issue#39

rrp $8.00 inc. gst

October 2008

Anniversary
of the Australian
Cinematographers
Society

www.cinematographer.org.au

ac_issue#39.indd 1 23/10/08 9:21:23 PM

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ac_issue#39.indd 2 23/10/08 9:21:27 PM

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ac_issue#39.indd 3 23/10/08 9:23:09 PM

 By definition of the Australian Cinematographers Society’s Articles of Association
“a cinematographer is a person with technical expertise who manipulates light to transfer visual information by the
use of a camera into aesthetic moving images on motion picture film or electronic recording systems”

magazine
@austcine.org.au ............

Australian Cinematographer is
2008/09 FEDERAL EXECUTIVE published quarterly for members and associates

President:
of the Australian Cinematographers Society
branch
Ron Johanson ACS (Qld)
Editor:
addresses
Vice-Presidents: Butch Calderwood ACS
Ernie Clarke ACS (SA)
David Wakeley ACS (NSW) Chairman: Federal &
Ted Rayment ACS New South Wales
Secretary: PO Box 207,
Velinda Wardell ACS (NSW) Associate Editors: Cammeray, NSW 2062
John Leake ACS
Assistant Secretary: Tony Luu
Tony Luu (Qld) M.S.J. Hood BA DipEd Victoria
Treasurer: Heidi Tobin PO Box 2023,
Mylene Ludgate (SA) Sth Melbourne, VIC 3205
Art Department:
Assistant Treasurers: Brad Sampson
Craig Pickersgill (NSW) Queensland
Business Manager:
Jo Rossiter ACS (SA) PO Box 47,
Craig Pickersgill
Spring Hill, QLD 4004
Historian: Contributing Writers:
John Leake ACS Rosemary Reid BA
Jan Reichle South Australia
NSW President: PO Box 705,
David Wakeley ACS Robyn Turner
Giovanni Albanese North Adelaide, SA 5006
VIC President:
Alan Cole ACS Historian:
John Leake ACS Western Australia
QLD President: PO Box 476,
Nino Martinetti ACS New Gear: Leederville, WA 6903
Nicola Daley
SA President:
Ernie Clarke ACS Printing: Tasmania
Pegasus Print Group 14 Utiekah Drive
WA President: Taroona, TAS 7053
Jim Frater Publishers:
AustCine Publishing
TAS President: PO Box 402,
ACT
Paul Di Benedetto ACS West Ryde NSW 1685
PO Box 1558,
ACT President: National Library of Australia: Woden, ACT 2602
Robb Shaw-Velzen ISSN 1440-978X

NT President: Print Post Approved: NT

Chris Tangey PP255003/03506 PO Box 8111,
Alice Springs, NT 0871
Website:
Craig Pickersgill

ac_issue#39.indd 4 23/10/08 9:24:20 PM

 contents october 2008 ISSUE 39

departments
from the Editor’s Desk
06

06 from the (past) President

Quarterly Journal of the

Australian Cinematographers Society
12
features 08 from the (new) President

14
14 ONSET
Mao’s Last Dancer
10 News

John and Marion Leake

24
32 36 CML

Nigel Reports
26 from Sydney
26 38 New Gear

28 Northern Territory
David Curl reports

30 Pawn Movie
New independent feature film
44 Snaps

42
32 A Picture of Health
by Franc Biffone 52 Book Review

Larry the Lawnmower 28

40 52 Web Review

42 Flashback
Peter Hannan ACS BSC

53 Film Review

30
24 54 Short Ends

56 What’s In My Kit?

Cover picture:

Matt Windon,
Peter James ACS ASC 40 57 In Memoriam
Matt Wakai

Copyright AustCine Publishing and The Australian Cinematographers Society (2008)

All expressions of opinion are published on the basis that they are not representing the official opinion of the Australian Cinematographers Society, unless
expressly stated. Australian Cinematographers Society accepts no responsibility for the accuracy of any opinions, advice, representations or information
contained in this publication. Australian Cinematographer is copyright, no part of it can be reproduced without prior written permission from the Society. All
reproductions in this magazine have been done so with permission and credited accordingly.

ac_issue#39.indd 5 23/10/08 9:24:22 PM

 from the Editor’s Desk
A the 50th Anniversary Dinner Bruce Hillyard ACS
At
and I were honoured to receive awards for our
contributions to the Society. For many years Bruce
was the force behind the financial management of
w
NSW Branch funds with spectacular results.

I congratulate Ron Johanson ACS on his election

as Federal President and look forward to working
with him as this magazine is about to have its 10th
w
anniversary.

Ted Rayment ACS continues as Chairman of the

Apology to Jomar Reyes who
Magazine Committee.
took many pictures during the
50th Anniversary days.
Butch Calderwood ACS
Editor
These pictures appeared
uncaptioned due to an
oversight by the Editor.

from the Past President

the European Federation of international standing as one his team that do such a great
Cinematographers, so that we of the world’s premier societies. job with the Australian
can both contribute to and We must continue to do all we Cinematographer magazine.
benefit from the exchange of can to maintain and improve You do the Society proud with
dialogue on issues concerning this image nationally and such a professional publication
all cinematographers globally. put together by volunteers.
worldwide. At the time of
writing there were 37 member Although I was in the chair, It has been an honour and a
societies of Imago from around the achievements of the privilege being your Federal
the world, including Australia, last five years are due to the President and although I will no
Argentina, Brazil, Cuba, India, teamwork of a dedicated and longer be at the helm I will still
Japan and Mexico, with more hard working committee. I continue to serve the Society as
societies outside Europe would like to personally thank a committee member working
expected to join in the near Vice-Presidents Ron Johanson quietly in the background for a
By the time this issue is in your future. ACS and David Wakeley ACS, change.
mailbox I will no longer be your ACS50 Chairman Calvin
Federal President. After five I believe cinematography is an Gardiner ACS, Federal Treasurer I wish my successor all the best
years it is time for me to hand international occupation (we Jo Taylor, Federal Secretary and look forward to catching up
over the helm to someone else. have members working all over Velinda Wardell ACS, Craig with as many of you as I can in
the globe) and as such we have Pickersgill, Heidi Tobin, all the future.
I believe the Society has moved to look at issues internationally the State Presidents and the
ahead dramatically in the past as well as locally. We cannot representatives on the Federal Good shooting,
five years and is now bigger, afford to be isolated and Committee for their help and Ted Rayment ACS
better and stronger than ever parochial in our efforts to support. To founding member Federal President.
before. We have started to promote and defend the art and John Leake ACS, thank you for
gain recognition on the world craft of the cinematographer being a ‘father figure’ to me on
stage. We have introduced any longer. the many occasions when I have
our International Award for asked you for your opinions or
Cinematography so that as Our Fiftieth Anniversary ‘Future advice.
a Society we can recognise of the Image’ conference and
excellence globally as well as celebrations in Sydney were This column would not be
nationally. We have become an an outstanding success and complete without mentioning
associate member of Imago, contributed enormously to our Butch Calderwood ACS and

ac_issue#39.indd 6 23/10/08 9:24:27 PM

 Eterna 160 Eterna 250 Eterna 250D Eterna 400 Eterna 500

Contact Ali Peck from Film Support on 0411 871 521 or

(02) 9979 5701 or email [email protected]
www.fujifilm.com.au

ac_issue#39.indd 7 23/10/08 9:24:36 PM

 from the President
One of our greatest assets is other industry associations
the AC Magazine. The role and guilds, both here and
that Butch Calderwood OAM internationally in order for us
ACS plays as Editor is vitally all to start thinking more as a
important to the success of this community.
publication. I congratulate you
Butch, not only as the driving We must be prepared to
force behind the magazine approach Government,
but for your contribution to particularly if it relates to
the Society and the industry an Industry initiative. As it
overall. so happens the ACS Policy
Committee, chaired by David
To Heidi Tobin, Jo Taylor and Curl, has already responded to
to Craig Pickersgill, special the Screen Australia Statement
mention for their tireless of Intent with our suggestions
contribution to all things ACS. and recommendations.

