A Message from the President
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Greetings ACS members colleagues and friends,
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Boy, time really does fly!!
Here we are in February and well on our way to our National Awards in Canberra hosted by Miguel Gallagher and the fantastic team at the ACT Branch.
The venue has been confirmed at the National Gallery, which promises to be a spectacular evening, so I am hoping to see as many of you there as possible as it presents the opportunity for a long weekend getaway. There will be of course other events that are still being finalised, but the booking page will be up and running on the web site soon and you can reserve your places to a number of fantastic free events.
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The prestigious ASC Awards have been held in Los Angeles and Roger Deakins OBE BSC ASC was successful in the Feature category with Sam Mendes wonderful film 1917. Congratulations to Roger and all the cinematographers who were also successful on the evening.
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One special Award went to a very special person, who is loved, admired and respected by so many from around the world, and I speak of Patty Armacost who was made an ASC Honorary Member. This wonderful woman has welcome thousands to the ASC Clubhouse over decades and her smile is something you will never forget. With this honor, she joins Thomas A. Edison, George Eastman, and the Apollo 11 astronauts who first filmed the Earth from the surface of the moon. Good on you Patty, no one deserves this honour and recognition more than you.
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L-R Delphine Figueras, Suki Medencevic ASC and Patty Armacost.
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Later this month the National Awards judging panel will meet at the ACS HQ to determine the recipients of the Gold Tripods, Awards of Distinction and the Mill Award for the 2020 Cinematographer of the Year. Also at that time a seperate session of the Hall of Fame Committee will determine this years inductees, along with any Life Membership and Ron Windon ACS Contribution Award recipients.
In the coming weeks we will call for applications for the Drew Llewelyn ACS Camerimage Scholarship, the John Leake OAM ACS Emerging Cinematographer Award and the Bob Miller - ACS Award for Technical Innovation. So between now and when we officially call for applications put your thinking caps on.
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A special CONGRATULATIONS to NSW member Eirini Alligiannis whose short film Louie (KR.ONE) Gasparro 5POINTZ has received an Award of Merit in San Diego, California at the Impact DOCS Awards. This is hot on the heels of success as a Semi Finalist for Best Cinematographer at the Canadian Cinematography Awards and Official Selection in the Cannes International Independent Film Festival-CIIFF for the same film. Well done Eirini, we are all very excited for you.
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Eirini accepting her award at The 7th Chain Fil Festival in NYC for Best Documentary Super Short.
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SA member Claire Bishop was the recipient of the 2019 John Leake OAM ACS Emerging Cinematographer Award which was supported by our National sponsor LaCie, shared this comment with us
“I was completely astonished. This award is so beneficial for aspiring cinematographers. It’s the push of encouragement, sense of belonging and connection with the industry I needed. I encourage anyone who thinks they aren’t ready to apply to go for it!”
Welcome home to our newsletter editor Lizz Vernon who has been visiting family in Los Angeles and Guatemala. Nice to have you home Lizzie.
Until next time
Ron Johanson OAM ACS
National President
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POSTCARD FROM NICOLA DALEY ACS
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Best way to beat blue Monday! Go down to an ice cream van in Margate meet Suggs and Fat Boy Slim and get a free ticket to the Hi-Tide festival!
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FUJINON launches the “Premista” series of high-quality cinema lenses
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Capture your Cinematic Vision
The Premista28-100mm, the first of the series to be released, is a standard zoom lens covering a 28-100mm focal length. This is the equivalent of 6 prime lenses (*1), which saves both time and cost caused by changing lenses frequently. Thanks to the adoption of a large-diameter aspherical lens and a new focus/zoom system, the Premista achieves stunning optical quality from the center to the corners, allowing the cinematographer to capture the feeling and texture of the subjects. The lens design contributes to the wide dynamic range by suppressing unwanted flare and ghosts thanks to Fujifilm’s original optical calculation software.
*1 Standard 6 lens cine prime set of “29mm, 35mm, 40mm, 65mm, 85mm, 100mm”
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Studios Re-up Kodak Deals to Keep Celluloid Film Alive - by Carolyn Giardina
The Hollywood Reporter
In an increasingly digital age, many directors still prefer to shoot on celluloid film.
