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Dear Friends and Colleagues,
It was fantastic to travel over to Sydney for the 53rd  ACS National Awards on 6th
May. Held at the iconic Luna Park and sponsored by our major national
sponsor Fujinon Fujifilm.

A big congratulations to all the nominees and winners, it really was a night full of
impressive imagery. And I got to share it with some local members who also
journeyed over.

The ACS very special guest, Mandy Walker AM ACS ASC  made history by
winning both the Gold Tripod for the Features over $2M category for her beautiful
work on “Elvis” as well as the prestigious Milli Award as Cinematographer of the
Year. Congratulations Mandy!
Congratulations must also go out to our WA member Cathryn Alford who won
Gold in the Cinekids category and Ross Metcalf who received a Distinction in Short
Films. Well done…

And start getting your entries ready for this years state awards, coming soon.
This months Drop In will be a must for everyone wanting to see where the future
may take us in up coming productions, and it will be a first in the event, as numbers
will be limited and capped, so don’t take too long to RSVP
I would like us to acknowledge the passing of cinematographers Don Scott (NZCS
and Michael Elphick ACS as well as legendary Australian Ist AD, Chris
, I worked with Chris and he was a lovely man, we send our love and
condolences to each of their families at this very sad time.

Until next month,
Stay focused…
All the best,
Jim Frater ACS
WA ACS Branch President

Join us on 15 June for an ACS WA event.

Learn more about this emerging technology that is rapidly transforming production possibilities. This workshop will cover the basics of LED wall production use and go over a couple of setups to demonstrate the cinematography and production value capability.

Date:  15 June 2023
Time:  6pm
Location: Limitless Studios 9 Cleaver Street #2 West Perth, WA 6005  

ACS POSTCARD From South Korea
Ross Metcalf

I had an opportunity recently to shoot a luxury electric car brand TV commercial in Seoul, South Korea. The commercial aimed to highlight a specific feature of the car through a small story. Working with a top Korean director added pressure, but I had two translators to assist with on-set communication. In Korea, they rely on the DP to guide the shoot based on a schedule created by a director's assistant, which was an interesting difference compared to having a 1st AD. The goal was to create polished and cinematic visuals, and I chose the shooting format to be RAW Sony Venice 2 with Cooke 1.8x FF anamorphic lenses combined with a Rota polar and Hollywood Black Magic filtration.

After conducting four days of scouting and technical preparations, we filmed the car on a process trailer at a remote coastal location. We faced challenges with the lighting due to the high sun position, but we managed to create the desired effect by using an Arri M18, diffusion frames, and a SkyPanel S120. We also utilised a slider/jib combo through the passenger door for various shots. Next, we shot car tracking shots with a U-Crane car/arm team using the same anamorphic primes.

The following two days were spent in a swimming pool stadium and diving pool. Despite discussions about using spherical lenses for underwater shots, I decided to stick with the anamorphic lenses after conducting tests. We used a large underwater housing on a crane, controlled via joystick, to capture the underwater scenes. Additionally, we had a Phantom Flex 4K with Cooke S4 lenses for the 500fps overcrank work in a separate underwater housing. On the third day, we used a second Sony Venice camera for above-water shots to save time.

Preparing the lighting setup for the pool stadium scene was challenging, as we had limited shoot time at night and needed to maintain the appropriate light level for overcrank shots. We positioned an 18k backlight beam on one of the diving platforms and used several 6K HMIs and sky panels for other shots. We also had to consider the energy levels of the 9-year-old swimming talent and the complexity of each take. Despite these challenges, we managed to capture creative shots, including one with light reflections on the character's body and face by strategically placing a water box.

Unfortunately, we faced a setback when the water crane started leaking and had to be shortened, limiting our camera movement. Despite the difficulties, I pushed the creative boundaries within our limitations. Challenging shoots provide valuable learning experiences, and I'm satisfied with my contribution to the success of the project.
To finish up I’d like to share a few key take aways I had from the shoot:

  • As I mentioned previously the DP role has a bit of cross over with the AD role in Korea. I wish I knew this sooner and didn’t allow the Director to add so many extra frame sizes to a couple of the first setups each day as it pushed us into a time crunch at the end of each day. 
  • I’m guessing everyone feels this when shooting abroad but I found there is a delicate balance between getting ahead of issues and being too directive and not letting experienced crew show you what they have done before (on a time limited schedule).
  • Venice 2 low light mode can cause car head light ghosting
  • Just another reminder that Underwater work takes so much more time to adjust. In our case each lens change took 30 minutes (I was sweating..)
  • As an extension to the above a tip for Lensing underwater is to take screen shots in camera prep (in the test pool with the correct diopter) for each lens size (with stand in talent at various framing, i.e. CU, MCU, MS, Wide etc) and have those images available on the iPad on set. It was very helpful for reducing lensing choice mistakes. 

