In This Issue
- From the President
ACS Award Winners Announced!
Watch ACS Award Winning Clips Available On Showreelfinder
Throughout The Year, Buy Local!
Photographs From The Awards Weekend Workshops In Canberra
Postcard From Mandy Walker ACS ASC
The Great Gatsby (2013) - review by James Cuningham
The Shadowcatchers; A History of Cinematography in Australia
ACS Patrons Wall of Can Do
Continuation of AACTA Membership reduction for Accredited ACS Members
Postcard from Charlie Sarroff - ACS Mentorship Scheme
ACS HQ - Opening Hours and attractions
ACS Laurels now available!
ACS Women Cinematographers Group invites membership
Proposed Neil Davis Museum
Mark Wareham's new toys
Arri's Master Macro Lens - A Closer Look
From the President
Greeting ACS colleagues,
The 2013 National Awards were a resounding success thanks to the outstanding efforts of the ACT Branch, particularly Georgina Jenkins, Robb Shaw Velzen, Pearl Lee, Paul Simpson & Che Baker, who did a truly awesome job hosting the 2013 National Awards for Cinematography. Thanks must also go to the NSW Branch, David & Marianne Wakeley, David & Margaret Lewis, Ted & Anne Rayment and the National Awards judges who spent many hours deliberating over some truly fantastic work. Thanks also to Marc Van Agten and the fantastic team at Fujinon - Fujifilm along with all our National sponsors whose overwhelming support of the Society is greatly appreciated, support we can never repay in full.
The evening also gave us the opportunity to welcome the NFSA CEO, Michael Loebenstein and all those from the NFSA who were instrumental in the Awards program of events over the 3 days. Apart from an audience of the finest cinematographers from around the country, we also had joining us the General Manager of SPAA; Matthew Deaner, David & Penelope George from the Economic Development Directorate of the ACT Government, Don & Jeanette McAlpine, ACS Historian Ron Windon ACS, Past President; Ted Rayment ACS and his wife Ann, Geoffrey Burton ACS, Calvin & Geri Gardiner, our Hall of Fame and Life Member inductees, renowned cinematographer Geoff Boyle from the UK to host a series of ACS Workshops, among a host of other guests.
There were so many highlights starting with the HOF inductees, Mike Molloy ACS BSC, whose family were there to share the occasion, Peter Donnelly ACS, who spoke so eloquently, sometimes even in Latin, about his early days and working with Neil Davis and David Brill. Peter Hannan ACS BSC who could not be with us but sent a message from London and the gracious Jan Wasley who accepted on behalf of her husband Les, who couldn’t be with us, and of course presented to the recipients by our ACS Historian and legend, Ron Windon ACS.
Nino Martinetti ACS and Peter Curtis ACS were both made Life Members and spoke of the honour and pride they have in being acknowledged by the Society. Who can forget David Brill speaking about Neil Davis, the beautiful Valerie Taylor presenting the Ron Taylor AM ACS Wildlife & Nature category, Daniel Ardilley for simply making it to the stage and Geoff Burton ACS and Don McAlpine announcing and presenting awards. The link pin that held it all together was Ray Martin, whose respect for the cinematographer, along with Ray’s wealth of knowledge and enthusiasm is respected by us all. Thank you Ray, and to whomever gave Ray a lift to the hotel after the bus left without him…thank you.
Warmest congratulations to all the recipients, for the outstanding work that we saw at the Awards presentation. To our Milli winner, our Australian Cinematographer of the Year; Jonathan (Jo) Rossiter ACS, true recognition for his work in the short film – animation genre with the wonderfully crafted “Sleight of Hand”. Simply beautiful imagery and a testament to not only Jo, but also the Anifex team.
Jo Rossiter observed:
"I am truly humbled and shocked to have been awarded this truly prestigious honour! In fact gobsmacked. It has been quite surreal to say the least this last week. It's a battle of wits with yourself - one part says to you that " you are not worthy" - the other part says, "the Force is strong with this One!" (The second quote is from Star Wars ,The Empire StrikesBack).