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'Once Upon a Time in Hollywood'
Film traditionalists can breathe a sigh of relief.
The five major studios — Disney, NBCUniversal, Paramount, Sony and Warner Bros. — have inked new deals with Kodak, the film manufacturer said Wednesday, committing to buying undisclosed amounts of motion picture celluloid and thus guaranteeing its continued use for the foreseeable future.
The first such pacts between Kodak and the studios were struck in early 2015, roughly 18 months after the film manufacturer emerged from bankruptcy protection. At the time, its film sales had plummeted as the use of digital imaging technology rose, and the agreements were designed to keep Kodak’s film manufacturing business going.
The initial 2015 deals were believed to have covered two years, and the latest pacts, which were set to be officially unveiled Wednesday night at the Kodak Film Awards, are believed to span a longer period. Lifetime achievement honoree Quentin Tarantino and Auteur Award recipients Greta Gerwig and Noah Baumbach shot Once Upon a Time in Hollywood, Little Women and Marriage Story, respectively, on film, as did J.J. Abrams for Star Wars: The Rise of Skywalker and Martin Scorsese, who relied on a combination of film and digital for The Irishman.
Tarantino and Abrams have been particularly vocal proponents of celluloid, along with Christopher Nolan, whose upcoming Tenet, along with Cary Joji Fukunaga’s James Bond movie No Time to Die, lead the 2020 releases that ensure that shooting on film is not going away anytime soon.
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Seen at the BSC Expo; Alexis Castagna with Richard Andry from the French Society and devoted rugby fan.
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Dean Semler ACS ASC sends his greetings to the ACS Membership from LA, especially to National President Ronny.
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RED Courses
Sydney Feb 1 & Melbourne Feb 8
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Elen Lotman graduated summa cum laude from the Baltic Film and Media School with a BA in Cinematography and has shot numerous documentaries, short and feature films. For various film projects, she has travelled to Japan, Tibet, China, Thailand, India, Nicaragua, Costa Rica, Finland and the Russian Arctic. Since 2005, Elen has been teaching Cinematography at the Baltic Film and Media School, becoming in 2013 the Head of the Film Department and in 2015, the Head of Arts Study Area. Her PhD research focuses on aspects of human perception and cinematography. She is the President of the Estonian Society of Cinematographers (ESC) and a Member of the Board of IMAGO, the International Federation of Cinematographers.
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ENHANCED DIVERSITY EFFORTS
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There are too few women in Danish film. That is why the Danish Film Institute is working with industry organisations to create initiatives for a better gender balance. A rare example of an almost all-female ensemble, both in front of and behind the camera, is Annika Berg's 'Team Hurricane,' a "punk-chick-flick" about eight teenage girls' summer in a youth club. Photo: Adomeit Film
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The Danish Film Institute actively works to strengthen and develop a vibrant and diverse film culture. In 2014, the DFI, in partnership with the industry, took the initiative to enhance these efforts, focusing on ethnicity, gender and social background.
Having a diverse film culture is vital for Danish film to sustain its quality and cultural importance. For films to remain relevant to audiences, we need more and different voices.
Among new talents and established filmmakers alike, efforts must be made to ensure broader representation in terms of ethnicity, gender and social background. The stories that are told, and the ways in which they are told, must be built on diverse experiences and artistic visions.
The Danish Film Institute has worked closely with the industry’s organisations since 2014 to ensure greater diversity in Danish film, both in front of and behind the camera. This work includes initiatives to document, raise awareness, educate and help change attitudes and unconscious patterns of behaviour – with a focus on these areas:
Ethnic diversity
Gender diversity
Social and geographic diversity
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Vaxis Atom 500 Wireless HDMI Video Transmission System 1080P 300 Feet 5G Image Transmitter and Receiver Kit
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FLEXIBLE MONITORING
Cellphone + iPad + Monitor multiple monitoring-end ATOM 500 offers a plethora of ways to monitor your image.The ATOM 500 offers traditional connection through HDMI as well as a connection through the ATOM App to monitor via your iPad or tablet.
