Panavision Workshops
Your ACS branch has been working with Nic Godoy from Panavision Australia to bring their Creative and Technical Workshops to Adelaide.
Over the last few years Panavision Australia have developed educational workshops for cinematographers, creatives and up-and-coming filmmakers.
They have created workshops for technical (Cinematographers/AC’s/Post Production roles etc.) and non-technical roles (Directors/Producers/ Creatives).
Below are a brief description of each:
Workshops for Creatives and Non-Technical Filmmaker Roles (medium to highly experienced):
• Explain modern camera and lens technology used in Features, Series and TVCs in relation to its creativity and the basic technical requirements to communicate effectively with DOPs/Producers/Agencies.
• Understand film language, story-telling through a lens and the techniques used.
• Hands-on tutorial with Panavision Cameras and lenses and explanation on the reasons our technology is used in Films, TV series and TVCs worldwide.
• Provide insight into Panavision’s role in the film industry for the past 63 years. Share knowledge on our experiences and how we have contributed to the global Film industry.
• Provide a free online technical reference library for all attendees.
• Give an insight of future trends in technology advancements in large format, 4K and HDR Deliveries.
• Recommendation of strategies to avoid budget pitfalls.
Workshops for Technical Roles (experienced):
• Provide current filmmaking trends and update on technology advancements in the Film and TV Industry.
• Update on current Large Format technology, 4K, UHD, HDR advancements and Deliveries for Netflix and other streaming platforms.
• Technical break down of Motion Picture lens characteristics and its evolution over the last 60 years.
• Show samples of TVCs and explain how the technology relates to the creative elements of each project.
When:
July 15 Creative night
July 16 Technical night (recommended for ACS members)
Time: 6pm for 6:30pm Start (Presentation approx 2.5 to 3 hours)
Where: Anifex Studio 65 King William Rd Kent Town
Booking: Essential via Try Booking links below
Cost: ACS members $15 - Non members $20 + booking fee .50 cents
Refreshments: Drinks & nibbles supplied
From the Pres
I hope you all have paid your membership fees as they were due by June 30th and did you check you are in the correct Membership Category. Maybe it's time to upgrade to the next level - check out the membership requirements on our website via the link below.
Our 39th Annual Awards for cinematography entries open August 1 and closes August 21 so start collating your best work so you're ready to enter.
This year our awards will be held at the Adelaide Town Hall so put aside Saturday October 26 in your diaries.
Accreditation Submissions window opens Sept 1 and closes Sept 30 so if you are thinking of applying for ACS accreditation please contact Ernie to discuss your submission before then.
The SA AGM is not far away - August 12 - so keep the night free as we are planning on a bit of fun for the night. If you want to have a say in what our branch does you may like to nominate for the committee or even the President! But don't forget you must be a financial, corporate member to be on the committee. Click the link below for the Nomination Form.
ACS Facebook Group
We've started a Facebook Group where all current financial ACS members can join. Members can post their work, connect across states, link to events, ask for advice, and put up equipment for sale etc. here. To join, simply follow the link below and request to join, and one of your local committee members will approve your request.
Melbourne Women in Film Festival 2020
Submissions are now open for the 2020 Melbourne Women in Film Festival.
The festival will take place next February 20-23 next year where we celebrate and promote short and feature films created by and representing the diversity of Australian women and their stories.
MWFF welcomes short film submissions of any genre, style or theme from women working within all areas of the Australian or New Zealand screen industries.
Head over to the MWFF website and take a look at eligibility requirements and dates.
Chris Herzfeld Profile
Chris how did it come about that you ended up working in this business?
I guess it was natural that I would end up in the industry since my father was a cinematographer/photographer. I was offered a job with ADS 7 when I was in my final year of high school so having grown up around the station it seemed a natural fit to work there.
Please tell us about your dad Wally and the influence he had on your future.
Well he was a huge influence on my career, from an early age I was playing with cameras, both film and stills and learning about cinematography and photography, Dad studied film making and photography in Berlin before coming to Australia and always had a huge knowledge about the craft so any questions I had he could answer and he always encouraged me to experiment and shoot as he felt that was the best way to learn. He used to set up a dark room in the laundry so I had a complete experience from shooting to printing the images I shot.
Young Chris with his Dad Wally.
|
When did you first get seriously interested in our industry-what was your first job?
I guess growing up with cameras I was interested in both stills and moving images from early on. I shot my first “movie” when I was in primary school on a Bell and Howell DR-70 and I guess that really kicked of my interest in the industry. My first job at ADS 7 was in the film handling department. In those days many programs where put to air as 16mm film. Film handling was my responsibility, checking, cleaning the programs and inserting the commercial breaks. I then moved to the floor crew operating both studio and portable video cameras and then from there into the lighting department.
What’s the best advice you ever received?
