QLD eNews - JUNE 2015



  • Lemac MEET THE VARICAM35 Event
  • 5 Day "Colourist Strategies" Workshop - SPECIAL MEMBER DISCOUNT
  • New Episode of THE UNDERCURRENT online now
  • Join AACTA before June 30
  • SQ Panel and Understory FILM FESTIVAL
  • CLAUDIO MIRANDA ASC talks Tomorrowland and Sony
  • New ACS Merchandise ONLINE SHOP
  • Connect with us on SOCIAL MEDIA
  • Have your Say




Our newest QLD ACS BRANCH sponsor for 2015, Warren Eagles and the International Colourist Academy, are offering a 25% DISCOUNT valued at $500 (for current financial ACS QLD members only) to their next 5 Day intensive DaVinci Resolve workshop starting on Monday 29th June - Friday 3rd July.

Warren Eagles, a long standing ACS member and great supporter of the Qld ACS branch, is a freelance colourist with over 25 years experience working and teaching around the globe. From large TVC’s for Qantas, Ford, Revlon, to Feature films such as ‘Blurred’ and ‘Lock, Stock and Two Smoking Barrells’, Warren is the go-to colourist for many local and international DOP’s.

This Colourist Strategies course will take you through a full sequence from start to finish working with DaVinci Resolve 11. For complete beginners, or existing Resolve users, there will be grading challenges set that will try to test the knowledge gained in real world situations. All equipment is provided, including full control surfaces in selected machines for those who want some hands-on with the balls and wheels.

This course is suited to those who want to get a good grounding in all aspects of Colour Correction. Colourists, Editors, DP’s, DIT’s, VFX Finishing Artists are all welcome, with no prior grading experience needed. All Students on this course receive an ICA certificate.

For further information about ICA, please visit http://icolorist.com/

To book a seat under this once only special offer for QLD ACS Members - you must use the following link to book direct at the discounted price (ACS membership will be checked prior to acceptance of the workshop)….

ICA Workshop Booking Link - ACS MEMBERS ONLY »


Check out ACS Member Dan Graetz in his latest episode of The Undercurrent, delving into the world of mass agriculture to ask how one company has such huge control over the world's food supply.

WATCH - The Undercurrent »


AACTA membership now offers a record 80+ year-round industry development and screen culture events in Sydney and Melbourne – a great way to see and discuss Australian film and television exclusives, and catch up with friends and colleagues working across crafts. In addition to preview screenings of upcoming films including RUBEN GUTHRIE and LAST CAB TO DARWIN, complete with Q&As with cast and crew, upcoming events include masterclasses with screen luminaries such as writer-producer Andrew Knight. Nationwide member benefits include cinema and Film Festival discounts, and AACTA Awards voting privileges.

Membership also allows you to hear first-hand from nominees at our Meet the Makers sessions held with AACTA in Sydney later in the year. With 96% of AACTA members recommending membership, now is the time to join at the special rate of $110 for guild members. Membership runs by financial year; join by June 30 and you could win tickets to the 5th AACTA Awards!

Join today: www.aacta.org or phone 1300 139 697.


In celebration of Cairns Regional Council’s second Understory Film Festival, Screen Queensland (SQ) will present a FREE panel event to stimulate discussion on the value of short filmmaking as a pathway to building a successful career in the screen industry.

Being held prior to the commencement of the Understory Film Festival, proudly supported by SQ’s Screen Culture funding program, the SQ Pathways to Filmmaking panellists include: SQ’s Director of Development, Christopher Sharp; award-winning writer/director, Tim Marshall; and North Queensland-based director, cinematographer and editor, Benjamin Southwell. It will be moderated by SQ’s Director of Production Investment, Dan Lake.

The panel will use their expertise and experience to discuss:

• The place of short film for emerging filmmakers

• Avenues for funding short film

• Where to screen your short film and the value of building a festival plan

• Short film as a platform for feature length films and television projects


Date: Saturday 13 June 2015

Location: Botanic Gardens Visitor Centre, Collins Avenue, Cairns QLD 4870

Time: 3.30pm - 4.30pm

Cost: Free of charge

- Tickets not required however please register your interest in attending via the Screen Queensland Facebook Page

Following the panel presentation we hope you can join us for the Understory Film Festival, a screening event showcasing a selection of short films from students, emerging, independent and professional filmmakers from across Far North Queensland. After intermission, attendees are invited to vote for the People's Choice Award, which will be included in the award presentation at the end of the evening.


Date: Saturday 13 June 2015

Location: Flecker Garden, Cairns Botanic Gardens, Collins Avenue, Cairns QLD 4870

Time: Doors open at 6.00pm for a 6.30pm start

Cost: Free of charge

Other details: BYO seats/rugs/food. Licensed bar available onsite. Live music by Joanne Heming

Should you have any questions about the Pathways to Filmmaking panel, please visit the Screen Queensland website or contact: screenqld@screenqld.com.au or phone 07 3248 0500.

For enquiries regarding the Understory Film Festival, please visit the Cairns Regional Council website.

Screen Queensland Website »
Cairns Regional Council Website »


The rewarding experience of working with the F65 and F55 - as described by
Tomorrowland Cinematographer, Claudio Miranda ASC. Interviewed by Jon Fauer ASC.