There is one other person who The ACS Clubhouse has been
I wish to speak about and that a dream for so many years now
is an extraordinary man, one but hopefully it will come to
John Leake. John has been an fruition soon. It is something
inspiration and a guiding force we must never give up on.
to many of us not only within
the Society. Myself included. The State and Territory
John is a true gentleman and a branches and Committees are
Let me begin by saying what the initial meetings relating to man who personifies what the our nursery and I encourage
an incredible honour this is for the formation of the NT Branch ACS is all about. As a matter of you all to always be prepared
me, and I know I share with so to mention just a few highlights. fact I would go as far as to say to discuss any relevant topic at
many, a great love of the ACS that John Leake IS the ACS. any time, for the benefit of our
and what it stands for. Much has been said about members.
the ACS50. It certainly was We have all come to understand
So many have paved the way for a resounding success and a what an outstanding success I encourage positive, fruitful
not only me, but so many of our wonderful platform for the Society. the ACS 50 was. However, debate at all times. If the
colleagues. it’s important for us all to opportunity is there grab onto it
I attribute this to the incredible remember that we must never and make your point.
I believe it’s important for commitment of Calvin Gardiner rest on our laurels and that we
us all to understand the ACS. I applaud you Calvin for are a Society of members. It’s We are entering a new period
contribution that Ted Rayment your single-minded approach of paramount importance we for the ACS and I for one will
ACS has made during his 5 and your passion for the Society. always consider our members relish the opportunity you have
year tenure. He was directly and welcome any contribution given me to play a part in it.
responsible for the introduction Thanks to David Wakeley ACS they wish to make.
of the International Award for and the NSW Committee for To all of you, many thanks.
Cinematography, the Society a superbly organised Awards We must foster dialogue
becoming a member of IMAGO, presentation. between the Society and Ron Johanson ACS

the next step

in the evolution of the jib

ac_issue#39.indd 8 25/10/08 11:44:08 AM

 The dawn of a new era in
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ac_issue#39.indd 9 23/10/08 9:24:46 PM

 NEWS
WAYAN SUKARDA SMPTE09 – to add ‘Boot Camps’ and ‘Master
Class/Workshops’ to the usual
It was instinct. I didn’t feel Empowering the papers mix. ‘Boot Camps’ are
my pain. I called my office
Next Generation introductory sessions aimed
and went to the terminal at the younger technologist,
to get vision of the injured The Society of Motion Picture as an intense background to a
passengers being treated. Ardi and Television Engineers specific topic. ‘Master Classes/
had a broken foot. I got a lift (SMPTE), is pleased to Workshops’ are intensive
to town to get pictures of the announce, ‘Empowering the sessions aimed at mid- career
injured at hospital. I had to Next Generation’ will be the technologists and based around
borrow a battery from a local TV theme for the 2009 SMPTE one subject. Both of these
station so I could keep filming Conference & Exhibition, categories could typically be
and satellite my pictures to July 21 – 24 2009, Sydney 1 – 2 hour sessions but for a
Channel 7. The rest of my gear Conference & Exhibition really excellent topic, longer
Centre, Darling Harbour. durations would be considered.
was lost on the plane. I was
won a Tripod for Single A standard peer-reviewed
interviewed by Al Jazeera and
Camera Newsgathering of the This theme reflects one of the Papers programme will be
other journalists. Later another
Garuda plane crash in 2007 in key charters of the Society offered as usual.
Channel 7 crew arrived and - to promote growth of the
Indonesia. took me to a hotel. I was in industry through engagement Where & When: Sydney
shock, tired and very sore and I and education of new Convention & Exhibition
“I was sent from Jakarta had tears thinking about what members. Indeed, during such Centre, Darling Harbour
to Jogjakarta with Ardi my happened and my pregnant a dynamic time in the evolution Tuesday, July 21 – Friday,
assistant to cover Australian wife and children. My clothes of the film and television July 24 2009
Foreign Minister Alexander were in tatters and I hadn’t had industry, an even greater Open: 10am – 6pm Tuesday -
Downer’s visit for Channel 7. any food or drink. The doctor focus on the latest technology Thursday
Ardi was sitting in seat 33 in gave me a needle to sleep. The information and education is
front of me on the plane, I was Australian Foreign Minster important to the industry at
in the last row in seat 25. It is large.
came to visit me and hugged
my custom to always carry my me and said I was courageous PETER LEVY ACS ASC
camera charged and with a Held every two years, the WINS EMMY
for making a visual record of
blank tape. SMPTE Conference &
the crash. But I am still worried Exhibition is the premier NSW member Peter Levy ACS
about the ethics of what I did event for suppliers to the
The Garuda 737 came into ASC is the latest Australian and
and should I have helped other motion imaging industries in
Jogjakarta airport too fast. It ACS Cinematographer to be
victims instead of my instinct as the South-East Asia region.
ran off the runway and burst recognised on the world stage
a cameraman taking over.” The Conference addresses for his work.
into flames. There was panic vital areas and trends in the
and I jumped into the mud. I as told to Ric Carter industry such as production, Peter was awarded the
lost my shoes and I ran with my Network Foreign Editor distribution, and workflows Emmy (Primetime)
camera with other passengers. Seven Network (Operations) in film and television. This for OUTSTANDING
I stopped and looked for Ardi. Limited is complemented by an CINEMATOGRAPHY FOR
I started filming the drama. Exhibition incorporating A HALF-HOUR SERIES for
new and improved products the SHOWTIME Pilot of
and services from leading Californication, on Sunday 21
industry suppliers, SMPTE09 September (LA time).
encompasses all fields of
media including broadcast Peter has been a member
engineering, graphics and of ACS since 1983, and
animations, multimedia, the American Society of
Audio, Radio, SFX and post- Cinematographers (ASC) since
production. 2000.

In addition to the conference,

the SMPTE Board has decided

10

ac_issue#39.indd 10 23/10/08 9:24:48 PM

 NEWS

Congratulations
Mandy!
Mandy Walker ACS received Entertainment Imaging
the Kodak Vision Award for Division. “She has earned this
Cinematography at the Women recognition with her impressive
In Film’s Crystal + Lucy Awards and eclectic body of work.”
at the Beverley Hilton Hotel
in June 2008. The award, Mandy recently completed Baz
which Kodak inaugurated and Luhrmann’s Australia, an epic
sponsors to recognize the role 20th Century Fox film set during
that female cinematographers World War 11.
play in the collaborative art of
filmmaking, was presented by photographed by Douglas Kirkland
Baz Luhrmann.