I remember in the late 70’s and 80’s going to trade nights with Dad where film and camera manufacturers would speak about their latest products. Usually they would bring a “name” photographer with them to help with the sales pitch. I don’t remember who those photographers where but they all had the same message and that was don’t copy anyone else but develop your own style and practice and then practice some more to develop that style. Through my practice over the years this is something that I have tried to do. This was followed up a few years ago when an Adelaide dance companies European agent and a European dance presenter told me that what they loved about my images is that they have the intent of the dance work, so the show is very easy to sell as public watching the show feel satisfied that the images are true to the show. I think this is true for both stills and moving images. I really think a great image is one that full fills the purpose for which it was created.
|
What’s your proudest moment so far?
Actually there a three, firstly driving into Paris from the airport in a taxi and seeing one of my shots on a huge billboard, the taxi travelled 300 meters down the street turned a corner and there was another one. Turned out there were 200 in the old part of Paris.
This was on par with being told by the management company IMG in New York that they considered me in the top five dance image makers in the world and lastly completing two 10 page photographic comics with some awesome collaborators.
What was your first industry award?
Yes, I’ve won awards both for my stills and video work. The first one I won was the inaugural Nikon Kodak Superhot in 1984 for a stills shot.
What’s the best thing about working in our business?
For me the best thing about the industry is the variety of work. I love shooting on a stills job one day and the next day shooting video. And all the collaborations, as I love collaborating with others when creating a project.
How do you approach shooting a new assignment?
I always start a new project by trying to understand the concept of the project, the client’s expectations then the director’s interpretation of the project.
What keeps you motivated to do this?
Being able to create and help be part of a process that has a positive outcome for the client.
What is a common blunder that film creators make?
Being a slave to technology, using the latest bit of kit because it is the latest bit of kit even if it doesn’t help tell the story.
What’s your favourite film or TV show?
I’m happy to look at anything that has great production values.
What has been your most interesting or challenging project so far?
Probably the greatest challenge has been to create digital content for the dance industry that can help sell a show and stands the test of time. Also my lack of knowledge in the area of copyright is a bit challenging.
Tell us some of that hardships you faced doing that?
High quality marketing and image creation are not always natural fit for a performing arts company so it can be tricky to walk the line between quality and no money. Also lack of understanding of copyright is a massive issue particularly when you have to explain the copyright act over and over again.
Chris your reputation for shooting amazing stills is well known, is that where you think your future lies?
I love shooting stills as well as video so I’m happy to follow either one in the future. That said the line is blurring between shooting only stills and only video, with many jobs now I find I’m shooting both.
What do you look for when selecting a crew?
Someone that is calm, knowledgeable, happy to ask if they don’t know or understand a direction and someone who’s happy being on the crew.
Are there any tricks you have learned over the years?
Being flexible, you can only plan so much so work with what you’ve got and don’t worry about what you don’t have.
What’s your next project?
I’m heading to Stockholm to help choreographer Erin Fowler present her award winning show in the Stockholm Fringe, then heading to Paris for a photoshoot
What would you be doing if you weren’t shooting?
Standard answer? a plumber, in truth not really sure, maybe an architect.
What do you do to relax?
I love the beach and walking.
If you started your career over again would you have done anything different?
If I started again I would take the advice that I give whenever I teach young film makers, get another job, by that I mean to have an alternative career to fall back on. The likely hood of anyone being fully employed in the industry now for their entire career is probably slim, at some stage either you won’t get work or will feel you might want a change and to have another career to fall back on would be great.
If you could change anything in this industry what would it be?
To support emerging film makers regardless of age and to support not only directors and producers but rather teams of film makers. Also to encourage big budget film/ shows to Adelaide.
Thanks Chris. If you'd like to check out some of Chris's shoots click the links below.
Some upcoming dates
June 30 Membership fees were due
July 1 Committee Meeting
July 2 Think about getting your Accreditation Submission together for Sept 1
July 15 & 16 Panavision workshops
July TBA Shooting for Visual Effects presented by VES
August 1 - 21 Entry Window for 39th SA & WA Annual Awards for Cinematography
August 12 SA AGM & Fun night
August 30 - Sept 1 SA & WA Awards Judging
Sept 1 - 30 Accreditation Applications Window
September 2 Committee Meeting
September 6 Sponsors Deadline for Awards Assets
October 7 Committee Meeting
October 26 39th SA & WA Annual Awards for Cinematography at Adelaide Town Hall
November 4 Committee Meeting
December 2 Committee Meeting
December 13 SA Branch Xmas Drinks
2020
February 3 Committee Meeting
May 16 National Awards for Cinematography in Canberra
Why not visit your National HQ
If you are in Sydney why not drop in to your ACS HQ, Level 2, 26 Ridge Street, North Sydney. The NSW committee will do their best to open up for you, contact Ted Rayment ACS trayment@cinematographer.net.au
ACS online shop open
|