USB-C POWER
ATOM 500 takes power to the next level with the introduction of a USB-C type connector.In addition to upgrading firmware through its USB-C connector, the ATOM 500 can also be powered by any USB-C style power bank, giving users more flexibility with power.
ROBUST CONNECTION
Through extensive stress tests, the antennas on the ATOM 500 has been optimized to be nearly fail proof.The ATOM 500's antenna features a built-in design on (insert type of mate-.rial for the body here) .This built in antenna will greatly reduce signal loss even in complicated shooting environments.You can trust the ATOM will work anywhere.
H.265 ENCODING
ATOM 500 Supports H.265 Encoding to Offer Better Image Quality With Less Bandwidth.
ATOM APP
ATOM 500 features a brand new IOS APP called ATOM APP.The ATOM APP allows wireless monitoring, image record, and other powerful tools such as assisted focus, frame guides, gray scale and much more.ATOM APP keeps your ATOM 500 future proof and up to date through future firmware support.
OLED DISPLAY
ATOM 500 features a brand new, beautifully designed OLED display that provides users with quick view for easy configuration.
PASSCODE PROTECTION
The ATOM 500 offers passcode protection, giving users the ultimate control over who can receive the broadcasted signal.This ability allows the ATOM 500 to protect confidential information from getting into the wrong hands.
DISTANCE VS QUALITY PRIORITIZED
ATOM 500 allows users to define what’s most important with distance priority and quality priority.When range is most critical, distance priority can be used to take precedence over image quality and vice-versa.
FLEXIBILITY REDEFINED
ATOM 500 features multiple 1/4-20 threading making it the most flexible wireless transmitter on the market ATOM 500 makes Gimbal/Steadicam balancing easier with the option of mounting it vertically or horizontally.
DUAL HDMI
ATOM 500 features a HDMI in and dual HDMI out ports to give users two.The dual HDMI out coupled with the newly designed mobile app connection provides users with the ultimate monitoring solution on the market.
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IMAGO INTERNATIONAL AWARDS for CINEMATOGRAPHY 2020 ANNOUNCE THE RECIPIENTS OF SPECIAL ACHIEVEMENT AWARDS.
Again in 2020 IMAGO holds its International Awards for Cinematography to recognise and to celebrate cinematography and its artists.
IMAGO member Societies, of which there are 53 countries have already submitted their films for 2020 and several categories will be in competition; Feature Films / Tv Drama series / Documentary / Student and Young Emerging cinematographer. The nominees for these categories will be announced mid-February and also at that time the winners for the categories of Student and Young Emerging Cinematographer will be announced.
But before that we are now proud to announce the recipients of the 2020 IMAGO Special Awards which will also be presented in Brussels on March 14th 2020.
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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.
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NFSA RESTORES: THE SENTIMENTAL BLOKE
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The Sentimental Bloke was adapted from C.J. Dennis’ 1915 verse novel. A huge box office hit with 1919 audiences, it is one of few silent-era Australian films to have survived in its entirety.
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THE BLOKE RESTORED FOR 100th BIRTHDAY
The Sentimental Bloke, one of Australia's greatest silent films, is celebrating its 100th anniversary with a digital restoration and a new musical score composed by ARIA Award-winning artist Paul Mac!
The 30th film in our NFSA Restoresprogram, The Sentimental Bloke will premiere at Sydney’s Westpac OpenAir cinema on 15 February 2020, with Paul Mac performing his score live.
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and, if you're in Sydney this summer, don't miss this very special event by the harbour!
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Industry guilds decry government snub to arts and fear further funding cuts
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Australia’s screen industry craft guilds have decried the Federal Government’s abrupt decision to fold the Department of Communications and the Arts into a new super ministry, omitting the Arts, as an insult to the industry.
They say the removal of ‘Arts’ from the Department of Infrastructure, Transport, Regional Development and Communications signals a fundamental disregard for the arts and arts education in Australia and a lack of respect for the vital role a federal Arts department plays in maintaining a national arts policy and supporting creative industries.
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Inside the Look of 1917 by DP Roger Deakins
by Jeff Loach
1917 is Sam Mendes’ latest feature film shot by famous DP Roger Deakins, which will be available worldwide next week. Hurlbut Academy has just released an impressive BTS/analysis video talking about the look and cinematography of this “one-shot” film. Let’s take a closer look at it!