“Mandy Walker is a tremendous

talent,” said Michael Morelli,
Vice-President and worldwide
General Manager for Kodak’s

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McAusland said, “This location so that filmmakers can intermediates; post
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Deluxe has acquired The Atlab
already good relationship with under one roof. services; titles design and
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the Deluxe group. Their digital VFX; DVD compression,
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Atlab is the largest film
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processing laboratory in the
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confidence in our operation fulfilment services. Deluxe
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developed a strong alliance
sound post, and release entertainment industry for 93 Australia/New Zealand. Deluxe
with Atlab and look forward to
printing services for both local years. Today the company has Digital Studios offer home
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facilities in Hollywood, Toronto, America, Europe and India. For
Cyril Drabinsky, CEO and
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President of Deluxe. “This next
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step will strengthen our ability
processing, printing and post now Sydney, Melbourne and
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films, television and commer- ment Services Group Inc., a contact Dominic Case
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broad range of creative services Inc., is the leading provider of
The Atlab facilities will be
11

ac_issue#39.indd 11 23/10/08 9:24:50 PM

 NEWS
River Of No Return forum, a well-attended event categories, including a new
by both mentors and potential award intiated by Miller Camera
students. The afternoon Support and WIFT NSW to
covered Work/Life balance award a Best Cinematography
topics presented by Alyson Prize to an Australian Female
Nancye and a panel discussion DOP entered into the Festival.
about mentoring experiences 40 entries from around the
and some speed networking country were then judged
amongst the attendees to round by Erika Addis, Susan Stitt
off a very productive afternoon. and Butch Calderwood ACS.
Further information about the Simone Mazengarb from the SA
mentorship program is available branch for Hair Today, Gone
at www.nsw.wift.org/MENTOR Tomorrow, took out the top
SEE THE WORLD THROUGH THE award and Highly Commendable
EYES OF WOMEN The evening hit glamorous
heights with the crowd which
mentions went to Bonnie Elliot
and Katelnd Griffith. Best
The 15th WOW Film Festival including 7 screenings, 2 forums turned out for the Australian Animation was awarded to The
returned to Chauvel Cinemas and Café Connections and all Cinema Premiere of the US Film Perils of Flossy by Ali Ashdown
throughout the first week of are available to review on the Reservations starring Kerry with JoAnne Bouzianis-Sellick
October, after an outstanding exciting new website www.nsw. Armstrong who attended the as cinematographer made
2007 Festival and tour to woft.org/wow opening and was most insightful another win for SA. Panavision
twenty-two locations around in the filmmaker Q&A held sponsored the Best Comedy
Australia. Women in Film and Television with director Aloura Charles Award, awarded to Edgar
NSW (WIFT NSW) also from the USA, visiting also and Elizabeth, a great detail
The WOW Film Festival is launched the Media Mentorship for the 5 days of the Festival. humour, not to be missed in
unique. It focuses exclusively for Women program, which Thursday evening had an your local theatres nationally
upon the contribution that will team emerging women international flavour and ARRI when the WOW National Tour
women make within the filmmakers with industry Australia hosted ACS guests comes to your town.
Australian film industry, mentors. Attending the launch and festival-goers for industry
particularly in the key creative of the program, Ian Robertson, drinks prior to the screening of The WOW Film Festival
roles of Director, Producer, of Holding Redlich spoke about the International Documentary and WOW tour are proudly
Writer and Editor. The WOW his experiences of mentoring Shooting Women by Alexis sponsored by NSW Film &
Film Festival is a celebration and his support of the program Krasilovsky which included Television Office.
of the skills and talent of along with the official opening interviews from Australia DOPs
women filmmakers and also of the WOW Film Festival and Erika Addis and Jan Kenny ACS WIFT NSW acknowledges the
highlights the significant role MMW by Tania Chambers, who kindly introduced the film. support of Screen Australia for
that women fulfil within the CEO of the NSW FTO, which the WOW National tour.
screen industry. The WOW was followed by a program of Friday night hosted the
Film Festival presented five Australian short films. The Awards screening and prizes WIFT NSW is supported by the
filmmaking-packed days MMW team hosted a mentorship were awarded in a number of City of Sydney.

Peter James ACS ASC

Life Membership was given to Peter James on
20 September 2008.
(photograph: Dan Freene)

12

ac_issue#39.indd 12 28/10/08 8:13:08 AM

 Everything for Film & Television

ac_issue#39.indd 13 27/10/08 8:11:48 AM

 on set MAO’S LAST DANCER

on set
mao’s last
dancer
Peter James ACS ASC in conversation with Dan Freene

Peter on the Great Wall of China - Unknown photographer

14

ac_issue#39.indd 14 23/10/08 9:25:01 PM

 on set MAO’S LAST DANCER
Dan: What drew you to the script? mum and dad living in this nice. Then the other part of Peter: We were shooting in
three roomed little hut with the film is a love story and also Super 35mm and we chose that
Peter: It’s a great story and the the heat from the wok fire to a drama where he goes to the format because when you are
book received a lot of publicity. keep them warm and that’s Chinese Embassy to tell them photographing dancing, which
Bruce Beresford asked me to about it. So it was pretty basic that he’s not going to come back a fair bit of the film is about,
photograph it for him. This is stuff. Very hard going. Then to China and they lock him in you need the height because
probably our eleventh or twelfth when he comes to America of when the press finds out about they are leaping up and down.
film. When I read it I was very course he gets involved in the it. Eventually he’s released. On anamorphic you’d be forever
moved by it and there are some ballet and dances these major So weaving these three stories tilting up and down with them.
moments in there that are real productions. Here we had a together I thought would be a So we went for 185. When
tear jerkers, you can’t help but chance to work with Graeme good photographic challenge we were shooting the China
cry. It also offered an incredible Murphy the choreographer, and a great chance to use footage I didn’t want it to look
range of photographic styles. the Australian Ballet and different photographic styles in a pristine image. I wanted it to
The flashbacks to China in 1971 the Sydney Dance Company. the one film. look old. I didn’t want it to look
showed very tough times under That’s like another movie in like The Search for the Golden
the communist era where the itself, very glamorous, very Dan: Can you talk us through Chrysanthemum or Crouching
people were dirt poor living spectacular dancing, beautiful the three sections and how you Tiger Hidden Dragon. I didn’t
in the mountains. Seven boys, sets and costumes, so that was treated them photographically? want that look of film. I wanted

15

ac_issue#39.indd 15 23/10/08 9:25:02 PM

 on set MAO’S LAST DANCER
Light Blue Bounce for exterior day set up - China - Photograph by Peter James