The influence that "Star Wars - A New Hope" (Episode 4, the first instalment from 1977) was quite profound for a twelve year old. I knew from that day onwards passionately that that was going to be the job that I would work towards. I cannot tell you how satisfying it is! In fact the night of the awards was 38 years TO THE DAY that Star Wars was first released.
A very happy coincidence!
I can't thank the judges or our wonderful
Jo Rossiter ACS
Incidentally, Jo was also the first Milli recipient to receive a Milli pin as another memento of his achievement. It’s my intention to send one to every Milli winner who is still with us, or contact me and I’ll send one to you.
Until next time
Ron Johanson ACS
ACS AWARD WINNERS ANNOUNCED!
A proud Milli winner Jo Rossiter ACS poses with his swag and Don McApline ACS ASC
WATCH ACS AWARD WINNING CLIPS ON SHOWREELFINDER
Thanks to our friends at Showreelfinder the ACS winning clips are available for the world to see, follow the link to find out what all the fuss is about.
PHOTOGRAPHS FROM THE AWARDS WEEKEND IN CANBERRA
Stay tuned while we upload the album of photographs from the weekend...
Che Baker FCPX Videocraft Session
Peiter DeVries' DSLR Workshop at Videocraft
THROUGHOUT THE YEAR, BUY LOCAL!
The ACS has a very staunch group of supporters...our National and State Sponsors. Why not return that support to them and BUY LOCAL? Resist the temptation to purchase elsewhere and look to our own backyard.
As I said, BUY LOCAL. Somehow it just seems right.
Geoff Boyle ACS RAW Workshops - Queensland
Geoff Boyle presets in Queensland
The ACT & Queensland Branch workshops were a great success. Here are some piccies from both, showing the numbers who attended and the gear kindly donated by the Workshop sponsors.
A great turnout in Brisbane
KODAK & LEMAC SHOOT REEF DOCTORS
Steven McGrath focus pulling for Andy Condor. (A Jonathan M. Shiff Production. Photo: Jasin Boland)
A new Australian TV series REEF DOCTORS, which is being filmed on the Gold Coast, Port Douglas and the Great Barrier Reef, premieres on June 9. DP Butch Sawko and his crew are capturing paradise on Kodak Super 16mm. Be sure to read the InCamera Article for details on how it's shot and to see a clip:
Lemac Brisbane has supplied Aaton Xtera super-16 film cameras for all above water filming, as well as a Red One MX for underwater shooting.
Click here for the full press release
A POSTCARD FROM MANDY WALKER ACS ASC - FROM THE SET OF JANE GOT A GUN IN NEW MEXICO -
The weather is crazy here and its gone form snowing one day to 30 deg C the next week. It’s also very windy up to 65km per hour, which means lots of dust.
I’m shooting a western here in New Mexico on 35mm Anamorphic.
I took over from Darius Khonji who left, when the director of the film quit on the fist day of shooting, before they had shot anything.
I came on with no prep and started shooting the day after I got the call.....
We are now in the swing of it after having to invent a visual language immediately, with the director Gavin O'Connor who I had just met that day.
All is good now and the film stars Joel Edgerton, Natalie Portman and Ewan Mc Gregor. I have with me also fellow Aussie, Jason Ellson A cam operator.(He’s standing with me holding the finder in the first picture.)
THE GREAT GATSBY (2013) - review by James Cuningham
Like the story of F. Scott Fitzgerald's 90-year-old's novel, The Great Gatsby, Baz Luhrmann's electric and surreal daydream of the same name contain times of utter triumph to which he and his team at Bazmark should proud, moments of sheer madness that leave the audience tipsy and wanting more, and some unfortunate choices.
Cinematographer Simon Duggan ACS does an exceptional job crafting a coherent vision from the individual componants of the production. Duggan's ambitions and dizzying CGI shots swoon over Lurhmann's '20s New York City. Both interesting and telling that Luhrmann chose to work with a DOP known for his successful science-fiction films such as i-Robot (2004), and Underworld: Evolution (2006). Indeed, it is this expertise which Duggan lends so well to Luhrmann's imagination. This is demonstrated beautifully in a stunning pool scene towards the end of the film, which brought together what one can only presume was the use of a Cable Cam, delicate underwater photography, slow-motion, firearms, and a homage to the opening scene of Billy Wilder's A Sunset Boulevard (1950). A touch of class is brought to this well-executed techno-chic world. Gatsby, at heart, is a fantasy picture and should be enjoyed as such to gain the most out of the experience.