All the best on your next shoots. Keep striving to create what is in your minds vision and keep enabling the team in any way you can to help you achieve that!



What's new at Location Equipment

Location Equipment has just got in a couple of pieces of gear that we're sure you'll find very handy;  The Aputure Infinibar PB6 Light Bar and the Sony FE 200-600mm lens.

The Aputure Infinibar PB6  is a 2 foot RGBW LED pixel bar that utilises Aputures new “INFI connectors”, allowing you to connect them together without a visible seam. It offers 2000k to 10000k colour temperature with CRI 96+ accuracy, 1110 Lumen output  and the ability to control the light through the Sidus Link or Lumen Radio CRMX softwares. 

For photographers and videographers placed at the back of the auditorium, the Sony FE 200-600mm is the lens for you. With full-frame coverage, this lens is perfect for capturing live music, conferences, or sporting events from a distance. Thanks to its ultra-fast autofocus, you can effortlessly track your subjects when you pair this lens with the current generation Sony cameras. 

Contact us today if you would like to learn more or come into the shop for a demo.


The second quarter of 2023 has been an exhilarating period for us as we continue to raise the bar in serving the WA filmmaking community. We have focused on elevating our rental services and expanding our sales division, ensuring that we deliver unparalleled support and top-notch products to professionals and prosumers alike.

We are delighted to announce that our newly commissioned DJI Transmission Systems are now available for rent. These systems have been meticulously accessorised and equipped with advanced features to provide filmmakers with enhanced wireless capabilities and improved reliability.

We’ve been using our in-house R&D and machining capabilities to produce accessories that integrate the DJITS perfectly with existing cameras and devices in our rentals fleet.

In terms of glass, we’ve added the Dulens APO Mini Prime lenses that offer a unique vintage spherical image and have a strong fan base. We’re fortunate to have them here in Perth given the backorders and lead times resulting from the response they’ve had overseas. 

Additionally, we are thrilled to introduce the Laowa Periprobe 24mm lens, a perfect companion or alternative to our existing Laowa 24mm probe lens. With a PL Mount configuration, the Periprobe offers great flexibility for cinematographers seeking unique perspectives in visual storytelling regardless of their camera format.

Not the most glamorous and exciting addition but certainly one of the most practical, we’ve now got a full set of noise cancelling on-set comms - the Solidcom C1 PRO, manufactured by Hollyland.The microphone boom on each headset rotates 360°, allowing for left or right orientation. Rotating the boom arm up or down conveniently mutes the mic when not in use.

We are proud to share that we have recently been appointed as an authorised dealer for two industry-leading brands, Blackmagic Design and DJI.

This marks a significant milestone for our sales division as we broaden our product offerings and reinforce our commitment to serving the professional video and cinematography market, catering exclusively to the needs of professionals. 

Our commitment to rentals and sales and our extensive support offering is another point of difference at Cinemachine. Hit us up for any quotes or demo’s if there’s anything you’re keen to get your hands on.

We hope you have a busy and enjoyable run into the end of financial year period and look forward to serving you soon! 


Some small tweaks to the end…..

We are thrilled to announce that Raz Rentals has recently acquired the state-of-the-art PS Technik Lens Checker Projector.  

The PS Technik Lens Checker Projector has garnered acclaim for its exceptional functionality and reliability. Designed with the specific needs of cinematographers and focus pullers in mind, this projector offers a comprehensive solution for lens testing and evaluation. Its innovative features ensure accurate and precise calibration, guaranteeing optimum performance for your lenses.  This remarkable piece of equipment is the next tool in our ongoing commitment to providing you with the latest tools to capture your creative vision. 

We extend a warm invitation to Cinematographers, Camera Assistants and Filmmakers to see the projector firsthand and how this projector can help you choose the optics for your next production.  

Check out our full inventory at

Local Major Sponsor

National Major Sponsor
Fujifilm Australia logo

National Diamond Sponsor
Creamsource logo

National Platinum Sponsors
Black Magic Design logo        Canon logo        Panasonic logo        Panavision logo        Silver Track Digital logo
Sony logo        The Post Lounge logo

National Gold Sponsors
AFTRS 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
Blonde Robot logo        Camerahire logo        Mark Robinson Motion Control logo        RED logo        Rotor Head logo
Sura logo        TecArt logo        Vimo Cine logo

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

Western Australia Branch
Australian Cinematographers Society

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