it to look like a documentary enhance the grain a little bit was just as easy to keep them. Dan: And focus too I would
or sort of lost footage that was in the DI. I tested both Fuji imagine.
found. So I experimented with and Eastman and they’re all so When we shot in Sydney for
using only 50% of the Super smooth and beautiful you can’t Houston we shot Super 35mm. Peter: And focus. But they’re
35mm frame and with the help create grain in the DI. So I had Panavision provided us with very good at hitting marks.
of the guys at Panavision we to resort to reducing the image three perf cameras. That saved Because they’re very space-ally
drew up a ground glass that was format. What I then decided a lot of stock. Sometimes we oriented. So they do hit their
exactly half the Super 35mm to do is rather than have it as were using four cameras on marks very well. And if you
frame which is slightly bigger a sharp image I put a black the ballet because the ballet give them a mark they’ll hit it.
than Super 16mm and slightly Pro-Mist on the image as well dancers can only do it once. It’s But we didn’t want to restrict
smaller than halfway between so that I softened the image like running a hundred yard them and so I tried to light the
Super 16mm and standard 185 before it gets to the DI, I didn’t dash. You can only do it once. sets up. I think I lit the stage
size frame. I underexposed the want to soften the grain. If I You can’t really say, “Ok now sets up to about 5.6 so that we
frame a stop to increase the softened it in the DI. I would you’ve run the hundred metres, had quite a bit of depth and
grain structure because I didn’t soften all the image including can you run it again for us?” we were in Super 185 not in
feel comfortable in pushing the the grain. I wanted the grain to They give 100% effort when anamorphic, so we’ve got a fair
film because I was processing it be sharp and the image to be they dance. They’re super tuned bit of depth of field. But it’s still
in China and I didn’t know the soft. I wanted it to look like it athletes, they’re thoroughbreds very difficult for the camera
laboratory too well. So I thought had been shot with old lenses. and they really can’t do it again. operators though to keep them
it might just be best to provide Somebody said, “Well, why don’t They’re only designed to do it and you can’t chop a hand off
a thin negative and then when you shoot it in 16mm?” Well, it once. We managed to get two or a foot off. It’s deadly in a full
we did the DI enhanced the would have been another lot of dances out of them. And when length shot if you don’t get the
grain slightly. camera equipment to get in and they rehearse it they wouldn’t right composition.
out of China, plus you’re dealing really do it. They would just
Dan: by underexposing? with 16mm film and processing walk around and say, “I lift the Dan: Did you use geared
and all that other stuff. Plus we person up here and I do a spin heads?
Peter: By underexposing. had to shoot the end sequence here and then I put them down
And so it gave me the grain of the film where he comes back over here and then she jumps Peter: No, mostly fluid heads for
structure like 5427 100ASA to China and dances with his up on my shoulder and I carry that because it is just too quick.
film of about thirty years ago wife. That’s a big finale scene. her over here and I put her The reactions are just way too
and it looked really cool. And I wanted that to be full frame down there”. They just walk and quick. They lift them very fast.
then we could manipulate the Super 185. I wanted that to talk as the music plays through. There’s no anticipation. So it
colours which you can do in a be sharp. To show that there’s So the operators don’t really see takes a lot of concentration for
DI, but you can’t make grain been a time change in China them do it, so there’s nothing the operators to get it right. I
in a DI. DI grain doesn’t work. and we are now in the present really to rehearse on. It’s very found that the best sizes were a
You can make it look a little day. That would have meant difficult for the operators to full length shot with the hands
bit noisier. But it’s not grain. If that we would have had to get anticipate this. extended above the head; that
you’ve got grain you can then in another lot of cameras. It was one size. The other size

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 on set MAO’S LAST DANCER
Peter: For a start we didn’t place in Madam Mao’s Dance
Matt Windon and under expose that, we kept Academy? How did you treat the
Andre Fleuren discuss a shot that negative normal and ballet school photographically
Photograph - Dan Freene we went to full format. The and lighting wise?
full super 35mm format. The
colour wasn’t as desaturated Peter: Well, Madam Mao’s
as the China stuff. It’s set in ballet school gets the same
around 1982 so it’s sort of that China film treatment. For
weird daggy period like flared lighting the school we had
pants and moustaches and cherry pickers with lights
sideburns and all that early outside just coming through
eighties sort of stuff. Denim the window. Often no fill light,
flares and things. If you ever just the fake sunlight coming
saw Boogie Nights I thought through the window. We had
that had a fabulous feeling for white plaster walls that were
that period. I think we sort of unpainted and they were old.
cracked it too. Herbert Pinter’s It was an old building and it
production design is great and was in fact an old performing
the wardrobe was good. They’ve arts high school that had ballet
got all the right cars and it was rooms and things like that in
left hand drive because we’re it. We had to completely redo
in Houston. A couple of streets the wiring, because there was
we had to reverse the traffic no earth in any of it. We had
on. Andre Fleuren my second to put a sprung floor in for the
unit director of photography dancers so they wouldn’t break
and B camera operator kept their legs. There was a lot of
track of all the second unit work to be done, but basically
shots that were needed to the shell of it was great for what
be done and he shot them in we needed.
Houston. He did background
plates and travelling shots and Dan: How long did it take to
establishing shots. He would set up?
take notes while we were
filming so he had the right Peter: It took months to set
would be like a head to knees where they’re going and they’re matches for the background all that up. Reg Garside had a
like a cowboy size. The third moving around. Being super plates so that they would all fit huge job organising the lighting
size would be a two shot close tight doesn’t really do anything together. That worked out really and making sure everything
up, like a medium shot where for you except for the moments well. We’ve worked on half a was safe. I took Reg and Dave
you get two people in the same when you want to do emotional dozen films together, and he’s Nicolls, my grip to help put it
frame together when they come bits. worked with Bruce before so he together because it was too big
together. A close up action. But knows how Bruce works too. a deal. I mean the local crew
generally for ballet, wider is Dan: How did you treat the was very good but you need
better because you want to see Houston, Texas locations which Dan: What about the large somebody to coordinate it all.
their feet and you want to see were all doubled up in Sydney? portion of the book that takes
Dan: You said you didn’t use
much fill light in the China
Lighting effects for Swan Lake. Mole Beams bounced
sequence; did you sort of
off Mirrors through moving water
soften your lighting up for the
Photograph - Dan Freene western sequence of the film?

Peter: Some scenes required

more fill light. I tried not to
overfill the film particularly in
the Chinese Embassy. We were
there after hours and I wanted
to get the feeling that they
weren’t really welcome, they
were intruding. I lit the walls
but I didn’t light the people
very much so the people are a
little silhouetted against the
walls. So they are always a
couple of stops underexposed

17

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 on set MAO’S LAST DANCER
Reg Garside (Gaffer), Peter James ACS ASC (DOP) and Bruce Beresford (Director).
photographer: Simon Cardwell
photo courtesy of: Mao’s Last Dancer

whereas the background is all...the concept of it is worked the director and Jane Scott different formats.
always the correct exposure. So I out. He’s constantly working on the producer and they were
think that’s quite an interesting the script and he’s refining that. happy to go with that. The first Dan: So will this film go
look to have, where you’re I’ve read the script and starting meeting is the most important through a full DI?
struggling to see the actors to break it down. Probably from meeting in a way as to how
against the lit background and my initial reading of the script I you are going to make the film Peter: Yes. 100% DI
the background is very Asian. get an impression of how I think look. You want to make it look
Big Asian paintings, display it should look and then I put different to every other film Dan: Who is going to be your grader?
cases, Asian furniture and things that forward to him and he says but at the same time you don’t
like that. So you feel like you yes or no. With this business want it to be different just for Peter: Trish at E-Film in
are very much in China when of using the smaller format the sake of wanting it to be Sydney.
inside the Embassy. I wanted to that took a bit of convincing different. It has got to honour
get shadowy figures inside an because he wasn’t sure what it the story. So you always have to Dan: How long will you
unwelcome space. The ballet would look like. So I shot some pay respect to the text. I think spend doing your digital
rehearsals for the Houston ballet tests and we had a few post we have done that in this film. intermediate?
were shot at the Sydney Dance production companies do some Then as you go when you turn
Company down on the wharf and looks for us to show us what it the pages with the assistant Peter: I’m not sure how long
we had to be careful not to see looks like and then projected director and the production it is going to take. Probably a
the water because there is no the proof from an IPIN. team sometimes wardrobe and couple of weeks. The last film
water around Houston. makeup depending on how I did in Technicolor only took
Dan: Were those tests shot in a many people are available to sit a week. That was incredibly
Dan: This is your eleventh or rural exterior environment or and turn the pages. This takes quick. But I think this is going
twelfth film with Bruce; how do in a test bay? about two days to do and you to take longer.
you approach a film with Bruce? get through every scene shot
Peter: They were just done at for shot and talk about the look Dan: Have you already
Peter: We’ve done so many films Panavision, outside and inside of the film. That’s definitely discussed grading notes with
together and a lot of our work the test bay. One was a candlelit the most exciting period on a Trish? Have you already given
happens in the first stages of scene and the other one was an film and the next most exciting her a benchmark?
when we first meet and start exterior and then everybody got period is probably when you’re
talking about the film. After a the same negative and scanned doing the DI during finishing it. Peter: Yes, she did some tests
couple of meetings we’ve really that and came up with tests. I find doing a DI is very exciting for me and we’ve had some
almost said everything we’ve I gave it different treatments and very creative, particularly a preliminary discussions. We’ll
needed to say and we’ve got it and different looks and showed film like this where you’ve shot get more into that when they

