I am told all good things must come to an end, and so I inform you that we will be losing the fantastic services of Lizz Vernon in her role as National newsletter editor and National web manager. Lizz has performed both these roles and many others for the last decade, now her “real world” commitments no longer allow her to continue. However, Lizz has agreed to continue until the end of the year, so the ACS needs to find someone to fill her rather large shoes, although she insists they're not. I am hoping that there is someone out there who is prepared to put up their hand for both roles or at least one. Let me know please.
Also, Mark Morris has found it impossible to continue his role as our New ACS web site project manager and we need someone who can take over this role and complete the overseeing of this important project. Again, I shout out to anyone who feels they would be prepared to take on this vital role and liaise with the Web construction team once they have been signed on. Until we fill this role we will need to operate on our old web site which is hardly adequate.
Until next time Ron Johanson OAM ACS
National President
A Farewell from the Editor
Farewell from the editor...
I'd like to say a very special thanks to Spider, Bathurst, Heidi and especially Ron for inviting me to get involved with the website about a decade ago .
My involvement in both the NSW & National Committees as Webmaster and Newsletter Editor has given me so many opportunities to get to know and work with folks in the ACS all over Australia and beyond and what a fantastic network of friends I have gained from those travels, not only with committee members but also with fantastic sponsors all over the world - so thanks for the experience and the memories.
As Ron has mentioned above please let him know if your keen to have a go and keeping us all informed of what's going on around the globe. It's a great way to get involved and it's time I gave someone else a turn and besides as you can see they are only small shoes to fill...
All the best,
Lizz
PS: To "The Ambassador - David Brill ACS" , Thanks for the Pic
Hi Everyone
I have spent the last 7 weeks shooting in the West Midlands in the UK, the new feature film for UK auteur director Terence Davies. The film is called Benediction and is about the life of WW 1 poet Siegfried Sassoon played by Jack Lowden and the older Sassoon played by Peter Capaldi. The film spans 1914 - 1960. We’ve shot in some beautiful stately homes and here I’m pictured shooting at Downside Abbey in Somerset. Sadly, all good things come to an end, and that’s a wrap on Benediction for Terence Davies. What a brilliant crew I had! Peter Trevena as gaffer and creator of light, Chris Hughes as excellent grip and collaborator, talented Jessie Brough on all things focus, Mitch Payne as brilliant 2nd AC and all round lovely person, James Hogarth as awesome DIT and the wonderful Ella Brewin as camera trainee. I loved the crazy 7 weeks we spent together. So so many good stories!
Brad Shield ACS ASC Very excited to be heading home. Farewell Berlin.
VALE HELEN REDDY
AUSTRALIAN TRAILBLAZER, SINGER-SONGWRITER HELEN REDDY WHOSE RECENTLY RELEASED BIOPIC SCREENED FIRST AT TIFF 2019 SADLY PASSED AWAY ON SEPTEMBER 29, AGED 78.
She will forever be remembered for her fearlessness, talent, compassion and writing the defining anthem of the 1970s feminist movement, I Am Woman.
The Melbourne-born singer won a Grammy award for the hit song and continued to enjoy success with other pop tracks including ‘Delta Dawn’, ‘Angie Baby’, ‘Leave Me Alone (Ruby Red Dress)’ and ‘Ain’t No Way To Treat A Lady’.
Her inspiring journey from arriving in New York as a 24-year-old single mother with only $230 in her pocket to becoming a chart-topping recording artist in the 1970s has been immortalised in the empowering 2020 film I Am Woman.
Australian director Unjoo Moon’s great passion and respect for the singer was reignited after a chance encounter with Reddy at an LA gala. From there, Moon began the development of the film with Goalpost Pictures. I Am Woman was lauded by international critics at the world premiere of the film at TIFF 2019 and features a breakout performance from Australian newcomer Tilda Cobham-Hervey.