Truly ambitious in scope and design, there are few directors who would have had the requisite vision to mount this production. It's not craftsmanship that Luhrmann brings to the table here, but a masterful handling of so many other creative artist's visions. From how Jay-Z's modern musical contributiuons lend themselves to a peculiar and sometimes sublime soundtrack; to how three American lead's Meisner-esque acting styles mix with an eclectic cast of local talent. Special mention, too, to Joel Edgerton who's performance of Tom Buchanan stands equal if not better to that of Dicaprio's Gatsby. Kudos. Carey Mulligan aside, there is a leading lady here who steal all of Mulligan's scenes - designer Catherine Martin. Martin simply revels in the chance to indulge in the fabric of this film, literally, with costume playing a integral part in the decadence of the visuals.
Luhrmann's biggest challenge in mounting this re-telling is to reign in grand visions and concentrate on performance and narrative. This is what he did so successfully with Moulin Rouge! (2001) and while he struggles, he ultimately succeeds to do it here. Oddly, and perhaps disappointing, are the elements left out of the film. Elements from the original novel, certainly. However also what appear to be fantastical musical numbers by Australian performer iOTA, and even a pivotal role by actor Vince Colosimo, both of which seem to end up on the cutting room floor. A shame for Vince, one can only look forward to a DVD packed with extras. Three-and-a-half stars.
THE SHADOWCATCHERS - HURRY GET YOUR COPY - SOME LIMITED EDITIONS AT VERY GOOD PRICES!
The Shadowcatchers; A History of Cinematography in Australia,
by our very own Martha Ansara is selling really well. This truly historic and memorable book has 388 pages of history, photographs and anecdotes. If you haven’t purchased your copy, I suggest you do so soon, at: www.shadowcatchers.com.au
The word is there are some Limited Edition copies, slightly damaged, available at a very good price. If you’re interested email Ron Johanson ACS at email@example.com
MARK WAREHAM ACS UPGRADES WITH NEW FUJINON CABRIO LENSES
Mark Wareham ACS with his 19-90mm Fujinon Cabrio lens and ARRI Alexa on the set of a Coles TVC
As one of Australia’s best-known cinematographers Mark Wareham ACS is dedicated to his craft and this dedication also means always buying the right cameras and lenses to get the job done. Recently Wareham upgraded his range of lenses to include two of the new critically acclaimed Cabrio lenses from Fujinon. Wareham explained, “I have been using Fujinon lenses for over twenty years in fact I used them on the very first series of Paradise Beach in 1993. I always felt that Fujinon lenses were pigeon holed and thought of only for certain types of shooting though. So when I first saw the new Fujinon Cabrio lenses it was like a revelation as I’d wanted a fast, high quality Fujinon lens for some time. As the digital revolution is almost complete with the increasing range of lightweight cameras available, I could see that these new Fujinon Cabrio lenses were perfect for almost every type of shoot so I immediately purchased a 19-90mm.”
He continued, “You can really see the vast and dramatic improvement in Fujinon lenses over the last few years. I used the Cabrio on a Sony F5 and a Canon C300 “commando-style” cameras with excellent results. I now have the broad 19-300mm range, 2.9-4.0, with just two lightweight zoom lenses. They are an excellent compliment to my existing range of lenses and perfect for shooting docos, TVCs or high turnaround TV series – seriously I can see shows like Home and Away and 60 Minutes eventually changing to these types of lenses as the 19-90 is perfect for drama. This combined with their lightweight and compact size means I can put both into a single case and be covered for most shots. I’m planning on using the lenses in an upcoming feature to shoot “in the street” scenes and the 85-300mm in particular for a multi-camera concert shoot. I initially believed these lenses to be perfect for documentary production that’s why I bought them but I now see them as great tools in drama and commercial applications. They open the way for all types of broadcast applications utilising the quality of the 35mm sensor.”
