To celebrate the Christmas & New Year break we are having a Christmas Drop In Session @ PICA BAR, Northbridge on Thursday 21st December from 630pm onwards. No toys to play with this time unfortunately but if you're up for a casual chat and drink (if you're that way inclined) come on down. For the young crew it might be a great opportunity make some new connections and do some networking. It would also be great to get a christmas photo with all the crew and we'll pop it up here on our Facebook page. PICA closes at midnight so stay as long as you like! (Outside area cafe seating) Perth Cultural Centre Open to all members, new members and of course partners and friends are more than welcome, I look forward to having a beer with you! On behalf of the myself and the committee we hope you all have a relaxing Christmas break and a prosperous New Year! Stay safe and drive smart!
I did photography at school and was completely captivated by the whole thing. I also loved the escapism of movies. Then seeing OB cameramen at the speedway and WAFL matches, I put two and two together and saw my career. There wasn’t a massive industry here back then and after finishing Year 12 in 1982, I exhausted efforts to get a traineeship at the local TV stations without luck. I had to get a job so took a heavy duty diesel mechanic apprenticeship and was due to start that at a mine in Mt Newman. I couldn’t stomach the thought of going in that direction and couldn’t give up what I knew I really wanted to do. Two weeks before having to leave, I walked into local production company Taimac Video Corporation, pleaded my case to the receptionist and was overheard by the owner, Ross McDonald. He came out and asked if I could give him a hand to move closed circuit TVs from Belmont to Ascot racecourse. Three days later he put me on probation as a steward’s patrol cameraman doing horse racing. There was my foot in the door and I could not have been happier. Ross had saved my life! A year later I was transferred to the Commercial Production department and stayed there another a year or so. The America’s Cup was coming to Perth and I was asked to join Channel Seven. I had two years there, in and out of helicopters, on and off boats and doing lots of single and multi camera production. By now I had a fair amount of operating experience. The Cup was lost and I moved to Vancouver for a couple of years where I worked freelance in broadcast and retail TVCs and was also exposed to more film production. I’d hang out at Panavision and Willie F Whites, a large lighting company learning the gear and techniques. I moved back to Perth and wanted to increase my lighting knowledge so contacted Perry Sandow and started working freelance as his Best Boy. I will be eternally grateful to Perry for teaching me how to see light in quality and quantity. Four or five years later I rejoined Camera Dept. as a loader then 1st AC, learning from generous and talented cinematographers like Richard Malins and Kipling Baker. Four or five years later I launched as a DoP. In 1998 I moved to Sydney shooting mostly TVC’s on film and finally moved back to Perth in 2008.
I still love using light metres so carry a spot, an incident and a colour temp. I have this lovely little invercone on a flexible rod that plugs into my incident metre and is great for miniature and table top work. I also carry around a little string of battery powered LEDs that are great for foreground highlights or draped in the deep background. There’s a contrast viewer, a combination compass and inclinometre and a small stills kit. Most used item you own? Probably the most used item I own are the Cooke S4’s. Particularly the 40 and 75. I am absolutely besotted by them. I love everything about them, the roundness and honesty of their imagery, their contrast, the build quality and pedigree, their weight and design.
The advancements in technology have been fantastic. All the things that I’d always wanted are here now. Digital cameras that are fast (sensitive) and fast (fps) and render close to film, remote lens control systems, wireless video, stabilized remote heads and lens mapping are a few examples. They’re things that we take for granted now. Those things have come so far and fairly quickly. I’ve waited my whole life for these things. And there’s more to come... it’s all pretty exciting really. At the end of the day, technology has made more things possible but it still comes down to composition and light. What was your greatest happiest mistake? I don’t think I’ve had any happy mistakes. All mine have been painful and miserable experiences. But I’ve always learnt from them, albeit the hard way! Favourite piece of lighting kit? It’s difficult to single out any one item that’s my favourite lighting piece. I love big soft sources too but I’ll often place a hard point source inside that to create some more localized heat. Lots of little lamps are fun as well and practicals can sometimes be all you need. It all depends on the story and what you’re trying to tell. The cinematography should always support the story and not be its own statement.