I Am Woman celebrates the legacy of Reddy and can be viewed on Australia’s leading streaming service Stan and in select US theatres, virtual cinemas through Kino Marquee, digital platforms and video on demand.
Watch the trailer:
Director: Unjoo Moon DOP: Dion Beebe ACS ASC
Virtual production taking centre stage in Adelaide
South Australian company Novatech’s Virtual Production set-up on the Adelaide Studios sound stage, photo by David Solm.
The type of cutting-edge technology behind such hits as Disney’s The Mandalorian is now available to filmmakers shooting in South Australia, with local industry leader Novatech bringing new Virtual Production technology to the state.
Rising Sun Pictures VFX and Bidding Producer Ian Cope, SAFC CEO Kate Croser, Minister for Innovation and Skills The Hon. David Pisoni MP, Intraware Director Wayne Morphew and Novatech Director Leko Novakovic at the recent Adelaide Studios demonstration, photo by David Solm.
MILLER GIVEAWAY! Acclaimed film director Mark Toia interviews about his film MONSTERS OF MAN, with Joseph White.
WIN one of TEN Director Cut 4k streamed copies of the new feature film MONSTERS OF MAN, releasing worldwide on 8th December. TEN lucky followers can win simply by watching a video.
HOW TO ENTER:
1. Watch the short interview (linked to post).
2. In the comments, mention a friend and answer the question: How many Miller Tripods did Mark Toia use on the film set?
MONSTERS OF MAN synopsis:
A robotics company teams up with a corrupt CIA agent trying to position themselves to win a lucrative military contract. They illegally airdrop 4 prototype robots into the middle of the infamous Golden triangle to perform a live field test on unsuspecting drug lords that the world will never miss. Volunteer doctors witness the murder of a village and become the targets.
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Toia talks in depth how he made the movie, the equipment he used and how he’s launching it. This interview is inspirational to those aspiring movie makers who are looking for great and successful examples.
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The competition closes on 31st October 2020 at 23:59 [London (GMT)]. Winners must follow the above rules and will be selected by a draw from the qualifying entries. Winners will be announced on Facebook and Instagram on November 5th 2020. They will be requested to provide their contact details once selected to receive their prize - the 4K Directors cut of MONSTERS OF MAN. Good Luck!
To attend this event you MUST be a resident of Victoria.
Following up on the successful GCAP Empowering the Bystanders presentation, WIFT Australia will be facilitating ScreenMATE, Australia's first screen specific bystander training. Registration is open for folks from the Victorian screen community. ScreenMATE is based on the successful MATE Bystander Program delivered by Griffith University. It is an educational workshop designed to teach community members how to recognise abuse and harmful behaviours with a gendered violence lens. Participants gain confidence to speak out and offer help. The training brings each individual into the conversation to think critically and with empathy about the root attitudes and beliefs that underpin harmful gender stereotypes. The trained facilitators create a safe space to allow individuals to share their experiences and opinions about these issues. REGISTER HERE
70+ Live Sessions; 200+ Speakers; 2 Stages
AFM’s Conferences, Panels, Workshops, Classes, Conversations and Presentations will guide you in taking your film from concept to screen while navigating the rapidly evolving industry. Preview the Stage Schedules.
The Next Insider Knowledge is a Feature Documentary Success Story then … take a luxurious free weekend holiday
Insider Knowledge is a VIP initiative launched in 2020 to benefit Australian screen industry professionals. These LIVE events are hosted by Dame Changer each month during COVID free of charge.
Releasing a documentary in cinemas is tough enough under normal circumstances. During Covid, with social distancing limiting attendance and audiences still tentative about the cinema experience, it’s a downright brazen act.
Like the women in the documentary, this session promises to be full of raw energy and passion - a testament to what women can achieve when they work together.
Dame Changer Members will have access to the recorded event.
Ahead of the panel at 12:30pm AEDTon 12th November you can see the film. Tickets are available for the Natalie Miller Foundation BRAZEN HUSSIES Special Preview Screening in Sydney on 2 November or in general release around Australia* from 5th November (*Melbourne dates pending).
