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6th May 2022
A Message from the NSW President
L- R Bonnie Elliott ACS, Carolyn Constantine ACS and gaffer Andrew Robertson
Photo courtesy of Sam Oster
Dear Friends and Colleagues,
First, on behalf of the NSW Branch and all its members, I’d like to extend our sincere thanks to SA President Ernie Clark ACS and all the hard working SA committee for hosting such a successful ACS National Awards 2022 in Adelaide last weekend. A big shout out to Fujinon-Fujifilm as our major National sponsor and all our sponsors who contribute to this wonderful night. It was a terrific event and turn out. I congratulate all the nominees and winners, there really was some impressive and varied work up on the screen.
Many thanks to Panavision, ARRI Australia and Rosco-Leitz for all the satellite events that surrounded the awards. It was great to get some further insights into all the wonderful cinematography showcased.
Congratulations to NSW member Kim Batterham ACS who was inducted into the Hall of Fame along with SA members Malcolm Ludgate ACS and Patricia Walter (who is deceased and the award was proudly accepted by her daughter).
I’m also delighted to congratulate our new ACS Life Members which include NSW member and ACS ambassador, David Brill AM ACS and our NSW Vice President, Velinda Wardell ACS along with Victorian member, David Huspeth and SA member JoAnne Bouzianis-Sellick.
Fantastic news that Pawel Achtel ACS from NSW took out the Bob Miller- ACS Technical & Innovation Achievement Award and Bonnie Paku from SA was awarded the John Leake OAM ACS Award for an Emerging Cinematographer supported by Panavision.
Tasmanian member, Joshua Lamont ACS won the fantastic Sony Camera Prize for the National Judges Merit Award and the The Milli for the ACS, Australian Cinematographer of the Year went to Stefan Duscio ACS for his work on The Dry. A big congratulations to them both.
May is a busy month at HQ with plenty of events and workshops for ACS members and sponsors to enjoy. On Thursday May 12th we kick off with a Sony/ Lemac Night presenting the new Sony Venice 2 camera. The following week for our May Drop In on Thursday May 19th we have a presentation that will give us an insight into the upcoming HDR workshops as well as Creamsource Lighting showing us the new Vortex 4 lights with special guests director Kacey Baker and gaffer Storm Ashwood talking about how they used them on their latest feature. For a more in depth look at HDR and grading we have our HDR; Shoot to Screen Workshop on the weekend of May 21 & 22 with many guest speakers to help us understand the possibilities using this new technology.
Looking forward to seeing some of you at these upcoming events, until then, stay safe.
All the best,
Carolyn Constantine ACS
NSW ACS Branch President 
National ACS Vice President
Thursday 12th May in Sydney
Lemac and Sony invite you to get a hands-on look at the new VENICE 2 and its Cinema Line stablemates.
The VENICE 2 builds upon the strength of the original VENICE with new features including a compact design, internal RAW recording and the newly developed full-frame 8.6K sensor. The VENICE 2 also inherits popular features from the original VENICE including colour science, Dual Base ISO and 8-stops of built-in ND filters.
These are free events however RSVPs are appreciated
for catering purposes.
Click here to Register
2022 ACS National Awards
Stefan Duscio ACS recieves the Milli Award as Australian Cinematographer of the Year for 2022 from National President Erika Addis for his stunning cinematography on "The Dry"
Click HERE for a full list of Award winners
Gallery of photos from the night HERE
Photos courtesy of Sam Oster
MAY Drop-in with
HDR Presentation & Creamsource Vortex 4
Thursday 19th May
ACS HQ from 6pm
Level 2, 26 Ridge Street North Sydney
The ACS and Colorist Society International (CSI) will present an overview of the upcoming hands on High Dynamic Range Workshop for cinematographers and colourists at ACS HQ in North Sydney to be held May 21-22.
Ben Allan ACS CSI from the ACS Technical Committee
Warren Eagles freelance International Colorist

along with
We will also be joined by Mark Naidoo from CREAMSOURCE LIGHTING presenting the latest Vortex 4. Gaffer Storm Ashwood and director Kacey Baker will be there to give us some insights into using the Vortex 4 on their latest production.
Kacey Baker (Director)
Storm Ashwood ( Gaffer)
Please note that we ask that all attendees are double vaccinated.
May 21-22

On the weekend of May 21-22 the ACS and Colorist Society International (CSI) will present a hands on High Dynamic Range Workshop for cinematographers and colourists at ACS HQ in North Sydney.
Don’t wait until you get your first HDR project before you start investigating HDR techniques and workflows. HDR for the Cinematographer and Colorist is a steep learning curve, so getting as much information, tips and tricks, and industry contacts before you start your first project is vital.
This will be a special occasion for top colorists and cinematographers to explore and discuss this new technology together.
Register HERE
Postcard from Mark Bliss ACK
whose latest film Restos Do Vento has been selected for the 75th Cannes Festival

Hello and greetings to my ACS friends and colleagues, I hope that you are all well. A film that I just shot has been selected for the 75th Cannes Film Festival. Needless to say I'm stoked! Here are some details.

Restos Do Vento
Directed: Tiago Guedes
Producer: Paulo Branco
Production Company: Leopardo Filmes

When the director called me with the offer to shoot his next project I didn’t think twice. Tiago’s previous feature film “A HERDADE” premiered at the Venice Film Festival.

There’s two distinct parts to the the film. One happens in 1995 and the other part which makes about 80% of the film is set in the present.

We have decided to use different lenses and different screen ratios for these two parts. After extensive testing we arrived at Carl Zeiss Mk II lenses for the scenes set in 1995 to be shot in 16:9 ration and Master Primes for the rest of the film to be framed for wide screen 2.39:1

The 1995 scenes were shot completely hand held and the present part of the film was the opposite, the camera never left the tripod, slider or dolly.

The lighting package was very small and we relied heavily on practicals which were powered by the Aperature bulbs which we could control remotely. We also made a good use of the Astera fixtures.

Most of the day exteriors were filmed with no additional lighting rather using negative fill to get some contrast into the image. I have also employed a Segway for some tracking shots where possible.

As the film deals with a fairly dark subject matter we progressively made the image darker and darker as the characters slip into the darkness themselves. We used Arri Alexa Mini which was the best choice given the small interiors of the Portuguese houses.

We were fortunate to shoot the film in chronological order, as the characters arch was so demanding that shooting all scenes for given location wasn’t an option. We had a schedule of 48 days but came in two days early, which is a testament to our hard work.

We knew we were working on something special but we would never envision having the film premiere at the 75th Cannes Film Festival,


More info on the film HERE

As you think about all your 2022 projects...

we ask you to be mindful
& think about who is in your crew...

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