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SA Kinemagraphe April - Book now: National Awards. A conversation with Denson Baker ACS Monday April 14. Riddick wrap up. Masterclass with Andrew Lesnie ACS ASC. Profile: JoAnne Bouzianis Sellick & More. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Book NOW National Awards in Brisbane.The 43rd ACS National Awards for Cinematography promises to be a great night at The Tiviloi in Brisbane on Saturday May 24. It will be followed by an after party at Bacchus Bar at Rydges Hotel, South Bank. Shuttle buses from the venue to the after party are included. I hope some of you can make it, tickets are $145 and can be booked via the following link:
A conversation with Denson Baker ACS Monday night April 14Denson Baker ACS is in Adelaide and has agreed to stay on for a couple of days so he can talk to our members about some of his methodologies. He will chat about his latest feature "The Untitled" Jim Loach project shot here in Adelaide on the Sony F65 (the 2nd feature Denson has shot on this camera) using the Leica Summilux-C series lenses. He will discuss some of the creative choices he has made from the script, the Director and other influences. Denson will show some stills, some behind the scenes stuff and take us through his creatiive approach. Denson also shot Oranges & Sunshine with Director Jim Loach a few years back on 35mm and he will talk about some of the differences and choices of digital formats to film. Some other films of Denson's include: "The Black Balloon", "The Waiting City", 2 chapters of The Turning - "Aquifer" & "The Turning" and the yet to be released "Genesis". This is a night for all levels of membership so get in quick and RSVP via the link below. A conversation with Denson Baker ACS is on Monday night April 14 @ 1815 for 1830 at RSP in the city (rear entrance - click the link below for a map). Pizza and drinks will be served. The venue has limited space and therefore this is an ACS members only event. So if you are not a member considering joining now; as a special, your membership would carry through for almost 15 months till 30/06/2015. So click the link below to join.
Wrap up of Riddick Screening & Q&AOn Tuesday night, after a few pre screening drinks in the Mercury bar, 40 ACS members were treated to an enlightening presentation by David Eggby ACS of his latest film 'Riddick'. This is the 3rd instalment of this action franchise which began with 'Pitch Black' which David also shot. I don't think I should comment on the quality of the script, nor the dialogue, but I can say the cinematography is impressive. David has now shot over 40 features which is also impressive.
David freely shared his creative & technical expertise with behind-the-scenes photos, lighting plans, storyboards and he graciously answered our many questions. He explained his creative solution for solving lighting the film which was all shot in a large warehouse in Montreal. Although the warehouse was 150' by 300' it had quite a low ceiling and the sets were built very close to the walls so David installed a series of 20' x 8' gold lame bounce boards in the ceiling with a string of 10k's, gelled either for the day scenes (Gold gel) or night scenes (Chocolate gels), bouncing into them. It worked a treat!
We saw the film off a DCP (Digital Cinema Print) and after the Q&A session got to see the quality difference when a short section was screened off a BluRay. The DCP was definitely better, especially in the low end. Whether you are an experienced or emerging DP these sessions are great way to gain knowledge and learn from experienced DP's. Our branch thanks David very much for giving up his time to come to Adelaide. An interesting fact is that David started at Crawfords in Melbourne on the very same day as our National President Ron Johanson OAM ACS way back in 1965! It was great that Ron got to the screening to catch up with David and our members in Adelaide. Andrew Lesnie ACS ASC Masterclass
Andrew recently finished shooting Director, Russell Crowe's debut film The Water Diviner and, as promised, he's coming back to Adelaide especially to present a Masterclass for us. On Saturday May 3 Andrew will screen parts of various films (not necessarily his) and discuss the coverage, dramatic points, how they were lit, etc and get attendees involved in various lighting exercises. This will be an all day event held at Anifex, 65 King William St, Kent Town from 9am - 1pm, break for lunch, then 2pm - 6pm. Other sponsors also helping with this event including Picture Hire supplying an ARRI Alexa kit, ProAv Solutions a PA, digi projection by Mosaic AV and lighting Graeme Shelton. This will be an invaluable day whether you are experienced, up and coming, or a student of cinematography. ACS members free, non members $99 inc GST. Please register your interest via the link below. Note: ACS members will be given preference. If you are not a member considering joining now; as a special, your membership would carry through for almost 15 months till 30/06/2015. So click the link below to join.