Ahead of the panel at 12:30pm AEDTon 12th November you can see the film. Tickets are available for the Natalie Miller Foundation BRAZEN HUSSIES Special Preview Screening in Sydney on 2 November or in general release around Australia* from 5th November (*Melbourne dates pending).
Vincent Monton is understandably chuffed that Australians have the chance to discover – or rediscover – his telemovie Point of No Return 25 years after it premiered on Network 10.
Umbrella Entertainment released a digitally restored version of the drama written and directed by Monton, which starred Marcus Graham and Nikki Coghill, on DVD and VOD this month.
Graham played the dual roles of Grady, a former soldier who is traumatized by his experiences in war and prison, and his murdered brother Kristian.
Grady escapes from custody after attending Kristian’s funeral. Coghill is Kate, the girlfriend of the protagonist who later hooked up with his brother.
ANDREW LEVITAS' „MINAMATA” TO CLOSE THE 28TH EDITION OF EnergaCAMERIMAGE WITH JOHNNY DEPP ACCEPTING AN ACTING AWARD!
Art can imitate life’s complex and idiosyncratic stories in many ways, making them emotionally resonant for audiences throughout the world and their messages universally recognizable. But it can also heighten the terrifying mundanity of mankind’s many dark hours to the extent that the cinematic handling of the real stories about the many fallacies of human nature can become art itself. This is only one of numerous cultural and social issues director Andrew Levitas tackles in his sophomore feature Minamata, a gruesome tale of the legendary war photographer W. Eugene Smith’s artistic war against the negligence of a powerful corporation dumping toxic chemicals to a river nearby Japanese city of Minamata. Smith’s trail of tears to document the effects mercury poisoning had on the people was captured in beautiful yet artistic and subtle tones by the famed cinematographer Benoît Delhomme, producing yet another film that is visually astounding and emotionally evocative at the same time.
It gives us great pleasure to announce that Minamata will be the closing film of the 28th edition of the International Film Festival EnergaCAMERIMAGE. The film’s screening will take place on November 21st, in Toruń’s impressive CKK Jordanki Festival Center, following the Festival’s Closing Gala.
Simon Murphy promoted to FUJINON national sales manager at FUJIFILM Australia
Industry veteran Simon Murphy has been promoted to the role of national sales manager for all FUJINON optical products in Australia. Murphy’s remit now includes all FUJINON products from long range surveillance lenses and CCTV lenses through to high-end broadcast and cine lenses. He is also responsible for the sales of the broad range within FUJIFILM’s Industrial Products Division.
Murphy has essentially been with FUJIFILM Australia since 2006 where, in amongst other roles, he successfully managed their Recording Media Division for over a decade. In addition to FUJIFILM he has also enjoyed considerable success with other major international companies including Sony, Panasonic, JVC, AGFA and BASF.
Simon Murphy said, “It’s an exciting time to be part of the FUJIFILM Australia team as, despite the obvious challenges in the market, we have some excellent new products including our new UA125x8 and UA107x8.4 products – the marquee offerings in our 4K Plus Premier lens range - and our range of 8K lenses which enable sportscasters to futureproof better than they ever have been able to before. Then there’s the new flagship wide-angle Premista 19-45mm zoom lens - the third model to join the Premista Series of zoom lenses for cinema cameras that support large-format sensors.”
The newly developed Premista19-45mm is a wide-angle zoom lens that covers focal lengths from 19mm to 45mm with a constant T-stop of 2.9. Featuring large-diameter aspherical lens elements and a unique zooming system, the lens achieves an astonishing level of edge-to-edge sharpness.
Murphy concluded, “I’m very much looking forward to meeting all FUJIFILM and FUJINON Australia customers again face-to-face as soon as the situation allows it. In the meantime anyone who would like to contact me can do so at any time on 0419 770 167 or at simon.murphy@fujifilm.com.”