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The BSC Expo is Europe’s premier dedicated film and TV production show and is now a recognised fixture in the industry calendar. The 2019 show was the biggest ever, with national and international manufacturers and suppliers. The BSC Expo is a great opportunity to test all of the latest equipment and technologies in a relaxed industry environment.
In addition to a huge line up of Exhibitors showcasing the latest kit available the Expo also hosts two full days of presentations and panel discussions including the highly popular BSC Panel discussions, all within the onsite seminar theatre.
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ACS Technical Committee runs a series of tests of the new Sony FX9.
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CAMERAS AND LENSES OF 9 AUSSIE TITLES RELEASED IN 2019
29 January 2020 By Caris Bizzaca
Cinematographer: Bonnie Elliott ACS
Director: Ana Kokkinos, Sophie Hyde
Filmed on ARRI ALEXA Mini with Zeiss Super Speeds and Angenieux Optimo zooms
Cinematographer: Stefan Duscio ACS
Director: Mirrah Foulkes
Filmed on ARRI ALEXA XT and ARRI ALEXA Mini with Panavision B and C series anamorphic lenses
Cinematographer: Nicola Daley ACS
Director: Trent O'Donnell, Amanda Brotchie, Alison Bell, Sarah Scheller
Filmed on Panasonic Varicam 35 with Panavision Primos, 19-90 T2.8 Primo zoom, 11:1 Primo zoom and Tiffen Black Satin filters.
Cinematographers: Jon Shaw ACS (underwater), Ben Cunningham, Mark Payne Gill, Wade Fairley, Paul Bell, Ralph Bower, Dan Proud (aerial), Peter Nearhos (macro)
Director: Tosca Looby
Filmed on a combination of RED Dragons, Phantoms, the ARRI ALEXA and F5, depending on whether the team were underwater, in low light, or needing light or heavy rigs. More on lenses below.
Cinematographer: Kathy Chambers ACS
Director: Fiona Banks, Kevin Carlin, Lynn Hegarty
Filmed on 2 x ARRI ALEXA XT’s and 1 x ARRI ALEXA Mini @2K with 2 x 24-275 Panavision Primo Zooms, 1 x 19-90 Panavision Primo Zoom, 1 x full set Panavision Primo Primes.
Cinematographer: Dan Freene ACS
Director: Connor Van Vuuren
Filmed on ARRI ALEXA Mini and shot in 3.2K with Panavision Ultra Speed lenses
Cinematographer: Martin McGrath ACS
Director: Rachel Griffiths
Filmed on the Panasonic Varicam (both the 35 and LT versions) and an ARRI ALEXA Mini with Fujinon zooms and Sigma Primes
Cinematographer: Murray Lui
Director: Wayne Blair
Filmed on ARRI ALEXA Mini and Drone DJ Inspire 2 (for aerials) with Cooke S4 Primes, Panavision Zoom 11-1 (24mm – 275mm), Panavision zoom 4-1 (17.5mm – 75mm)
Cinematographer: Katie Milwright ACS
Director: Matthew Saville
Filmed on RED Monstro x 2, RED Helium x 1 and a BlackMagic Pocket Cinema Camera 4K with Canon K-35 Rehoused Prime lenses and Kowa Anamorphics
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The full range of ARRI Signature Prime lenses are now available and shipping
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ARRI Signature Primes are known for capturing warm, smooth skin tones, with exceptionally soft bokeh and delicate flares
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Ranging from 12 mm to 280 mm, the lens series features 16 focal lengths; the widest assortment of large-format lenses available
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Signature Primes were used on high-profile productions, including “1917,” “Gunpowder Milkshake,” and “Outlander (Season 5)”
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GENDER MATTERS TASKFORCE EXPRESSION OF INTEREST
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Ride Like A Girl was developed through Gender Matters and became the highest earning Australian film of 2019
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The Australian Cinematographers Society
@austcine
Current Host
Nicola Daley ACS
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AC MAG - ISSUE # 84 out now
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National Major Sponsor
National Platinum Sponsors
National Gold Sponsors
National ACS CineKids Sponsor
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