Thank you. We wanted to be able to open the film with something that was so compelling that we hoped would hook an audience from the get go. High speed was our answer. It was something that hadn’t been applied in that fashion before and when Ben had written the opening scene of girls playing netball we started thinking of how stylized and unique it could look by travelling the camera at speed past them at an unusually high frame rate. The same approach was applied to the street scene of house frontages by giving an unseen view of everyday life. We conjured the actions of the people to make the most of that, with kids jumping rope or playing under the sprinkler. Water always looks so interesting in high speed. I did the maths on shot duration for each scene and that versus the frame rate, gave me a speed that we’d need to travel the camera to achieve the pass. It all worked as planned and we’re thrilled with the result.
One of my favourite scenes is where John (Stephen Curry) starts on the lounge and Evelyn (Emma Booth) is by the sliding door to the kitchen. John joins her, both end up crouched on the floor and the camera leaves them, pans around the kitchen and ends up looking up the hallway to the bedroom where Vicki (Ashleigh Cummings) is being held. John and Evie then enter from the entrance hall to the right of frame and head into the bedroom. They close the door and the camera retreats. I love long lasting, moving shots that tell the story. What do you look for in a project? What strikes you in a project? I look at the idea and the people involved. It’s always the story that engages me and how I feel I can contribute to its telling with who’s involved. I look for projects that I feel present opportunities for good work by everyone. Lastly you’ve come up through the ranks working in both the camera and lighting departments, how has that shaped who you are today? And can you give any advice for aspiring cinematographers? My career path has been well considered and I’ve always looked at what I feel I’m lacking in, knowledge wise, and have tried to fill that hole. I was always in this for the long haul and love that I’m always learning. My advice to aspiring cinematographers is to make sure you are doing it for the right reasons and to play the long game. It’s important to value your worth if you want a sustainable career. Short sightedness or the desire for overnight success can have you in a skid pretty quickly. Be prepared to start at the bottom, be patient, polite and use your initiative. It’s a great start but a year at film school, even 3 years, doesn’t make you a cinematographer. There’s a lot to learn. I think it’s important, especially if you want a lifelong career, to set yourself up, experience wise, so you can build a sustainable future. There’s always highs and lows and it’s often how you handle the lows that will show you your strengths.
Besides shooting traditional doco style, I was asked to find a way to visually express the water level changes of the extreme 8 meter tides, so I set out to design a camera system that could be left on the reef on its own recording time-lapse images of the tidal changes. I originally envisioned running the camera for the entire 12 hours of the reef tide-cycle, but it turned out that the low tides we encountered were at dawn and dusk, so we were always coming out of dark or going into dark, so the standard battery was all I needed. That also allowed me to use the GoPro monitor instead of the extended battery backpack so I could frame the shots. I drilled holes through the bottom of the brick to mount the GoPro on the tripod mount, and thru the top to insert a stainless-steel eye-bolt to attach recovery lines and a marker buoy.
I got 4 good tide-flooding takes on the trip. Critically, there is one inherent problem as you can see in the sequence above. Once the camera is underwater, refraction changes the focal length, the foreground coral heads disappears and the composition changes, zooming in 30%. Another thing I noticed: the time-lapse effect looks great as the water floods in, but once the camera is submerged, the shot gets boring. Next time I’ll stay on the reef as it floods, then free-dive down and switch the camera from time-lapse to 25fps to continue the shot—hopefully without bumping the camera—and show the sea life resuming on the reef. All-in-all it was a success, and we didn’t lose the camera…well at least not for more than overnight.
A quick postcard from Delhi, India where I am currently shadowing the legend Don McAlpine ACS, ASC on the Bollywood feature film Ramja Chawal. I grew up watching a lots of Bollywood films so this has been an amazing opportunity for me. With the help of Don and Cathy Henkel at the WA Screen Academy, the production company Blue Waters Pictures have invited me to join the team of 150 crew members.
See you all back home in Perth early in the New Year and have a great festive season! Best regards Newsletter edited and published by ACS WA Branch committee member Ben Berkhout
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