SA eNews August 2017 - Awards Entries are Now Open - RSVP NOW for SA AGM - Profile Tony Clark ACS - Free Tickets to Tommy's Honour - New sponsor Digital Pigeon


AC Magazines

2017 State Awards Entry Now Open

Apologies if you have already received this edition but some members missed it so I had to do a resend to all.

OK finally you can enter your best recent work into the 2017 SA & WA Awards for Cinematography.

Behind the scenes we have been working hard to create a new website to make entering even easier. This year all entries and payments will only be possible online via our website.

Check out the new Terms and Conditions when you put your first entry in or check out the T's & C's via the link below. Also please select the correct category for your entries.

If you are a fully financial member of the ACS as either a CineKid, Student, Camera Crew (formerly Active), Cinematographer (formerly Full) or Accredited member, then you are eligible to enter the awards. Sorry, but if you are not financial member you cannot enter.

Please note that entry formats have changed dramatically and ProRes files are no longer a preferred entry format. This is due to the difficulty in managing and storing the vast amounts of data that they entail.

Entries will now only be accepted in the following formats:

• Data files: h.264 (x264) codec, within an MP4 or MOV file container if possible, on USB Flash Drive or Portable Hard Drives

• Commercially produced DVD’s. PAL Standard. Australian Region. NO SELF- AUTHORED DISCS WILL BE ACCEPTED.

• Commercially produced BluRay Discs. Australian Region. NO SELF- AUTHORED DISCS WILL BE ACCEPTED.

Read more information via the links below.

Entries are only open from August 1 to close of business on August 18, 2017. Late entries will not be accepted. All the State Awards now have the same opening and closing dates.

All entries will be via Upload your entry files via our newest sponsor Digital Pigeon

Remember to put Saturday October 28 in your diary for the 37th Annual SA & WA Awards for Cinematography which will be held at the iconic Adelaide Oval with pre dinner drinks in the Rick Davies Bar overlooking the oval whilst the formal presentation will be a sit down dinner in the Cathedral Room.

Click to go to 2017 ACS Award Categories »

New SA Silver Sponsor

Digital Pigeon is an Australian-based large file delivery service for creatives and the film-making industry. They partner with Amazon Web Services, one of the world’s biggest, most trusted cloud service providers to make sure your films are delivered fast and securely. With Digital Pigeon, you can, present your films professionally and in your own branding, give recipients the ability to stream/preview your film online without having to download the files, track when your film has been accessed and even receive feedback from contributors during production and post-production. Try out Digital Pigeon today with a 14 day free trial.

Click for your free Digital Pigeon trial »


It's time to RSVP for our 2017 AGM which will be held Monday night August 14 at the Little Bang Brewery with free beer tastings and pizza following the AGM. There is a limit to the #'s so get in quick and RSVP via the link below.

We also will have our Little Bang Games with prizes that may include a free ACS membership, 3 x free entries into the Awards (if you win one and have already paid you will be reimbursed), a free ticket to the 37th Awards night and a copy of Shadowcatchers.

Below are links for Corporate members to either download a committee nomination form or alternatively a proxy form if you can't make it on the night.

Please carefully consider the roles if you are interested in nominating for a committee role. The role of a committee member requires commitment, time and responsibility but is a great opportunity to be involved in shaping the future of your ACS. It's also can be a bit of fun! We usually meet on the first Monday night of the month @ 1830 @ Anifex.

Only Corporate members may stand or vote at the AGM but all members over 18 are welcome. Corporate members include: Camera Crew(previously Active), Cinematographer (previously Full), Accredited, Retired and Life members.

Student, CineKids, Honorary and Associate members are classed as non-corporate members and have no voting rights but can still attend except for CineKids or Students under 18.

6:00pm pre AGM drinks
6:30pm AGM
7:00pm Pizza and beer tastings
7:30pm Little Bang Games with prizes

Please note that unless you have already sent in a nomination form you cannot be coerced to be on the committee on the night!

RSVP now

Click to download SA 2017 AGM Committee Nomination Form »
Click to download SA 2017 AGM Proxy Form »

Free Tickets to Tommy's Honour

Transmission Films and Tracey Mair Publicity have offered our members 5 free in season double passes to see Tommy’s Honour, an intimate and moving tale of the real-life founders of the modern game of golf.

The film recently won the Best Feature at the British Academy Scotland Awards, view the trailer via the link below.


Tommy’s Honour is based on the true story of the challenging relationship between Old Tom and Young Tommy Morris, the dynamic father-son team who ushered in the modern game of golf. As their fame grew, Tom and Tommy, Scotland’s Golf Royalty, were touched by drama and personal tragedy. At first matching his father’s success, Tommy’s talent and fame grew to outshine his father’s accomplishments and respect as founder of the Open Championship in 1860 with a series of his own triumphs. But in contrast to Tommy’s public persona, his personal turmoil ultimately led him to rebel against both the aristocracy who gave him opportunity and the parents who shunned his passionate relationship with his wife.

The film will be released in cinemas on September 7th and screening at Palace Nova Eastend and Trak Cinemas.

The cinematographer was Gary Shaw. Here’s a feature on his work in the film:

Reserve your free double pass now - 1st in 1st served basis. Reserve your tickets now

Click to view Tommy's Honour Trailer »

Profile Tony Clark ACS

Gidday Tony, please tell us what is your favourite film?