Profile Committee Member: JoAnne Bouzianis-Sellick
Ok JoAnne, lets start first with 3 easy ?'s. Favourite Film? So now tell us about how you became interested in film making? I was lucky enough to grow up with a family that loved to watch Bill Collins Presents on channel 10. It was my introduction to the Midday Movie and the Saturday Night film. So armed with a big bowl of freshly made popcorn we would gather with Dad who's a massive Clint Eastwood, Charles Bronson & John Wayne fan. You can image that I know most of the few words spoken in the spaghetti westerns they stared in. The Magnificent Seven, The Dirty Dozen, The Searchers and The Good, The Bad and The Ugly were regular viewing for us. Dad also was keen on the old slapstick comedy and my mum loved the musicals so throw in a bit of The Sound of Music, the Wizard of Oz and My Fair Lady and I think I had most genres covered. Mum had a Super 8 camera that she would film my sister and I growing up and then we would package up the little roll of film, send it off for processing and it would be sent to my grandparents who lived in the country who had a projector. This way they got to see us growing up. Mum had a cool Kodak Box Brownie that I always wanted to get me hands onto and at the age of 8 I received my first instamatic camera, it was promptly taken off me a while later when I proceeded to chew through so many rolls of film that we couldnt afford to process it all. Only special things, I was told was what I should take photos of and so it was from then on I became keen to capture that perfect shot, always thought twice before clicking the shutter and making sure it showed just what I wanted you to see.
So how did you move from Instamatic stills to Moving Pictures? (albeit lots of stills producing movement!) I went on to study photography in my final year of High School, from there I went to Art School and studied a Bachelor of Arts in Visual Arts majoring in film, photography and animation. It was through the animation part of the study that I received work experience with Anifex as a prize for my short animated film in 1991. I finished my work experience with Anifex and was then employed about 3 months later. I worked full time and completed my final year of Uni full time too, there was a bit of juggling going on but my lectures were so thrilled that I got a job in the industry I was studying for. I began as a video assist monkey, as I was affectionately called, and under the watchful eye of both Richard Chataway ACS and Jo Rossiter ACS I began to start the climb up the ladder in the camera department. We were not always shooting so between shoots I was given the opportunity to also make models, build sets, props buy and set dress but my heart lay in the camera department. For many of my early years I was lucky enough to be able to watch Gaffer greats like Graeme Shelton and Tom Moody at work on set, climb in their trucks and ferret around seeing what new toys they had. Working along side of the both of them in turn gave me more skills to be able to assist in the lighting for some of the smaller shoots that Anifex would have. Being able to work with the Art Directors like John Max Axe through the build and while set dressing also gave me other skills that have proved to be invaluable to me as a DP as well I feel. I think having an understanding of what everyone on set is doing makes you a better DP and allows you to best work flow your crew. Mind you with shooting small animation projects your crew consists usually of you, yourself and did I mention you. Once I was able to start shooting I think my first piece was short film for Darren Burgess, on 35mm film, how spoilt was I. I have been given the opportunity to shoot numerous TV commercials and a short film for Anifex over my 22 years plus with them and have shot a few short films with other crews outside of Anifex.
