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December 2019 Edition
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A Message from the President
Greetings ACS Members, friends and colleagues,
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December is here and this will probably be our last National e news for 2019. The ACS, as we have come to know and love it, has seen a number of changes over the last 12 months, but we remain steadfast in our aims to continue the growth and reputation of the Society globally. Our members have continued to have success here at home and internationally, which is a sure sign of more positive activity in the future.
We have witnessed much, none more so than the plethora of those young cinematographers emerging and taking on those projects that require more responsibility and people management. This area has become vitally important given new technologies and smaller budgets that require a more flexible approach, of course without losing any visual quality.
I have had a love affair with the industry, particularly working in the camera department for over 50 years, and it encourages me greatly when I can witness young men and women being encouraged to make the camera department their calling. It’s true that if you work hard, pay attention, show respect and never turn up late, your career will prosper and the long term prognosis is always a good one.
We have become more aware of the gender parity, or lack thereof, and we are making ground to fix this problem, but the Society cannot do it alone and we need the help of our members to remain diligent.
Likewise with any of our members who are doing it tough, and for any reason may be finding life difficult. Please watch, listen and reach out to anyone who you feel needs a friendly and encouraging word, or maybe someone to just listen …….. sometimes that’s all it takes.
Most of all we are a Society of like-minded people who believe fervently in what we do and how best to do it, but that doesn’t mean that only one opinion is right, all opinions matter. It is our ability to see and understand both sides that really matters, as it opens are eyes to new ways of doing things. By nature Cinematographers are open minded and collaborative, and their opinions are sought after and respected.
This diversity of our visions has been demonstrated yet again in the ACS Awards this year. Work across the many genres the Society represents was truly outstanding, and made the job of the judging panels even more difficult than usual.
In March next year I will be attending the IMAGO INTERNATIONAL AWARDS FOR CINEMATOGRAPHY which will be held in Brussels, where the ACS entries for those prestigious IMAGO Awards 2020 will be:
- Feature Film -SONG LANG Bob Nguyen ACS (Victoria)
- TV Drama -VICTORIA Denson Baker ACS NZCS (WA)
- Student Cinematography - LANGUAGE – Jack Davies (SA)
- Emerging Cinematographer – yet to be announced.
Let’s not forget our ACS National Awards to be held in Canberra at the National Gallery on Saturday, 16th May 2020, hosted by the ACT Branch hot on the heels of their inaugural Branch Awards. This will be a fantastic event and there will be other events at the same time, so put the dates in your diary, on your smart watch thingy, just anywhere so you don’t forget. Here is the current schedule at this time.
NATIONAL AWARDS 2020 PROPOSED SCHEDULE
(as at 1st December 2019)
Thursday 14 May 2020
ACS Presidents and delegates arrive in Canberra
6.30pm ROSCO NETWORKING NIGHT - Venue TBC
Friday 15 May
AGM for Presidents and delegates 9.00am - 5.00pm
Q&A Screening 6.30pm - 10pm
Saturday 16 May
10.30am - 1.00pm “Meet the Nominees” – LOCATION TBA
6.00 pm - ACS NATIONAL AWARDS FOR CINEMATOGRAPHY @ National Gallery
AFTER AWARDS PARTY – LOCATION TBA
Sunday 17 May
Post Awards Brunch/BBQ/ Networking opportunity for members, sponsors and guests. 11.00am - 2.00pm
PM - Delegates depart Canberra
On a very serious note, we are more than aware of the terrible time being had by our farmers and the drought, along with the torrid bushfires that have caused so much heartbreak and grief. While we sit in front of the news coverage and watch in disbelief, share a thought for the work of our various news gathering crews and journalists, many of whom are right there on the front line, so that we can understand and come to terms with the actions of the brave fire fighters and those affected.
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In closing, with Christmas just around the corner, may I wish each and every one of you a holiday season with family and friends. My thanks to you all for allowing me to lead such a fine Society, one that I am so incredibly proud of.
Ron Johason OAM ACS
National President
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Once again, congratulations to the ACT Branch who held their own ACS Awards for Cinematography this year.
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Ian "Thistle" Thorburn ACS, National ACS President Ron Johanon OAM ACS & MarkWareham ACS at the ACT Awards
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LaCie is offering ACS members
two end user promos this quarter
Promo 1: Purchase a LaCie 2big RAID or a 2big Dock Thunderbolt3 and receive a complimentary 500GB LaCie Portable SSD USB-C valued at $179.
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Promo2: Purchase a LaCie 6big or 12big and receive a complimentary 2TB LaCie Copilot valued at $549.
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Call Out for 35mm Film Stock for Short Film
Film Title: Call History
Length: 8 min
Writer/Director: Lillian Paterson
Producer: Rachel Argall
Synopsis: Call History is set in the blistering heat of Sydney summer in one location – Claudia's bedroom. Tormented by the guilt of her new relationship, Claudia reaches out to the person she trusts most in the world: her first love, Zora. But when she calls Zora's phone no one answers. This short drama unfolds as Claudia leaves messages on Zora's voicemail, searching for answers. She's falling in love again, but this time with a man called Eli.
