or the mobile OB solution they provided. There were no drop-outs, black-outs or time lost for refueling. The only downtime during the entire event was a two minute battery change on the cameras. The 4G solution they provided us with was slick and efficient and proved to me that a new era in mobile broadcasting has arrived.”

CLICK HERE to see the Red Bull 2016 Wings for Life World Run »

Inaugural NZCS Awards

The inaugural NZCS Awards were judged a resounding success by the sellout crowd at the Heritage Grand Tearoom last Saturday and NZCS offers a huge thank you to everyone involved.

The event was led by master of ceremonies Antonia Prebble who helped make the evening entertaining and moving along smoothly with lots of breaks for socialising.

The climax of the evening was Ginny Loane winning NZCS Cinematographer of the Year for Mahana directed and written by Lee Tamahori, who was on hand to offer his congratulations.

Photo: Barrie Osbourne presents Ginny Loane with Cinematographer of the Year

Over dessert, guest of honour Tom Stern ASC AFC, surprised the audience by waving a roll of genuine 35mm film stock. Then, like a Clint Eastwood gunslinger he drew a mobile phone and GoPro from each pocket as a vivid illustration of how the world of cinematography is changing.

This view was thoroughly reinforced by the amazing range of clips that demonstrated that New Zealand produces world-class cinematographers across a wide range of genres.

The Australian cinematography community supported the occasion by sending special guests ACS National President Ron Johanson OAM ACS, and ACS National Vice President David Lewis ACS, and a number of Australian-based sponsors.

Check out all the Photos from the Awards HERE

At this year’s inagural NZCS Awards Christian Hipolito won not only the Student Film Award but also the Al Guilford Emerging Cinematographer Award for his movie Pound, which he shot entirely with the ARRI ALEXA camera.

Hipolito explained, “I was studying at and for our end of the year graduation film project we were given a budget to make two short films using an ARRI ALEXA."

For Hipolito the ALEXA’s ease of use played a huge part in the results he got from it when shooting Pound.

He added, “I am so lucky that the New Zealand Film and Television School decided to go digital two years ago and made the wise decision to buy an ALEXA as it played a huge part in the success of Pound a film where I was the DP and our budget was less than $8000.”

Christian Hipolito with his ARRI ALEXA on the set of the award-winning Pound.

Hipolito used the ALEXA at what he calls its “sweet spot” of 800 ASA throughout the entire Pound shoot, but he did also push the camera’s boundaries as he explained, “I remember there was a scene in our shoot when we placed the camera on a dolly; it was almost evening and our natural light was dissipating. I had to crank the ASA of the camera to 2000 and to be honest I was surprised to see the result - it was immaculate. Even when I was colour grading it, the image was perfect and I could hardly see any grain at all.”

For an exceptionally humble Hipolito this fast rising cinematographer was grateful for many things at the NZCS Awards as he concluded, “I felt incredibly proud to have won the Student Film and Al Guilford Emerging Cinematographer Awards given the incredibly high standard of the other entries. I’m truly grateful to the NZCS and to my teachers at the New Zealand Film and Television School. With that said I really have to also give credit to the ARRI ALEXA which produced an exceptional image quality with the organic look and feel of a film helping me to achieve that chiaroscuro style on all the scenes in Pound.”


In 1991 Tom Hanks presented the AMPAS Technical Awards, and that evening he was interviewed by Johnnny Carson where he described the ceremony where he presented “strange-sounding” things like the award to “Doctor Engineer Guido Cartoni for the repeatable fluid modules in fluid action heads”.

Fluid modules became well-known from that day.

Guido, after making his gyroflywheel heads for ARRI he designed the FL4, the first of a very long series of great professional fluid heads. Since those days, Guido has deposited over 30 different innovative patents. He will also be remembered for the award winning Dutch Head and Lambda, and the tools he invented for his friends Rossellini, Fellini, De Sica, Blasetti, Antonioni and famed cinematographers such as Di Palma, Rotunno, Storaro, just to name a few.

After a long and rewarding life he passed away in Rome at age 96 but managed last year to celebrate his company’s 80th Anniversary. He is survived by his wife Alicia and daughters Elisabetta and Beatrice.


Dear Ron,

On behalf of Elisabetta and Beatrice Cartoni ( the 2 daughters of Guido Cartoni ) who are managing the company, I would like to thank you for your sympathy and kindness.
They are fully committed to pursue their father’s legacy and dream.
New camera support systems are expected to be presented soon to the international market and all of them bring Guido’s name and his technical futuristic design.
Kindest regards

Luciano Belluzzo
Sales and Marketing Director

CN18-80 T4.4 LIS KAS S Compact Servo Workshops

We would like to extend the invitation to ACS members.

This affordable, light weight high optical performance (4K) zoom lens suits a wide range of shooting styles. Our presenter Daniel De Silva of Cloakroom Media, will the show off the attributes of the lens in terms of ease of use and flexibly that the EF style cine lens provides, with superior image quality and zoom controls to more traditional true cinema lenses….and at great value.

We will use the lens with a C300 MKII and C100 MKII on various rigs that support hand holding and shoulder support. The technology supported is beyond any competitive solutions: DUAL PIXEL AF, Image stabilisation, camera-to-lens servo power supply, automatic lens metadata acquisition for easy post-processing, and lens functions such as peripheral illumination correction.

We will also use the lens with non Canon cameras including the Sony FS7 with the Metabones adaptor.

Brisbane Invite ~ CN18-80 Workshop »
Sydney Invite ~ CN18-80 Workshop »
Melbourne Invite ~ CN18-80 Workshop »

The dates and locations…….

Nov 9 – ProCam Broadcast Hire.
22 Gore Street, Albion,

Nov 15 – Australian Film Television and Radio School (AFTRS).
The Entertainment Quarter, Building 130,
The Entertainment Quarter
Moore Park, Sydney"

Nov 17 - SAE Institute.
235 Normanby Road,
South Melbourne

DRONE Film Festival 2016 (Australian & New Zealand)

Touring Melbourne, Sydney, Brisbane and Auckland DFFANZ will bring audiences short films and cinematography captured via drones.

Showcasing 40 of the best short film submissions from across the world.

The festival takes place in:

Melbourne – ACMI Cinema, Thursday November 3rd
Sydney – Orpheum Cinema, Thursday November 10th
Brisbane – New Farm Cinema, Wednesday November 16th
Auckland – Academy Cinema, Thursday November 24th

“DFFANZ was created to showcase drone films and footage captured by professionals, film makers and everyday people to witness our extraordinary world from above in new height.”

CHECK OUT the DFFANZ 2016 Trailer

To learn more visit or call us at +61 400 202 202 or via -



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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!
Applications close 18 November 2016

Sharpen your eye as a cinematic storyteller and strengthen your professional knowledge, skills and practices in cinematography. (part time, 32 weeks)
Applications close 18 November 2016

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


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. 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.
19 - 21 Nov

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.
28 Nov - 2 Dec

A Practical and Hands on course. Over three days, you’ll light a set to various scripted scenarios under the tuition of a professional cinematographer.
31 Jan - 2 Feb 2017

To view all Cinematography Short courses visit the AFTRS Open website

© 2019 Australian Cinematographers Society