So please tell us about joining the SA ACS committee JoAnne. I joined the committee in 1994-95, I think it was, and as a committee member, Milton Ingerson ACS was President back then and there were strict rules to follow, you do it his way or no way. I can say for that we are truly grateful, Milton set a standard for our committee that the current committee still takes pride in upholding. I later became SA Vice President and as a result I often get the chance to sit in on the National AGM meetings held at the Head Quarters in Sydney .now mind you there is a lot of all those in favour, those against, and motions to move this and that but if it wasnt for these marathon day long meetings this society wouldnt be in the amazing position that it is today. Also being with in the society I have had the opportunity to chat with the most inspiring Australian and International DPs. Having the chance to sit with like minded people and shoot the breeze about on set antics is a DPs dream come true, being able to share your knowledge with those that are up and coming is also always at the front of your mind. I feel that the ACS has given me a chance to both see the industry from another point of view and to keep involved with the industry, as well getting the chance to frock up each year for the awards night. Thanks JoAnne, your contributions and enthusiasm for our branch are truly appreciated, as is your frocking up yet another thing you do so well. Cheers from the Pres, Ernie Clark ACS
ACS Accreditation 2014If you are contemplating putting in a submission for Accreditation then as a starting point it might be worth checking out this page on our ACS website: http://www.cinematographer.org.au/cms/page.asp?ID=20069 Accreditation application forms are only available from State or Territory Presidents or the National President. Submissions open July 1 and close August 29 so if you wish to discuss Accreditation at all please contact Ernie Clark ACS. They are assessed in mid September. Don't forget our website is a great resource with lots of info available. Check it out soon: http://www.cinematographer.org.au
The History of the Movie Camera in Four Minutes: From the Lumiere Brothers to Google GlassFor their annual Lifetime Achievement Awards, the folks over at the Society of Camera Operators put together a lovely, surprisingly rousing video about the evolution of the movie camera over the course of the past century or so of cinema. And, as you can see above, it has changed quite a bit. The piece begins at the beginning, with the early pioneers of film: the Lumiere brothers first motion picture cameras and their revolutionary actualités, Georges Méliès baroque flights of fancy, D. W. Griffiths sprawling epics. The cameras that shot these films were crude, boxy and hand-powered but their basic mechanics were roughly the same as the sophisticated 70mm cameras Stanley Kubrick used to shoot 2001: A Space Odyssey six decades later. Then in the 80s, things started to change with the release of analog video. Suddenly, you could capture movement in a manner that didnt involve exposing frame by frame an unspooling reel of light-sensitive celluloid. And with the digital revolution that started in the 90s, cameras, and the very nature of cinema, changed. Dazzling spectacles like Avatar and Gravity could be created almost entirely within a computer, while at the same time the cameras themselves grew smaller and more portable. To underscore just how democratized the technology of movie making has become, the end of the video shows Hollywood cameramen shooting movies with iPhones. The piece ends with what could only be seen as an ominous technological development for the Society of Camera Operators: Google Glass, which has the potential to turn every single person into a perpetual camera operator. Thanks to Open Culture for the text and the Society of Camera Operators for the video and to local member Rod Bolton for pointing this out to us.
Aesthetica Short Film Festival (ASFF) 2014 Call for Entries
The Aesthetica Short Film Festival (ASFF) 2014 is now open for entries, offering both emerging and established filmmakers the opportunity to engage with new, international audiences and interact with some of the biggest personalities in the film industry today. ACS Merchandise available
ACS HOODIE $35.00 ACS merchandise is available from ACS HQ Manager: dlewis@cinematographer.net.au If you are in Sydney go and check out our HQ, it has a wonderful camera archive, a great library, wonderful coffee, free internet, access to computers with Final Cut and more. HQ can also be hired to shoot interviews etc and it's conveniently located in Ridge St North Sydney with a parking station opposite, just contact ACS HQ Manager: dlewis@cinematographer.net.au to make sure someone will be there to show you around. Phone-tography 2013 - 2014 CompThere are great prizes to be won in our Phone-tography Competition. The results will be announced at our AGM in August 2014. To enter email your phone pics to acsphotocomp@gmail.com So get your phones out and start snapping. If you'd like to see a gallery of last years entries check them out via the link below: Phone-tography T&C's: The photos must be submitted via email by July 31 2014 and will be judged in 5 Categories (make sure you title each entry as 50 photos called untitled doesn't really work! :-0) 1. Best Composition Criteria:
DatesApril 7 Committee meeting @ Anifex April 14 A conversation with Denson Baker ACS May 3 Andrew Lesnie ACS ASC Seminar & Lighting Workshop May 5 Committee meeting @ Anifex May 24 National ACS Awards for Cinematography Brisbane, Queensland June 2 Committee meeting @ Anifex June 3 Fury Road tour with John Seale ACS ASC and David Burr ACS July 7 Committee meeting @ Anifex July 31 Phone-tography pictures deadline August 11 SA & WA Awards entries open August 11 SA AGM September 1 Committee Meeting @ Anifex September 12 Award entry deadline September 15 Sponsors deadline for assets for Awards September 19, 20 & 21 Award Judging September 26 Award tickets bookings open October 13 Committee meeting @ Anifex October 24 Awards ticket bookings close November 1 34th Annual SA & WA Awards for Cinematography in Adelaide December 1 Committee meeting @ Anifex December 15 Christmas drinks ACS SA Branch Facebook page
The ACS SA branch has its own Facebook page. We will use this page to advertise upcoming events, as well as create photo albums of Awards and Trade Nights. To become a fan, go to the link below and click the 'like' button.
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