ACS PATRON WALL OF CAN DO
ACS Patrons Wall of Can Do is almost full and the Society is buoyed by the success of this initiative. During the year ACS stalwart, Lawrence McManus ACS booked a place on the wall, and only recently Peter James ACS ASC has come on board and we are very grateful to them both for their incredible generosity. There is still a space available before we need to think about where Wall 2# could be located. Should you require any information about becoming an ACS Patron, please contact Ron Johanson ACS at firstname.lastname@example.org
AACTA MEMBERSHIP REDUCTION CONTINUED FOR ACS ACCREDITED MEMBERS
Continuation of AACTA Membership reduction for Accredited ACS Members
AFI | AACTA recognises that it is critical for Australian screen practitioners to be engaged with and be a member of their representative industry Guild. We are therefore pleased to be able to continue our partnership and provide reduced AACTA membership to the ACS. In order to expand our services and membership program, we have revised our price structure and as such, we invite Accredited members of the ACS to become members of AACTA at the rate of $80 (full AACTA membership is $110), representing a saving of over 25%. For further information, or to join please visit www.aacta.org/membership
ACS LAURELS NOW AVAILABLE
The ACS National Executive have ratified and implemented the use of "laurels" by ACS award winners, which could be used on ACS member websites, to promote a film shot by the recipient, on cv's, movie trailers etc.
To apply for an ACS laurel you must have won at the National Awards or won Gold at the Branch level. Please contact Ron Johanson ACS email@example.com
Here's an example of 3 of the available laurels, the one missing at the moment is the Golden Tripod laurel.
POSTCARD FROM ACS MENTEE CHARLIE SARROFF IN MELBOURNE
On location in Melbourne for a Holden TVC L-R Charlie Sarroff (ACS Mentee), Steve Windon ACS ASC, David Elmes and John Regan
"I have found the ACS cinematography mentorship program to be an amazing opportunity to learn and seek advice from a cinematographer who has a wealth of experience and accomplishments. I am very fortunate and grateful to have had Steve Windon ACS, agree to mentor me. He’s a great guy who’s generous with his time and knowledge and his great body of work speaks for itself. I would also like to thank the ACS for they’re continued support with programs such as these that aim at nurturing the next generation of cinematographers"
ACS HQ - Opening Hours
Just a reminder that there are no specified opening hours for the HQ, but our resident tenant Ashley Roan (God love him!) is there, and happy to open the fortifications.
HQ Manager: David Lewis ACS mob # 0408 273702 firstname.lastname@example.org
Asst HQ Manager Anna Howard ACS mob# 0419 290065 email@example.com
ACS HQ - Attractions
Meet fellow members for a chat in the very comfy surrounds of the lounge area.
Read a book in the very quiet reading room containing many books that have been donated by our members. We now have a comprehensive list of all the wonderful books available in the Bruce Hillyard Room at the ACS HQ. After many long hours, this has finally been put in place by Ted and Anne Rayment. To see the list click here
You can have a “Hands On” experience with the many cameras in the Archives, which has the feel of a Camera room and you will be surprised by the many cameras, donated and on loan that are available at your fingertips.
Play a movie on the “Big Screen” utilising the Sony digital projector and Panasonic surround sound in the theatre area. You can also bring your laptop and drives etc and use this excellent system.
Our high-powered Mac computer allows you to learn and practice your editing skills and download data cards etc.
Take the time to call in and utilise your ACS Headquarters, as it’s there for all ACS members and guests.
SA ACS Members Vivyan Madigan (DOP) and Kirsty Stark (Producer) have just released three new short films in the "Wastelander Panda" series online. Written and Directed by Victoria Cocks, the films tell the story of Arcayus, the last remaining panda in a post-apocalyptic Wasteland.
After the online success of their three-minute "Wastelander Panda Prologue" last year (with over 100,000 people watching it in its first three days online), the team ran a crowd funding campaign and went on to be the first online project funded by a government screen agency (the SAFC), without a traditional 'market' attachment such as a broadcaster or distributor.