I enjoy all kinds of films and I’m not fussy, as there’s usually something there on some level for me whether it’s strong story, strong visuals or large explosions. As a kid I always had something of an engineering bent and was interested in how things got made and it was films like ‘Star Wars’ that lit a few fires for me that I wouldn’t recognise until much later in life. This year though, it was ‘Arrival’, by Denis Villeneuve that stuck with me – it was quite simple, but beautiful, and I had the moment in the last minutes when it all made sense that really moved me. On the lighter side, I love ‘Team America, World Police’ (uncut version) – I cried in the vomit scene.

When did you become interested in our industry?

Again, probably ‘Star Wars’, and when my grandmother explained to me that the film was the same as in my still camera, but running through a roll every second. It never really took hold until later though – first I was going to be an engineer, then a lighthouse keeper because my school grades were a disaster, then a newspaper photographer, then a trainee for the PMG (now Telstra), then the traineeships at the ABC were advertised after I ‘finished’ year 12 and it was like it was written for me – it had everything I was interested in as the requirements list, except cinematography, which I wasn’t interested in. I just wanted to work on ‘Countdown’!

Young Tony on day 1 @ the ABC

What did you do to get a start in the industry?

I started at the ABC in 1983 as a production operations trainee, or POT, having just turned 17. It was a great course, over 3 years, with time working in actual departments under great talents. We worked across all areas of the film, television and radio departments, so I knew how to record an orchestra, read and transpose a music score, line up a quad VTR or Marconi studio camera, sync film rushes, mix in a dubbing theatre and so much more. It was an education that was so wide and deep, and it underpinned everything I’ve done since.

While there, I spent time in the Cinecamera department, with Mal Ludgate ACS, Alan Hall, Lou Petho, Mike Adye and many others. The crews were always 2 person, so there were sound recordists like Dean Henneker, Phil Gibb, the late John Busch and Peter Biggs. We’d rotate through the various departments and in year 3, I found my home in the Cinecamera Department. It, like most of the ABC was filled with people who were obsessive about their craft and generous with their knowledge, and the film department was filled with people that loved cinema, which was infectious.

We shot film there in the first few years while the transition to electronic cameras happened, so I landed just in time to shoot film day in day out, in a variety of situations that helped me to make good choices quickly. It was reversal too, so quite unforgiving, and I made plenty of mistakes.

Tony & Paul Cox filming Kalaupapa Heaven in Hawaii December 2005

What has been your most interesting project?

As a cinematographer, it was ‘Tempted’ which was filmed in New Orleans at the end of 2000 with director Bill Bennett. I’d been given trust and resources that I hadn’t had before, and was encouraged to loosen up and be more expressive as a cinematographer. The film had great locations, a great cast and I enjoyed the relationship with Bill very much. I also learned a lot about myself – my ability to decode reference images to inform a style, my tolerance for pain and long hours, and that the role was so much about managing process to keep it all moving along.

Have you had any mentors that have help you in any way?

The ABC team were the beginning – I learned to light from the Sound Recordists I was with who’d regularly tell me I was wrong and I should just simplify things, the editors on how to shoot efficiently, the camera folks taught everything else, including why not to bother speeding to stories (I thank Erik Hellak for that). Then John Elson, who taught me how to survive as a freelancer and in business, and shoot decent looking video, then Cinematographers like Roger Dowling ACS, Ernie Clark ACS and David Foreman ACS where I learned by watching - Directors, Camera Assistants, Gaffers, Grips, Colourtimers – I feel like I’ve learned something from everyone I’ve come into contact with and at this end of my career find that the thing I enjoy the most is learning.

I feel it’s one of the greatest aspects of our craft – the willingness of people to share ideas and experiences and help new talent no matter what their level.

Tony and his adoring partner Briony at the Emmys in 1992

Tell us about Rising Sun Pictures

Cinematography for me was about helping people realise creative visions through the use of technology – visual effects is similar, and the visual effects supervisor is the cinematographer in the all-digital realm.
For me, it was the coming together of my inner engineer and love of making pictures – we just use a different set of tools. We also get to do it from here in Adelaide and support between 150 and 180 people and their families at any moment in time, and it’s exciting to see people learn and grow within the business to work on world-class projects from a city that’s my home. I now spend my time managing, but occasionally work on projects – the camera skills are entirely relevant, and are in fact a huge asset.

Tell us something about yourself that not many people know?

In New Orleans, in 2000, a friend was renting the house of a famous film director (known for a certain legendary trilogy of mafia films), and the toilet blocked up on me, which was highly embarrassing. I cleared it … by hand.

I like to think of myself as plumber to the father of The Godfather.

Thanks Tony, that last bit was almost too much info. Tony received Accreditation #229 back in October 1996 and we take this opportunity to thank Tony and RSP for their invaluable support of our branch over the years. Once again we are judging our State awards using their facilities.

Also, contrary to popular belief, Tony is not my younger, taller and more handsome brother! cheers, Ernie Clark ACS

Upcoming dates

August 1 All State & Territory Awards for Cinematography Entries Open

August 14 SA AGM

August 18 SA & WA Awards Entry Close

September 4 Committee Meeting

September 8 Sponsor Assets Deadline

September SA & WA Awards Judging in SA

October 2 Committee Meeting

October 13 & 14 Accreditation Submission Reviews

October 15 National OGM

October 28th 37th Annual SA & WA Awards for Cinematography @ Adelaide Oval

November 6 Committee Meeting

December 4 Committee Meeting

December 11 SA ACS Christmas drinks

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