View this email in your browser

ACS South Australian Branch


June 2023

From the Pres
2 Days to Book for Cinematography & Travel

Beep & Mort - Technical Set Visit Night wrap up
Profile Abby Nicholls
From the Pres

I hope you've booked for our Cinematography & International Travel night on June 6 as it promises to be a ripper.
Our Beep & Mort Technical Set visit was really well attended and we thank Aaron Gully ACS and all the crew who stayed after working a full day on set to show and tell what this amazing shoot is all about. Also thanks to Windmill Productions for allowing us onto their set and Gold sponsor ProAv Solutions for supplying the microphone and amp.

Vale Chris Webb. Chris was an amazing and respected first AD who graced so many sets across the country. I had the pleasure to work with him on numerous occasions and although somehow he always appeared to have slept in his clothes, he was so prepared and had the most wonderful, driest wit. His attention to detail, his communication, his knowledge of the the whole film or series without seeming to resort to paperwork was truly amazing. He will truly be missed by so many of us. RIP.

Further down the newsletter I've included an article re Accreditation so please read it if you're thinking this might be the year to consider applying.

Invoices for membership dues will be coming soon. Please note, from this year you can only  pay by Credit Card. Remember you must be financial if you wish to enter our 2023 Annual Awards for Cinematography with the entry window opening August 1 to 21, or apply for Accreditation or the SA Emerging Cinematographer Award or attend any of our ACS member only nights.

If you or you know of a company who may be interested to become an SA Sponsor please direct them to the SA branch page on our website and ask them to download our 23/24 sponsorship proposal or ask them to contact Ernie. Sponsors are an integral component of our branch and we really appreciate their support.

If you are thinking of applying for the SA Emerging Cinematographer Award you should get your submission together soon as applications open on July 1 for only 2 weeks. There will be a link in the July newsletter to submit your submission. This special Award aims to recognise and support an emerging SA ACS member so they can pursue creative ideas and enhance their career in cinematography.

This award is supported with a cash grant from the SA branch of $1,000 and sponsored by SA ACS Gold Sponsor Picture Hire with a generous camera package for up to three consecutive days to the value of $5,000  (T&C's apply). We anticipate this Award will give the recipient access to a better camera and lens package than they normally could afford.

The cash grant could be used to hire extra gear for the shoot, used to complete a course to further their education, or on something else to advance their career. Only financial SA ACS Active members of one year or more may apply. Submissions from applicants for this award will only be accepted from July 1 to July 14.

Some of the criteria we are looking for in your submissions include:
- a bio of their career including what education or training you may have had
- any mentors you may have had, or those who have been influential in your career
- how has your cinematography improved and why
- what awards, if any, have you won
- provide files or links to some of your best cinematography
- if known, what would you use the Camera package prize and the cash prize for?

Well that's enough from me, happy shooting!
Cinematography & International Travel. What you need to know!

Bookings close June 2 so if you haven't already booked to hear about some of what is necessary to have successful, safe shoots overseas you better get onto it. At the time of writing we only have 4 spaces left.

This is presented by three very experienced SA cinematographers who have shot overseas in exotic places, in conflict zones, on top of mountains, in places where you might need a fixer or local crew. There will be loads of information, advice and stories from Miles Rowland ACS with special guests Brant Cumming and Ben Dowie.

Some of the topics to be covered include visas, baggage, carnets & customs, local laws, using drones and local fixers. But they’ll also dive into more complex issues like filming in sensitive regions, extreme environments and conflict zones as well how to keep a low profile and avoid ending up in arbitrary detention or as a diplomatic bargaining chip!

This promises to be a fascinating and educational night and it's a free event for financial ACS members only! 6:15pm for 6:30 start, some refreshments and some finger food provided, bookings essential.

Where: Terrace Room Marion Hotel Mitchell Park
When: Tuesday June 6 - Bookings close June 2
Time: 6:15pm for 6:30 sharp start
Cost: Free and only for financial ACS members

Beep & Mort wrap up

What can I say, what a fabulous presentation from Aaron Gully ACS and the rest of the Beep & Mort crew. We had over 50 attend this fantastic night!

Aaron spoke about the complexities of "fitting" all the Mollyvale sets into the studio, the intricacies of working with puppets and puppeteers, scaling up or down depending on whether they were shooting the real puppets or the miniatures for the wide shots, getting the puppets eye-lines correct, composition, depth, the Sony Venice-2 camera, lensing, the lighting, so many insights, it was very in depth.