Here’s an advance look at the January 2021 issue of American Cinematographer, which marks the new year — and AC’s whole new look! — with a focus on the future of movies. Also featured are Tami Reiker, ASC’s work on One Night in Miami and a dive into a trio of international productions. (Please note: All articles are tentative and subject to change.)
Caleb Deschanel, ASC explores the virtual set of The Lion King. (Photo courtesy of Disney Enterprises, Inc.)
The Future of Movies
ASC members and other prominent filmmakers forecast the evolution of tomorrow’s motion pictures.
John Simmons, ASC on the necessity of inclusive hiring.
The future of shooting on film.
The state of movie distribution and exhibition, and the road ahead.
Safety protocols and new methodologies — a global shift in the age of Covid-19.
Virtual production — what game-engine technology means for the future of visual storytelling.
NSW President Carolyn Constantine ACS takes centre stage @ the NSW ACS 2020 Awards over the weekend.
Oh Wow, What a fantastic night filled with wonderful images. I'd like to personally congratulate all our 2020 NSW ACS Winners, and newly Accredited NSW Members.
With huge appreciation I thank Ray Martin AM for guiding us through our 2020 live-streamed Awards as our host. Thank you Dion & Unjoo for your surprise entertainment and sage words as our guests of honour.
Many thanks Ron for your support and for dropping though Zoom, and to Geoff, Tim and their team from Sonic Sight who handled all our needs.
To our viewers, and there were so many, you all tuned in from around the globe, at home and abroad, we are so glad you could join us, thank you for your great feedback and interaction - we loved seeing all the love and well-wishes in the chat room, it really made the night feel special.
Last but not least I would like to thank our entire NSW Committee I appreciate all you do and the effort that has gone on behind the scenes in making this event such a wonderful experience.
Canon’s EOS C70 brings the power of the RF Mount to its Cinema EOS System range for the first time.
Canon’s smallest and lightest Professional Cinema camera launches alongside a new EF-EOS R Mount adapter to unleash the full creative potential of Canon’s entire EF-Series and RF-Series lens line-up.
Canon Australia has launched the EOS C70 – a compact, versatile video camera that is the first to combine the powerful image quality of Canon’s Cinema EOS System range with the portability and flexibility of its EOS R line-up. For the first time, filmmakers using a Canon Cinema EOS System camera can enjoy the incredible possibilities of the powerful RF-Series lens range.
The EOS C70’s powerfully compact design – complete with professional interfaces and input/output terminals and ports – makes it perfectly suited for a broad range of uses including documentaries, productions of all sizes, news gathering, and events such as weddings. High production social media content has also never been easier to capture thanks to the EOS C70’s vertical shooting capability. The EOS C70’s compact size yet expansive features enable filmmakers to shoot handheld or on a drone or gimbal, giving them enhanced creative freedom. What’s more, it offers multiple recording formats to SD cards – including 4K up to 120 fps in 4:2:2 10-bit in XF-AVC, and MP4 in HEVC (H.265) or H.264 – providing filmmakers with the ability to meet diverse production requirements.
Also launching is the Canon Mount Adapter EF-EOS R 0.71x – an EF Lens to RF Mount adapter giving filmmakers the freedom to use the entire EF lens line-up1 with the EOS C70, optimising compatibility across two of Canon’s most popular lens lines.
The EOS C70 bridges the gap between two Canon product portfolios – the Digital Interchangeable Lens camera line-up and the powerful Cinema EOS System cameras – with the short flange back design of Canon’s RF Mount making the compact design of the EOS C70 possible. While the camera is the smallest and lightest in Canon’s Cinema EOS System line-up, it’s packed with features that support a versatile range of professional video requirements. It has 13 assignable buttons, a multi-functional
Australian stories need strong rules and support to continue reaching audiences. Take action using this tool to contact Prime Minister Scott Morrison.