18

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 on set MAO’S LAST DANCER
start to scan some more stuff.

Dan: Is there some compositing

in this film?

Peter: Yes. There’s a bit of

green screen and driving
stuff and some dancing stuff
against the green screen. The
calligraphy animation appears
behind him as he dances
and moves. So that has to be
animated.

Dan: Any sky replacement?

Peter: Probably not. There

might be a little blueing up
and things like that. But that’s
about all.

Dan: How was it shooting in

China? Any problems?
Lighting plan extract
Peter: It was cold basically. We
were there in February to March Some people got heat, some differences between the East be shown in China because
and we were shooting north of people didn’t get heat, things and the West, and the main it’s a film about somebody who
the Great Wall in a little village like that. Of course we had to character defects from China. I defects and falls in love with
in the mountains and it was do the end sequence and it was was wondering if you had any an American woman and an
freezing, -10°. There were three supposed to be Spring/Summer trouble with the local authorities? Australian woman and defects
of us to each little house and and everybody’s out there in and leaves the country. So
some nights the heating didn’t sheer frocks and t-shirts and Peter: Well yes, I think they it is not exactly a PR job for
work and the plumbing froze. we’re all standing around in didn’t really want us to make China. So it’ll probably never
You’d wake up and the toilet parkas and fur hats and gloves the film. It was a very touchy get official recognition there
would be frozen and things like and mittens and the wind’s subject for them. We never as only about six foreign films
that so I didn’t shower every blowing and all the silk flags are really received the official a year get played in China.
day. Everybody at breakfast flapping and it’s freezing cold. party permission to do it. So Mind you, there will probably
would have horror stories about we sort of snuck in, in a way. be black market copies of it
what happened the night before. Dan: The story touches on the The film will probably never in the market. People will be

Night exterior Sydney for Houston. Photography by Dan Freene.

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 on set MAO’S LAST DANCER

A scene from the Red Army show - Photograph by Dan Freene

ripping it off as they do. And it’ll form now. I’ve processed in interpret “shithouse”. The next we did have a police raid on
become a popular film. There’s laboratories where they are week’s negative was much the office. We didn’t know
quite a bit of Chinese in the kit labs and they just open up cleaner. All the handling dirt anything about this because we
film with English subtitles. The a sachet and dump it in. It’s went away. Anything near a were shooting out in the high
flashbacks are all in Chinese basically like making a cake. splice was dirty and I said, school which was our Beijing
Mandarin. They put the right stuff in the “Guys, we’re just not going to office set/the Opera school set.
right tank and they replenish get rid of this stuff, it’s going They were there for like five
Dan: I’m guessing the film was it and that is how it’s done. to be embedded into the film.” hours and it happened that
processed in China? It doesn’t seem to be any Generally it was free of where the troubles in Tibet had just
big mystery because Kodak the main usable action is, broken out. They knew that we
Peter: It was done through a packages all the chemicals but you get these meteorite were in the country and they
brand new Kodak Lab. Walking for them and they just stick to showers on a cut. Where there’d knew we had cameras. They
around it, it’s been the cleanest the book and the processing is been a cut, there’d be white were just asking questions as to
one I’ve ever been in. They had absolutely fine. The chemistry dirt everywhere. That was what we were doing and what
an incredible water filtration is pretty good these days. The bad handling. But they did, were we filming, any Tibetan
plant. Normally it’s just a few biggest problem is cleanliness they cleaned up their act and stuff? That sort of stuff and
cylinders and tanks and a few and handling. We had quite handling was very good in the obviously we weren’t, we were
pipes running around. They had a lot of handling marks. The end. They’ve done big films making a story about a little
a whole room with huge tanks managing director of the lab there. boy who becomes a dancer. Our
and state of the art filtration. came to the set one day and I accountant was rather worried
It was very, very impressive. said the processing is very good Dan: Any other problems? and she went to the bathroom
All the chemistry is basically but the handling is shithouse. with the computer because it
packaged and it’s almost kit The poor interpreter had to Peter: Oh, while we were there had everybody’s name in it and

20

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 on set MAO’S LAST DANCER
loose and knowing classic ballet In Swan Lake I chose to add
style, I’d say to Graeme, “Well lightning strikes and also water
where’s the best angle for this reflections over the set. Seeing
dance? What’s the best line for that it is a lake, to have water
the body to be photographed ripples over it, would be nice.
from?” We never raised the We had plexi glass trays with
camera above the actor’s knee mirrors and those Mole Pars
height. It was always at the projected a spot up through
knee height or lower. It was mirrors and then came back
probably best not to be too close through the tank and projected
to them. Best to come back out using another mirror.
a little bit and be low so that
they stand up and it gives them Dan: Do you remember how
more presence. Sometimes we many electrics you had doing
wanted to dolly with them and effects on that day?
do steadicam shots with them
again from a low angle, from Peter: Oh there were a lot of
about waist height. Mostly people doing effects. Around
it’s to really be seen from ten or twelve people.
the audience’s point of view,
because we’ve got people in Dan: How many towers were there?
the audience watching who are
involved in the story telling. So Peter: Two big towers. We had
it really has to be from their the lightning strikes which
point of view. were all run by control board.
Plus all the lighting cues had
Dan: What was your to be fed in. So just shooting
inspiration for the lighting for the ballet stuff alone which was
Swan Lake which is a major really only a week of filming
piece in the film? was like doing a completely new
movie. The film in China was
Peter: Graeme had just like a full movie on its own. The
directed Swan Lake and we ballet and the ballet rehearsals
went and saw it at the Opera was like another movie. Then
House and I just said, “Well there was the drama and the
there’s nothing wrong with romantic story which is sort of a
that lighting at all. Let’s keep bit film noirish. So that was like
the same lighting.” We had the another third movie. So it was a
same lighting designer on our lot of work. A much bigger film
team placing, installing and than anybody thought.
directing the lighting of the set.
who’d been paid and all that noses out of joint here because I would go through the colour Dan: What was your camera
sort of stuff. She had to stand he is very much a director in his palette with him, Damien package for the film and what
in the toilet for five hours while own right”. He’s directed operas Cooper and I would set the lenses did you choose?
they were asking questions in and lots of ballets as well as levels. In theatre there is no
the office. It was a stand up being a choreographer. exposure to worry about and it Peter: We liked that short zoom
toilet too, pretty scary for her. can be quite dark, so we had to lens the 15-40 Optimo because
He has the sensibility of a boost it up to get to our levels we had a reduced format in
Dan: The choreography work director. Bruce Beresford where we wanted to get a stop China; if you had a 50mm lens
in Sydney was handled by was very inclusive and really around 5/6. on, it was a 75mm lens in actual
Graeme Murphy. How was it encouraged him to come terms. Because you’re only
working with Graeme and his forward with suggestions. The colours are strengthened using the smaller section of
dance sequences? Graeme would come up with an when they’re underexposed the ground glass in the middle,
idea on how the choreography’s and they bleach out when they we had to make sure we had
Peter: It was sort of strange at going to play out and how it are overexposed so the gel a wide enough lens to be able
first because Graeme and Janet would work. Then it was really package was pretty crucial and to do wide angle shots. And
are a team and they’ve done up to me in a way, to talk to the amount of density is crucial Panavision were really helpful
so much work for so long with Bruce and say, “Look Bruce, which is not so crucial when in sorting all that out. The rest
the Sydney Dance Company how do you feel that this should you’re lighting for live theatre of the lenses were Primos.
that they’re like legends and be photographed? How do you and of course the follow spots
they’re used to being in charge. want to see this action?” And had to be the right colour. Dan: For the Chinese shooting,
But on a film set, the director’s there’s all sorts of ways to do it, Slightly blue but not too blue. did your camera package come
in charge. I thought, “Maybe to photograph something. He Otherwise the actors look sick. from Australia?
people are going to get their liked the idea of it being fairly