Key Grip John Smith spoke about all the rigging for the grids, cyc, camera movement and his responsibility to the production office for all of this happening safely.

Then Richard Rees-Jones took us through the lighting, the DMX control, scaling lighting up and down depending on miniatures or not, glass gobos in the 20 Profile LED's, the look, keeping as much off the floor as possible, again very in depth.

Finally, the DIT Chris Daniels spoke about the camera and getting the best pics out of it, the colour science of the camera, LUT's, supplying monitoring for the puppeteers, the Director and the DoP.

It was obvious how much effort and thought went into the night and we had wonderful feedback from so many of our ACS members. Aaron, Richard, John and Chris were well supported by the rest of their respective teams. Many thanks also to Line Producer Carly Maple and Windmill Productions for allowing us onto their set. It was a special night!

Thinking of Applying for ACS Accreditation?

If you are thinking of applying for ACS Accreditation this year please be aware that the window for 2023 opens for three weeks only on September 1 and closes September 21.

May I take this opportunity to encourage you to start thinking about getting your submission together and passing it by your
Accredited President for advice well before then, preferably in July or August. This process helps minimise the Assessment panel having to look at submissions that are "not up to scratch". Please don't leave it to the last minute as it's a busy time of the ACS year.

Accreditation assessments are not a mystery. The process involves a panel of ten ACS Accredited cinematographers, who work across as many genres as possible, gathered together (COVID willing) to assess the work. The submitted works of the applying cinematographers are screened and assessed before voting on each submission by secret ballot. 
To gain Accreditation a minimum of 8 of the panel of 10 must vote in the positive. It's tough but if the work is considered a high enough standard you should get through.

It's best you check out the ACS Accreditation page on our website so you make sure you qualify to apply and read the guidelines.

Profile Abby Nicholls

Here's a profile on one of our newer members. Abby, how did you become interested in this business?

I first became interested in the industry in my final year of school. I was fortunate enough to be able to have Film as a subject and it was the one I enjoyed the most, not just because I was analysing films and learning about the craft but because I also had a really great teacher. She’s was incredibly supportive and inspiring when it came to her work ethic and love for everything film related. She was a great role model for me during my time at high school because I was relatively new, but having Film as a subject really opened me up to the possibilities of a combined creative and technical profession.

Even for people that treated the subject as a bit of a blunder, we were all able to use our lesson time as an outlet. So when it came down to choosing whether or not to continue studying, I didn’t really give it much thought and boiled it all down to what subject I enjoyed most in school and we are!

What's the best thing about working in the business?

It would have to be that every shoot is different. I see a lot of the same people but on different rotations which I love. I also love hearing people’s ideas and learning from everyone. I can confidently say I haven’t walked away from a shoot having not learnt something from it. I find that it’s all about repetition when it comes to progress, whether it be from working with the same person a couple times in an effort to understanding their workflow or something as simple as tail slating correctly (embrace the mistakes!).

What’s your proudest moment so far?

Probably winning equal Best Cinematography at the 48hr Film Challenge last year. It was very unexpected and gave me the confidence that maybe I was doing alright. What blew me away even more was the fact that a record number of teams had entered last year, 51 teams I believe, which was incredible and so exciting to see. It was something that I had really wanted to get into for a long time and was fortunate to have worked with such a great team.

Ren Williams and I on Mt Osmond shooting the last scene of our 48hr Film (Photo by Simon Rich)

What’s been your most interesting or challenging project so far?

There are two projects that come to mind, the first one is an honours short film I helped out on called ‘Edward Has a Tree Inside of Him’ Directed/DOP by Kristoffer Lucia of Gutter-Pop Pictures. It’s a surreal relationship drama about exactly what it sounds like. It gets a bit gnarly in the end with some pretty unsettling shots and sound effects but it’s a really visually striking film that I’m proud to have contributed to.

 The other project is a documentary called ‘The Love of my Life’ which I helped Helen Carter shoot in the early days of my degree. It follows the story of a transgender couple getting married in Adelaide and it was my first gig outside of Uni so I was pretty nervous. The creators were happy with what was shot so that’s all I could really hope for! I believe that the documentary was aired on ABC in April so maybe you can see it on iView. 
My first time using the Aaton 16mm Camera at Flinders University for our short film 'The Happy Husband Guide' (Photo by Patrick Maddern)

What’s your favourite film or TV show?