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Film Stock: Seeking old/unused rolls of 35mm film. Require 10-15 x 400ft rolls. 200ASA or similar, tungsten.
Kind regards,
Rachel Argall
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Eirini Alligiannis in conversations with...
"The Greek Herald"
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As Eirini Alligiannis roamed around New York City as an awe-inspired tourist, snapping away at the beauty of the city, she stumbled across a warehouse in an artists suburb called Five Points. The next thing she knew, she was filming an independent documentary on the destruction of the soul of New York’s art scene.
Eirini spoke to The Greek Herald about her career in the art scene that has taken her from the suburbs of Sydney to an exhibition in New York, as well as the success of her documentary and what it was like pursuing an art career in a traditional Greek household.
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The Post Lounge launches development and production arm
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The Post Lounge management team (L-R): Brock Smith, Bronwyn Ketels, MD and owner Kurt Royan, Dan Lake and founder Steve Cooper.
After 40 years as a post-production house, The Post Lounge is expanding into development and production, launching new arm Orange Entertainment Co.
The Post Lounge MD Kurt Royan, who became sole owner of the business earlier this year, announced the new side of the Brisbane and Melbourne-based company today at the Asia Pacific Screen Forum in Brisbane.
Orange Entertainment Co will handle both The Post Lounge’s investment in the projects it posts, as well as investing in development and production of projects across film, episodic and short-form, covering both narrative and factual.
Following on from The Post Lounge’s investment in Screen Queensland’s diversity-focused R.I.D.E. Feature Film initiative, a key of focus of Orange Entertainment Co will been on storytelling from new talent with different backgrounds, identities and points of view
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Miller Review - by Matthew Allard ACS
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Miller announced their new range of CiNX tripod heads just prior to IBC 2019. The CiNX Fluid Heads are available in three versions, the CiNX 3, CiNX 5 and CiNX 7.
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American Society of Cinematographers names Nominees in
Documentary and Television Categories
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The American Society of Cinematographers (ASC) has revealed its documentary and television nominees for the 34th Annual ASC Outstanding Achievement Awards. Winners will be announced at the organization’s gala on January 25, 2020, at the Ray Dolby Ballroom at Hollywood & Highland.
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Documentary*
- Fejmi Daut and Samir Ljuma – Honeyland
- Nicholas de Pencier – Anthropocene: The Human Epoch
- Evangelia Kranioti – Obscuro Barroco
Episode of a Series for Non-Commercial Television
- David Luther – Das Boot, “Gegen die Zeit” (episode 6) (Sky)
- M. David Mullen, ASC – The Marvelous Mrs. Maisel, “Simone” (Amazon)
- Chris Seager, BSC – Carnival Row, “Grieve No More” (Amazon)
- Brendan Steacy, CSC – Titans, “Dick Grayson” (DC Universe)
- Colin Watkinson, ASC, BSC – The Handmaid’s Tale, “Night” (Hulu)
Episode of a Series for Commercial Television
- Dana Gonzales, ASC – Legion, “Chapter 20” (FX)
- C. Kim Miles, CSC, MySC – Project Blue Book, “The Flatwoods Monster” (History)
- Polly Morgan, ASC, BSC – Legion, “Chapter 23” (FX)
- Peter Robertson, ISC – Vikings, “Hell” (History)
- David Stockton, ASC – Gotham, “Ace Chemicals” (FOX)
Motion Picture, Miniseries, or Pilot Made for Television
- John Conroy, ISC – The Terror: Infamy, “A Sparrow in a Swallow’s Nest” (AMC)
- P.J. Dillon, ISC – The Rook, “Chapter 1” (Starz)
- Chris Manley, ASC – Doom Patrol, pilot (DC Universe)
- Martin Ruhe, ASC – Catch-22, “Episode 5” (Hulu)
- Craig Wrobleski, CSC – The Twilight Zone, “Blurryman” (CBS All Access)
For information regarding the 34th ASC Awards for Outstanding Achievement in Cinematography, visit www.theasc.com or call 323-969-4333.
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CAMERIMAGE 2019 ~ Report by Simon Woods
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Camerimage continues to be the ‘mecca’ for cinematographers around the world and it has been a lifelong goal of mine to attend.
Thanks to the generous scholarship provided by the Drew Llewelyn family through the ACS this became a reality.
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Camerimage is a multi-faceted beast – a film festival, a conference (of sorts), and a trade show displaying the latest tech from most of the major camera and lighting companies. It is also an annual gathering of so many of the world’s great cinematographers who many will know only from the credits of their favourite movies or from the pages of American Cinematographer magazine. This year saw the return of the festival to its home city of Torun where it all began 27 years ago. Torun is a gorgeous medieval village bathed in melancholic, moody light and has endless charm and character, not to mention the amazing food in its many restaurants.