Vivyan shot the episodes in Adelaide and the Flinders Ranges, using a RED Scarlett with Cooke Panchro lenses. You can watch them online here: http://www.wastelanderpanda.com
PROPOSED NEIL DAVIS MUSEUM
Neil Davis was a legendary Australian news cinematographer, who is a member of the ACS Hall of Fame. There is a proposal to establish in his hometown of Sorrell, which is just north of Hobart, a museum in his honour. The ACS would obviously be a keen supporter of this proposal. Click on the link to see the story. If you’d like to know more contact David Brill. For more information click here
ACS Women Cinematographers Group invites membership
All women cinematographers and assistants, including student cinematographers, are invited to join the facebook information exchange group “ACS – The Ladies Lounge” Click here to visit the facebook page
Publicising this invitation was one of the decisions of the May 24th meeting of cinematographers attending the Australian Cinematographers Society (ACS) Women’s Advisory Committee held in Canberra on May 26 at the National Film & Sound Archive as part of the ACS National Awards weekend. The meeting applauded the increasing participation of women in the Society’s activities and discussed the importance of increasing women’s awareness of opportunities for mentorship and skills training. Sue Greenshields of Lemac noted that relatively few women take advantage of Lemac’s open invitation to test out equipment. She reiterated the hope, likewise mentioned at the last WAC meeting by Ali Peck of Red Apple, that more women would join their male colleagues in dropping in to equipment hire facilities in order to gain confidence in using a wide range of new cameras.
It was also noted that some younger women cinematographers are not aware that membership in the Australian Cinematographers Society is open to them. This includes students, assistants and the small but growing number of documentary makers who are shooting their own films to a very high standard. The ACS provides a forum for cinematographers working in every genre to further develop their skills through mutual co-operation -- informally as well as through useful events and workshops. Cinematographers are encouraged to mention ACS membership to their colleagues, and particularly to qualified women who may not feel entitled to join.
Likewise, "ACS – The Ladies Lounge" facebook page is open to women cinematographers at all levels as place for exchange of information and job opportunities. Invitations to attend the annual Women’s Advisory Committee meetings are issued to all who are accepted as members of this page.
ACS MERCHANDISE: NEW STOCK HAS ARRIVED!
ACS MERCHANDISE: NEW STOCK HAS ARRIVED!
Available from David LEWIS ACS
ACS HOODIE $35.00
ACS SPRAY JACKET $60.00
ACS T SHIRT $20.00
ACS CAP $20.00
ACS BEANIE $15.00
ACS PEN $6.00
ACS NOTEBOOK $5.00
EIGHT DAYS A WEEK PRODUCTIONS TAKES A CLOSER LOOK AT ARRI’S MASTER MACRO LENS FOR TVCS
ARRI’s Master Macro 100 lens has progressed further on its journey as the macro lens of choice for many of Australia and New Zealand’s DOPs and camera operators wanting the ultimate in image quality for table top cinematography, TVCs, product shots and close-up inserts on feature films.
One of the companies to have purchased the Master Macro 100 lens of late is Eight Days a Week Productions run by owner operator Borće Damćevski who, in his role as a respected DOP, is particularly well known for his extensive work shooting a whole host of TVCs for high profile brands including L’Oreal and Nestle.
Damćevski said, “I’ve been an ARRI Australia customer for many years and have had great success with their excellent team and never-failing ALEXA camera. A while ago I decided to purchase the Master Macro 100 to compliment my range of equipment and I simply haven’t looked back”
Damćevski who actually purchased the very first Master Macro lens in Australia also added, “I love using the Master Macro lens to shoot TVCs because it was specifically created for cine applications. It has a wide T-stop range (T2.0 (infinity)/T4.3 (close focus) to T32) and helps dramatically reduce flare giving brilliant, vibrant colours, low geometric distortion and minimised chromatic aberration.”
ARRI Australia MD Stefan Sedlmeier said, “We are delighted with the success of the Master Macro lens. Eight Days a Week Productions are a great example of how this lens can be used to achieve the highest quality images. Our goal at ARRI Australia is to continue to service and support all of our customers in every way we can and this includes in-house lens testing at our Lane Cove HQ, something all of our Master Macro 100 customers have enjoyed.”
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