With the introduction of COVID safety guidelines, the screen industry is getting back to work and is ready to contribute to rebuilding the national economy.
But the federal government is putting that at risk. Lack of meaningful action on content rules, financial incentives, and funding for public broadcasters and screen agencies is costing jobs and driving businesses to the wall.
It would be great to hear first hand from Minister Paul Fletcher regarding the scrapping of the Australian local production quotas as it could well have long term ramifications for workers in our sector.
FULLY SUPPORTED BY THE ACS & OTHER GUILDS
Following on from the documentary 'The Show Must Go On' comes Screen Well,
a series of webinars tailored for crews, creators, performers and heads of department in film and TV.
The APDG has been working in consultation with Film Art Media (the filmmakers behind acclaimed ABC documentary The Show Must Go On) to devise a series of mental wellbeing webinars for our members. APDG members are invited to register or learn more about the second of these sessions, Create Well via the link below.
The APDG has been working in consultation with Film Art Media (the filmmakers behind acclaimed ABC documentary The Show Must Go On) to devise a series of mental wellbeing webinars for our members. APDG members are invited to register or learn more about the second of these sessions, Create Well via the link below.
This session will be customised to help support the wellbeing of key creatives in the screen sector. Designers, writers, directors, editors, composers, and producers often spend many hours a week creating in isolation, sometimes on passion projects for years which can be harmful to wellbeing. Challenges such as; identity, imposter syndrome, rejection, self worth/self critic, expectations, vicarious trauma, and definitions of success and failure often compound wellbeing issues.
This session aims to provide information, support and skills to strengthen the wellbeing of key creatives so that they can live more fulfilling and connected creative lives.
SESSION: Create Well DATE: Friday November 13, 2020 TIME: 1pm AEDT / 12pm AEST COST: FREE RSVP: Via the link below.
AC Magazine ~The ACS Flagship Magazine ...Out Quartly
Missing something... If you've moved remember to let your ACS Branch Secretary know your new address in order to continue to receive your copy of AC MAG
CHANGES TO AUSTRALIA'S SCREEN TAX OFFSETS
The Australian Government announced changes to Australia's Screen Production Incentives and guidelines. A snapshot of some of the main changes to the Australian Screen Production Incentives are:
The Post, Digital and Visual Effects (PDV) Offset minimum qualifying Australian production expenditure spend will be increased from AU$500,000 to AU$1 million. These amendments will come into effect for productions that commence post, digital and VFX activity on, or after 1 July 2021.
The rate of the Producer Offset will be standardised at 30 per cent for eligible film and television production, regardless of the release platform (currently it is 20% for TV and 40% for theatrical feature film).These amendments will come into effect for productions that commence principal photography on, or after 1 July 2021.
The main changes to the Location Offset & the Location Incentive Program guidelines are:
the Location Incentive seeks to encourage international production companies and studios to commit to film multiple productions over multiple years in Australia to support continued employment and investment.
to be eligible for the Location Offset & Incentive projects must genuinely be ‘footloose’, that is not already locked in to undertaking production in Australia.
to be eligible projects must commit to undertaking training and skills development activities; and
state/territory government support is required to be commensurate with the benefits that the production will bring to that state or territory.
These amendments will come into effect for productions that commence principal photography on, or after 1 July 2021 and the changes have been implemented to clarify the objectives of the Location Incentive Program and help the Australian Government continue to achieve the strongest outcomes for the government, production studios and the production industry.
Access the revised Location Incentive Program Guidelines here.
As noted in the Minister for Communications, Cyber Safety & the Arts' announcement, the Australian Government has made the decision to pursue changes to the Australian Screen Production Incentive in response to the feedback received during the Government's Supporting Australian stories on our screens Options Paper consultations.
Ausfilm has outlined what these changes are in further detail here.
As the Australian Screen Production Incentive is underpinned by the Income Tax Assessment Act 1997 and changes will be implemented through legislative amendments before they come into effect.
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