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Returning to Torun (and therefore ensuring the survival of Camerimage) made opening night extra special this year, launched with a screening of Roman Polanski’s new film “An Officer and a Spy”. This was followed by a relentless week of screenings, workshops, and seminars so I can only mention a few highlights.
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Having basically grown up in a television station and seen the industry warts and all from an early age I’m not prone to being star struck but it was hard not to feel some awe when Vittorio Storaro walked in. For almost two hours he bounced between Bertolucci and Plato, Coppola and Woody Allen as he told the story of his career. He then spoke about his new range of LED fixtures inspired by the muses of Greek mythology and how lighting was finally evolving although still far behind the substantial advances in camera equipment in his view.
Other highlights included a detailed color science session with Kino Flo founder Frieder Hochheim on how different camera sensors respond to light, Harbor Studios on Grading for Scorcese’s The Irishman, and Zeiss’s launch of the new Radiance lens series featuring Rodrigo Prieto and the short film he had made to showcase the lens characteristics. Of course it wouldn’t be Camerimage without an appearance by the mercurial Chris Doyle in tandem with Ed Lachman talking on a broad and free-flowing range of topics - ever irreverent, politically incorrect and artistically inspiring. Another highlight was an audio-visual installation presented alongside the festival by British director Peter Greenaway (also receiving a Lifetime Achievement Award for Directing).
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From the avant-garde to the fully mainstream - Terminator: Dark Fate was an gigantic production filmed in several countries and was discussed by DP Ken Seng together with his 1st AC and Gaffer. Filming mostly in Origo Studios in Budapest they had up to 21 camera packages on set. This was contrasted by the many Q&As from filmmakers of much smaller projects across all genres - art house, docos and music videos, including a screening/Q&A of Seberg shot by Rachel Morrison for Australian director Benedict Andrews. Once again IMAGO hosted a range of sessions on pertinent topics such as the latest technical requirements of Netflix (HDR), and Diversity and Inclusion on film crews.
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The winner of the prestigious Gold Frog went to Larry Sher from JOKER as part of the 4 hour closing ceremony. This event also included appearances by Quentin Tarantino and his regular DP Robert Richardson (3 x Academy Awards) along with Richard Gere, Edward Norton and this year’s Lifetime Achievement Award for Cinematography recipient John Bailey.
Every night one of the major companies (Panavision, Arri, Hawk..) threw a big bash. Thanks to the ACS scholarship I was usually able to score an invite and chat with random (mostly) European cinematographers, directors, film critics and students. Once again Camerimage delivered its magical combination - both a celebration and a study of the art of cinematography catering to all levels from student to expert. Congratulations to Marek Zydowicz and his team who were able to announce the construction of a new International Film Centre in Torun which will become the home of Camerimage in future years.
Simon Woods is director and cinematographer based in Brisbane. He won a Silver Award in the Local Commercial Category at this year Qld ACS Awards.
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You know your interests and you've set your goals. Chosen carefully, the right course will bridge the two and set you on your way.
Whether it's a postgraduate degree, an introductory short course, or something in between, we will help you find your perfect match.
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ENJOY THE VIEW & 15% OFF* THE BEST AVAILABLE RATE OF DAY!
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1300 785 453 / hotels@viewhotels.com.au
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The Australian Cinematographers Society
@austcine
welcome
Aaron McLisky ACS
as our current instagram host.
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EXCLUSIVE FREE INTERVIEW WITH THE IRISHMANCINEMATOGRAPHER
RODRIGO PRIETO AMC ASC
Digitally streaming on Netflix from November 27 2019, 'The Irishman' is Martin Scorsese's epic saga of organised crime in post-war America, as told by a hit man. Thrillingly shot and superbly acted, it has been widely applauded as one of the director’s best-ever films, with pulses of violence, betrayal, dishonesty and emotional bankruptcy coursing through its icy veins.
For the cover feature of its November 2019 issue (96), British Cinematographer magazine spoke exclusively in-depth with the movie's cinematographer, Rodrigo Prieto AMC ASC, and we're offering you the chance to read the interview in full for FREE.
Amongst many fascinating insights into his involvement on the production, Prieto told us about collaborating with Scorsese for a third time, how the ‘three-headed monster’ used for de-aging the actors was deployed, and why the visual tone is like a home movie.
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By entering your details to request access to our exclusive interview with The Irishman cinematographer Rodrigo Prieto AMC ASC, you are giving your consent to these being stored by British Cinematographer for the purpose of sending your information (including marketing communications) which we think may be of interest to you. British Cinematographer will not share your information with any third party. At British Cinematographer we take your privacy seriously. For more information read our Privacy Policy.
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AC MAG - DECEMBER 2019 Edition out now
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National Major Sponsor
National Platinum Sponsors
National Gold Sponsors
National ACS CineKids Sponsor
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