My favourite film is probably ‘Paterson’ by Jim Jarmusch. I love how simple and elegant it is in its portrayal of the protagonist with mostly static shots.

What motivated you to do this job?

I'm motivated mostly by the creative aspects of collaborating on different projects. Realising people's stories on screen is a true gift, whether it be a story they've written or re-telling something they've experienced, it's incredibly rewarding to be part of the process. I think the moment that really kickstarted my motivation to get into filmmaking was when one of my films was screened at my school's film festival that they held each year to showcase student work. When I walked out of the theatre, a man (who I believe was the father of one of the students in attendance) came up to 17-year-old me and said that my film made him cry. I hadn't taken anything too seriously with filmmaking until that point, so when I discovered that my filming on a little DSLR could have such an effect on a random, grown man. I was hooked.

Where do you think your future lies? Is it in camera, directing or perhaps editing?

Camera is definitely where the future lies for me. One of my near-future goals is securing a camera attachment of some kind, whether it be through a Mentorship Program or with the SAFC, it's definitely something I have my eyes on at the moment. I'm determined to upskill as a 2nd AC and make my way up the ranks that way. I still get a bit of imposter syndrome when I take control as DP so I'd rather delve into the assistant roles and pick up the odd camera operating roles for smaller/personal projects.

Thanks Abby, we look forward to seeing you progress in your career.

Here I was DP'ing a Music Video in Kuipto Forest, with Head of Art Department, Sybella Schumacher (Photo by Amy Evans)

ACS Facebook Group

All current financial ACS members can join our Facebook group. Members can post their work, connect across states, link to events, ask for advice, and put up equipment for sale, etc. To join, simply follow the link below and request to join, and one of your local committee members will approve your request. Of course, if you're not a member please don't apply as rejection is not really in our DNA.

Upcoming Dates


June 5 - Committee Meeting
June 6 - Cinematography & International Travel Night
June 30 - Membership fees due date
July 1 to 14 - SA Emerging Cinematographer Submissions window
July 3 - Committee Meeting
August 1 to 21 - Awards Entry Window
August 7 - Committee Meeting
September 1 to 21 - Accreditation Application window 
September 1 to 3 - 43rd SA & WA ACS Awards for Cinematography Judging
September 4 - Committee Meeting
October 3 - Committee Meeting
October 13, 14 & 15 - Accreditation Assessments @ ACS HQ
October 27 - Special Screening & Q&A
October 28 - 43rd Annual SA & WA ACS Awards for Cinematography
November 26 - National AGM via Zoom
December 4 - Committee Meeting
December 11 - Annual SA ACS Christmas Get Together
December 12 - SA Branch goes into hibernation.

56th Annual National ACS Awards for Cinematography in Adelaide

South Australia Gold Sponsors
AADC logo        Kojo logo        Picture Hire Australia logo        Pro AV Solutions logo

South Australia Silver Sponsors
Anifex logo        Best FX logo        Digital Pigeon logo        Mercury CX logo

South Australia Bronze Sponsor
Sponsor ACS SA logo

National Major Sponsor
Fujifilm Australia logo

National Diamond Sponsor
Creamsource logo

National Platinum Sponsors
Black Magic Design logo        Canon logo        Cutting Edge logo        Panavision logo        Silver Track Digital logo
Sony logo

National Gold Sponsors
AFTRS logo        Aputure logo        ARRI Australia logo        C R Kennedy logo        EIZO logo
Kayell Australia logo        Leitz Cine Wetzlar logo        Lemac logo        Miller Australia logo        Rosco logo
Showreel Finder logo        SUNSTUDIOS logo        VA Hire logo        Well Above logo        XM2 logo

National ACS CineKids Sponsor
Videocraft logo

National Bronze Sponsors
Camerahire logo        Nanlux logo        Panasonic logo        RED logo        Sura logo
TecArt logo        Vimo Cine logo

National Supporters
AACTA logo        Black Bishop logo        MPIBS logo        NFSA logo        Stage & Screen logo

South Australian Branch
Australian Cinematographers Society
PO Box 212, KENT TOWN, SA 5071

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.