21

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 on set MAO’S LAST DANCER
Bicycle shot on low loader - China. Photograph by Peter James
shadows are multicoloured but
the ultimate effect is neutral.

Dan: So your highlights are

neutral and your midtones
are kind of neutral but your
shadows tend to take on.....

Peter: A bit of pink or yellow or

blue or whatever. Whatever the
colours I’d used. It gives it a bit
of a dappled sort of a painterly
effect. And the spotlight was
slightly quarter blue. And
the spotlight wasn’t operated
terribly professionally, but well
enough to get by. So that gave it
a sort of amateur feel. And we
had some foot lights and things
Peter: No, only the Australian and he made some enquiries backdrops and things were like that so it looks quite good.
package was from Panavision. and he said, “No it’s true. The all still there. We put film Then when they come on with
We ended up having to get government’s just changed lighting in. The first ballet the revolutionary ballet we had
the Chinese camera package, the rules and it’s going to be we did was Giselle which is a a white backing which I just lit
(originally it was coming twenty one working days which classic French ballet and it with red light or blue light and
from Seilon) in Panavision is a month.” I thought, “This was so funny to see all these had I think a red backlight on
Hong Kong. But the customs is not going to go well for the Chinese kids all dressed up everything. This stayed red the
people changed the laws just Olympics”. like French peasants, Madame entire time and then I lit the
before we had the camera Mao came and looked at it. We main part of the stage with blue
package prepped and all ready Dan: Did the lenses come from weren’t allowed to say Madame light. A heavy blue like a double
to ship and Matt Windon had China as well? Mao, or Madame Politician or double blue. So thats a bit
just arrived in after having however you say it. We were under exposed and very, very
prepped it all and I said, “Bad Peter: Yeah 10/1 and a short not allowed to use the Mao blue. When the revolutionary
news, Matt, they’re not going one. I had most of my filters. word and anyway she came bit happens and the red flags
to let the package in”. He had and she didn’t like it. She come out we fade the red cyc
everything all labeled, boxed Dan: Tell us about the lighting clearly was not happy with this to a blue cyc. And the red
and all ready to go. So he had for the Chinese ballet. stodgy ballet and lighting that backlight and the red flags are
to turn around to find a local I used the old technique of quite well cut out so it’s a pretty
supplier. We ended up with Peter: The Chinese ballet using coloured light to make spectacular looking still.
an Arri supplier. The cameras all takes place in the Beijing white light. So I used a pink, a
worked out well. They were Ballet School. Fortunately yellow, a blue and a green and Dan: You mentioned before that
a bit old and the matte boxes this location had its own the colour temperature when you had some plates done for
would fall off and things didn’t theatre even though it was all it’s combined is around 3200. driving shots. Were they shot
work half of the time. Then we pretty run down. The space By using nets in the lights you green screen?
had to get ground glasses made worked fine. The curtains and control the variation so that
for the Arriflexes where we had
them made for Panavision. So Matt Windon and Simon Harding prep for crane shot. Photograph by Peter James
Panavison did it in Sydney and
organised that from America
and had them made and
shipped straight to us, so that
was very nice of them.

Dan: You’re lucky you received

them and that some official
didn’t confiscate them.

Peter: Chris Robertson and

Garry Wood and Paul Jackson
were all very helpful and
even Martin Grazier. When
we couldn’t get the camera
package in, I rang Martin and
he was at a conference in Tokyo

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 on set MAO’S LAST DANCER
Peter: Yes. The car stuff was
Peter in The Theatre Royal - Sydney. Photograph by Dan Freene
done on a poor man’s process
green screen. So we just had
the cameras loosely mounted
on dollys and a green screen
behind it and we just wobbled
the car and we just comped that
together with the background
plates that Andre shot in
Houston.

Dan: What’s a poor man’s

process?

Peter: Nothing fancy, no

electronics or things. Just
wobbling the car. We didn’t wobble
the cameras too much because
I wanted to get the feeling that
the cameras were attached to the
car. You always get some little bit Peter taking light reading on the Swan Lake Set. Photograph by Dan Freene
of camera shake but the shaking
the car is more for the actors to
wobble a little bit and get the car
to wobble.

Dan: Did you have the cameras

attached to the car?

Peter: No, we had them

separate. I’ll be interested to
see what it all looks like put
together. I won’t know until I
see it.

Dan: What was the film stock

you used?

Peter: 5218 was used

throughout the whole picture that. But then we had heaps of wanted to get up and go with
and under exposed a stop in stop for night shooting and we Peter: Yeah. A lot. I wanted him all the time. So I said,
China and I think I rated it at didn’t need much. I was hoping China to be quite formal “Bruce, I think you should use
800 in China. So it was slightly to use Panavisions because and do conventional dollys. I the Steadicam and make Bruce
overated all the time. 500 in you can put the NDs at the film wanted to feel the rigidity of Greenwood the Steadicam
Houston and 800 or maybe it plane. So that way you can put the Communism. When we got motivation. He is the freedom
was 1000 in China an N12 in the film plane and to America I wanted it then from the West coming to China.
then just do the front. It gets to become more and more So we shot nearly all that stuff
Dan: Full stop? To get down rid of the filters and then put free. That was the initial take on Steadicam. Simon Harding
there you would have had the 85 and 6 on the front. I had for the film. What we is a brilliant Steadicam guy so
massive ND on. found was when the character there was no problem giving
Dan: It would be like looking Ben Stevenson who is the him that much work to do and
Peter: Yes. It was hard for the through welders’ goggles. choreographer and head of the even on the Great Wall of China
operators because they couldn’t Houston Ballet arrived in China he was on the Steadicam all
see anything and , particularly Peter: Yes it was very dark I found that he then became over the place.
if I wanted to do day for night and hard on the operators. the Steadicam motivator
you had to ND even more to get On the Steadicam it doesn’t because he was from the West. It was fantastic stuff.
even less depth of field. So we really matter because you’re
had a lot of ND filters on. Yes, only working off a little screen Dan: Who played him?
it was very heavily ND’d and it anyway. Physically operating
also had black Pro-mist. That’s was tough. Peter: Bruce Greenwood. And
why I had it at 800 because I he would walk around all the
had a black Pro-Mist on it so I Dan: Did you use a lot of time and he’d be moving and
had to allow a third of a stop for steadicam? swaying and the camera really

23

ac_issue#39.indd 23 23/10/08 9:25:14 PM

 Marion and
John Leake ACS
Awarded

The omission of John’s name in

the members list as printed in
last issue was entirely due to an
error caused by the Editor and
Designer.