Jon Fauer: Claudio, what can you tell us about how this production was shot?
Claudio Miranda: We shot “Tomorrowland” with the Sony F65 and F55 cameras.

How did you use F65 and F55 together? Was there a difference in look and so on?
With Oblivion, the main camera was the Sony F65, and for the small cameras we used REDs. But on Tomorrowland we were able to use F55 cameras when we wanted to get into small, tight places or required a lightweight package. So it was a great complement to the F65.

The F65 was your “A” camera and the F55s were grab cameras?
Yes. The F55 cameras were for grab, Steadicam, mounts, rigs, and action cam kind of situations.

What were the significant differences between the cameras?
Naturally the F65 is still the sharpest one. There’s a mechanical shutter on the F65. The F65 has a greater selection of internal ND filters.

Could you see the difference in the dynamic range, shadows and highlights?
The F65 has a larger dynamic range. It’s still a stronger camera. It’s just a more powerful beast. There’s just a lot of horsepower behind that so there’s still more latitude in the F65 than the F55. But for action shots, the F55 cuts really well with the F65. I don’t have any issues using the F55. In fact, I used it often. For the size, it’s actually pretty great. I love the internal NDs. It has a great form factor. It’s easy to play and record. Every now and then the Director wanted to do some action sequences to run at 20 or 22 fps to kind of tighten up the pace a little bit. In the beginning this was only available with the F65. Then as future updates were implemented, the F55 was able to do the same. So we learned and grew with the camera as it evolved. It was similar to the way we grew up together with the F65 on Oblivion. On Oblivion, at the beginning the F65 camera did 24, 30 or 60 fps, but it didn’t do 48 fps. Halfway through the movie its software was updated to have frame rates 1-60 fps, which the Director really wanted. And now the F65 can do 120 fps. And the F55 can do 240 fps 2K RAW and 60 fps 4K RAW. The F55 is an amazing little camera that just fits. It has a great, nice, open beautiful colour space. It’s simple to use.

I guess you recorded RAW on both cameras?
We recorded RAW on both cameras. In the beginning, for all my camera tests, I used the F55. For simple camera tests and scouting I just went directly to the SxS cards. I didn’t even have a camera crew on some of the tests. I went out with a little zoom lens, and I tested with practical lights and I just did it by myself. It was really simple. During scouting or prep, if someone asked how something would work with blue screen, I could just pull the camera out, shoot and put in a blue screen. It was that simple.

Did you have the DVF-EL100 EVF for the F65 this time? I think you were not happy with the EVF on Oblivion?
Yes, we had the new EVF. And we had the same OLED finder on both the F65 and the F55. These new ones were great.

What monitor did you use on set?
The same as last time: a 25” Sony BVM OLED Monitor. Because the F65 doesn’t output 4K for live viewing, I can see what I need to know in HD.

You have the same DIT, Alex Carr?
Alex was with me. And the first camera assistant was Dan Ming, who worked with me on Life of Pi.

Which lenses did you use on this show?
We used the ARRI/ZEISS Master Primes and the Fujinon Premier Zooms again, same as the Oblivion package. We did some interesting testing in the beginning. Brad Bird, the Director, wanted to shoot dual formats. He wanted to shoot 4:3 format, which might originally have made it an ARRI Alexa production. And then, for another part of the story, he wanted it to be 2.39:1 anamorphic. To achieve that, we tested the Sony F65 with 1.3x Hawk anamorphics. If you rotate them 90 degrees, that would make the format 4:3. And if you rotate them back to normal then you get 2.39:1. That would have been interesting - in one part of the story you’d have vertical flares and the other part of the story you’d have horizontal flares. These tests were very interesting, but we didn’t shoot the movie this way.

Were you setting different looks for each shot or go through it like one lights?
It was mostly like one lights. Sometimes I gave it a little bit of a look, which is nice on the F65 and really easy to do. It’s interesting. Alex could access the colour wheels on the camera and we could give little corrections to each camera on the fly. Alex is pretty great at doing that. There were some new updates that gave Alex a lot of control.

And in terms of viewing dailies with the Director and production, how did you do that?
We had a theatre for watching dailies. Furthermore, I always have a great monitor and I’m always looking at it. Basically my monitor works as my on-set dailies viewer. I know it well. At the end of each day, we spend anywhere from fifteen minutes to a half an hour just grading the dailies And then, Alex will take a look file that he sends on a USB stick to the dailies processing people.


The brand new online ACS Shop is OPEN!

All ACS Merchandise, Publications, Clothing, Accessories and Awards Re-orders are available through our shop.

Take a look. Every cent of purchases go toward supporting the ACS, a not-for-profit organisation. Purchase options include credit card and PayPal and is fully secure.



Make sure you keep up to date with everything the QLD ACS Branch and its members are getting up to by following us on Facebook and Instagram.

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With an already successful start to the year with some fantastic events, the QLD Branch is continuing to develop workshops and events for its members in the coming months.

We want to hear your thoughts on what you'd love to see the ACS doing and the types of events or workshops that would appeal to your interests as a cinematographer. Email the QLD President Tony O'Loughlan on the below link with your ideas!

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