Marion and John Leake with John’s favourite Cameflex

Anniversary
of the Australian
Cinematographers
Society

Marion and John receiving the award at the 50th Anniversary dinner

24

ac_issue#39.indd 24 24/10/08 10:50:18 AM

 ACCREDITATION, AWARDS JUDGING…….HAPPENINGS IN DARKENED ROOMS.
Two of the most subjective The standard is very high and available light to advantage raise your standards and maybe
issues that confront us on a the attrition rate is also high. (not everyone has a truck full produce inspired camerawork.
regular basis are Accreditation We currently average around of lights available to them.) ‘Inspired camerawork’ you
and Awards Judging. a 30% positive Accreditation and, finally, how the story itself say… how can anyone produce
Accreditation is the highest result. is told and visually constructed. ‘inspired camerawork’ when you
honour that can be bestowed The work submitted needs to are working against the clock,
on an ACS member and Awards Each submission is viewed demonstrate more than just have no budget, an uncreative
Judging is close to all our at great length, giving every professional competence. director who yesterday was a
hearts, as it reflects directly on entrant equal opportunity and Creativity and aesthetic plumber, minimum lights, no
our abilities and standing in the each submission is judged innovation are some of assistant, a client whose only
industry as Cinematographers entirely on its own merit. It is the qualities sought by the interest is reading the label,
and members of our not a competition against the panellists. minimum grip equipment and
highly regarded Australian other submissions. The decision no grip?
Cinematographers Society. is by a secret ballot and no It’s only natural that, if you
discussion is entered into, are unsuccessful, it becomes I can’t answer that but
Firstly, I would like to talk unless there is a borderline vote very personal. That is certainly occasionally someone does, and
about Accreditation and and even that requires minimal not the intent of the process. it shows”……
then, in a future edition of AC discussion. It is no slight on the work
Magazine, I will talk about our presented, it’s simply a fact, One final point.
Awards Judging system. Accreditation submissions are that on this occasion the work
not by invitation, therefore was perceived as not being of Believe me, I do know what
The Accreditation process any cinematographer who a consistently high standard to it feels like not to be granted
should begin at a State level has been a full member for gain Accreditation. Accreditation. But I urge you
where the work to be submitted at least three years can apply not to become disillusioned
is to be confirmed that all or be encouraged to apply for Believe it or not I have and to try again as soon as
material has been shot by Accreditation. The panellists received one of those dreaded practicable. I have absolute
the applicant. The President are a cross section, where letters that let you know you faith in the system and believe
of the State branch can, if possible, of each genre. They were unsuccessful. There it serves us well.
needed, screen and discuss the are Accredited members of our have been many other well
submission with the applicant Society with vast experience known cinematographers Ron Johanson ACS
and make suggestions if it is and credibility. who have as well, but then Federal President.
felt the submission should quite a few of them have now
be strengthened, changed or On average, we receive achieved Accreditation after The protocol of Accreditation
even delayed for another year approximately 17 submissions resubmitting. – the letters ACS are used in
before being submitted. Once each year. The process of the same font as the name of
deemed suitable the submission assessing these submissions Perhaps the method of the recipient and two points
is sent, by the applicant, with usually takes a good one and a informing needs to be revised, smaller. There are no dots
full documentation to the NSW half days to complete. perhaps more needs to be said between the letters. ACS takes
Branch for inclusion in the to those unsuccessful. These precedence over ASC, BSC and
adjudication process. I cannot emphasise the fact issues can and should be looked other societies. Government
that each submission is decided at. You can rest assured and, honours such as AM, AO, AC
Accreditation screening upon its merits on the day and I repeat, that every applicant and OAM take precedence.
sessions are not cloaked we encourage applicants to is given the same unbiased
in mystery; it is basically a enter only their strongest work, assessment by a panel of their
simple process that involves a work that they are MOST happy peers.
panel of a minimum of 10 ACS with. It is not about volume,
Accredited cinematographers, although it is about substance. The late Phil Pike ACS once said ACCREDITATION
from as many States as this about Accreditation……
possible, who screen and then Keep in mind that a news/ The following ACS members
assess the submitted works current affairs cinematographer ….. “Creative craftsmanship are have been accredited.
of those cinematographers is assessed the same way as a two words that seem to put it
applying for Accreditation. The Features cinematographer. It’s all together, when talking about Torstein Dyrting ACS (WA)
accreditation adjudication is all about the way the applicant Accreditation. That means Carl Robertson ACS (SA)
always tied to the half yearly handles and visually presents interesting angles, creative Andrew Conder ACS (QLD)
Federal Executive meeting, the material. Consideration lighting, good operating, a feel, Peter Coleman ACS (NSW)
which guarantees a panel is given to various criteria a mood, a style, no matter what
Velinda Wardell ACS (NSW)
derived from all the States. To including the way the applicant genre. Maybe you can’t achieve
Jules O’Loughlin ACS (NSW)
gain Accreditation 80% of the composes shots, exposes, all these things on every job
panel must be in agreement. operates, lights, how they use you do, but perseverance can

25

ac_issue#39.indd 25 23/10/08 9:25:21 PM

 Nigel Walters BSC, President of Imago, worked miracles by threatening during the Viet Nam War; lastly,
anyone hanging about the but not least, recollections
reports from Sydney on the 50th year of the bar with deportation to the of happy days with my fellow
Australian Cinematographers Society. UK. Earlier it had seemed an traveller around the world, Ian
idea for Daryn Okada, Louis- Pugsley who assisted me in the
The Iranian taxi driver was Future of the Industry.” The Philippe and I to visit the bar 70s. He and his wife Ros had
happy. Sydney was smiling thought was, shouldn’t the and have a chat. The lectern flown from Perth especially for
and he shared its sunshine. manufacturers of digital had no lights, to the extent that this occasion.
Ahead stretched a street cameras be saying sorry for even my headline notes were
demonstration. We were far the complete disruption they invisible, which was a good A huge appreciation is owed
enough away not to be able have caused in the lives of experience curve. Fortunately to the ACS for giving us this
to read the placards, and he cinematographers in the past there was considerable interest opportunity to promote IMAGO
had no idea anyway why this years. We had been listening to in IMAGO and particularly as a voice of international
slow moving wave of humanity our fellow panellist Geoff Boyle the subject of authors’ rights. co-operation between
was protesting. The meter was FBKS expound on a 3D feature I had to disappoint a few cinematographers. We must
ticking. I had to suppress a he had shot with ten cameras, cinematographers present build our reputation by closer
desire to leap out and join the on the Sony F23 requiring in his by informing them that, as dialogue with our established
demo. When did we last have words, “a copper cable direct to they were not members of affiliates in India, Mexico,
a decent one in London? My a power station.” the EU, their films would not Argentina, Brazil and Cuba
memory went back many years attract payments in Europe. as well as encouraging new
to marching alongside Wolfgang “The Ins and Outs of the Louis-Philippe Capelle, members. Louis-Philippe
Suschitzky BSC in support of Red” had been the heading General Secretary of IMAGO has held constructive talks
nurses. Somehow the French of a previous session. It was assisted splendidly, and our on his return from Australia
have managed demonstrations revealed that the Red, which I presentation was well received. with the Japanese society, to
with panache since 1789! have nothing against, as I like whom the issue of authors is
the name, is on its sixteenth The enthusiasm of the ACS also contentious. In Sydney, a
My journey to Sydney was to modification! In previous for IMAGO seemed to herald special screening was arranged
share in celebrations of the times the manufacturers of the federation’s introduction and well attended earlier one
50th year of the ACS. I was, the Mitchells, ARRIs, Eclairs, to the world stage. The vision morning of his excellent short
by invitation of the ACS, to Aatons, Panavisions tested of IMAGO for the future must films, Depart and Serial Killer.
represent the British Society their products before thrusting be to maintain the highest
of Cinematographers and them on to the market. Even standards of cinematography These had been previously
IMAGO. The last time I shot the BBC, in its better days, through collaboration on an shown in Wellington and were a
in Sydney there was little insisted on quality control. The international basis, way beyond co-production between Belgium
time to stand and stare. A manufacturer would be told to the frontiers of Europe. We and our youngest member, New
walk along the magnificent take it away and return when it still have a vital role to play in Zealand.
waterfront revealed the reason was working properly. Europe, but boundaries and
for the demonstration. It was to problems go further. At the Gala Dinner on the final
commemorate Sorry Day. Their To the detriment of the evening I sat next to the Guest-
new Prime Minister, Kevin Rudd standards of our profession, As with any experience in life of-Honour Dean Semler ACS ASC.
has recently apologised for these days cinematographers the memories one values most His inspirational speech was
the hurt caused to indigenous and their crews have become depend upon the individuals half interrupted by a fireworks
Australians. Might Blair and the guinea pigs. We are being you meet: the ‘Bushman” from display under the Harbour
Bush, in years to come, issue dictated to by manufacturers to the RSC(Romania), Josef Bridge. However, his message
the same apology for the million take a backwards step before, Demian who insisted on having that there was no turning back
plus dead injured in Iraq and hopefully, being able to move many photographs taken with from capturing images through
Afghanistan. forward. However, Calvin Louis-Philippe while talking the digital camera was loud and
Gardiner ACS, the inspiration about Alex back home (I clear (who was I to question
The thought of apology behind the conference, later assumed this was Alex Sterian the cinematographer who had
returned to me on the last confirmed to me that the RSC); the lady gaffer from Greek shot Dances with Wolves and
day of the Conference whilst Red service had dramatically extraction with a handshake Apocalypto).
appearing on a panel which improved. of iron (even Howard Hawks
included Daryn Okada ASC would have been hard The welcome and generosity
President, Andrew Lesnie ACS IMAGO had been invited to give pressed to compete, but of the ACS to their guests and
ASC, Louis-Philipe Capelle SBC a short presentation. There was later I discovered she was an visitors was magnificent. It
and IMAGO General Secretary, a good-enough attendance to animation gaffer); the discovery was a privilege to be there and
John Galt of Panavision and make it worthwhile, but only of my old colleague Butch an overwhelming experience.
John Bowring ACS. Our debate Ted Rayment ACS President Calderwood ACS, a legend in There has never been a
was named “Looking at the had rounded up a posse and the UK for his cinematography gathering like it in Australia.
26

ac_issue#39.indd 26 23/10/08 9:25:22 PM

 Peter James ACS ASC, Bruce Nigel Walters accepts Roger Deakins’ award
Beresford, Dean Semler ACS ASC,
Don McAlpine ACS ASC and the
director George Miller, under
moderator Peter Thompson,
had earlier enthralled in a
presentation under the title
‘The Collaborators”. The Oscar
winners absent would have been
enough to make any normal
country happy, Dion Beebe ACS
ASC and John Seale ACS ASC.

I had the honour of accepting

the ACS International Award
on behalf of Roger Deakins
ASC BSC, who had eloquently
said everything to be said
in his recorded speech. The
BSC had asked me to present
the Golden “Presidential Pan
Glass” as I named it (designed
and made by Joe Dunton) to
President Ted Rayment ACS country, but I stated in a is crying”, he stated with week, and also on the sad news
and “Outstanding Stills” to short address the real winner Confucian wisdom. I reflected of the death of my old friend
Calvin Gardiner ACS to whom that evening had been the on memories of my friend Ken Curly Bird, whose funeral would
the success of the week was a Australian Film Industry. Hannam, who directed one be taking place whilst I was
tribute in itself. Many Awards the greatest Australian films flying home. And I had to agree.
were presented with clips The taxi driver to the airport Sunday Too Far Away, and
illustrating the high standard was Chinese. The weather who would have loved to have Reprinted from British
of cinematography in their had turned stormy. “Sydney been able to share the joy of the Cinematographer July 2008

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27

ac_issue#39.indd 27 23/10/08 9:25:22 PM

 Territory Filmmakers
2008/09 ACS National Sponsors
MAJOR
Meet on Air
For the first time, filmmakers
from around the Territory
hooked up by video last
month for the Annual General
Meeting of the NT Australian
PLATINUM Cinematographers Society,
using the NT-developed REACT
software (remote education
and conference tool) at Alice
Springs’ famous School of the
Air.

“It’s a great piece of technology

using multiple cameras, a real last year attracted around
jump up from conventional 1000 people, the Australian
teleconferencing or even Cinematographers Society
videoconferencing, that allows has been developing a new
us to show clips of our work event, the NT Screen Awards,
or demonstrate the functions to celebrate the outstanding,
GOLD of a new camera in close-up but often little known, work of
in Alice Springs and Darwin film-makers from all around the
at the same time – as well as Territory. The inaugural event
by two-way satellite to more is scheduled for next April and
remote regions.” said founding will screen winning films in
NT President David Curl, who both Darwin and Alice Springs.
stepped down after nearly four
years at the helm of the ACS Plans are already underway
NT. for turning this into a regular
event that travels the length
“It also provides an opportunity and breadth of the Territory,
for professional Territory film- showcasing the landscapes,
makers to work more closely cultures and wildlife of the
with those involved in remote Northern Territory as well as
area education, helping inspire the diverse products and skills
a new generation of film-makers of the Territory’s own film and
in the bush, as well as providing television industry.
them with an opportunity
David Curl
of seeing, almost first-hand,
equipment used in producing
films for international television
and for the silver screen.”

In its first four years, the ACS

NT has successfully established
the Territory’s own Film
Festival Cinema in the River
in Alice Springs, scheduled
SILVER this year on 24 and 25 October
in the Todd River as part of
the Alice Desert Festival.
And following the immense
success of this and other film
events in Alice Springs, which

28

A
ac_issue#39.indd 28 28/10/08 9:14:00 AM
 50th Anniversary STUDENTS

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”
Calvin Gardiner ACS
on location shooting
scenes for a documentary.

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25

Arrow Systems ACFP indd 1 25/07/08 5:02:04 PM

ac_issue#39.indd 29 23/10/08 9:25:29 PM
 pawn MOVIE

PAWN MOVIE
New independent feature film shot in Melbourne
The Pawn is a gritty noir-style The realistic
thriller about an emotionally nature of the
bankrupt businessman who script often
suspects he may have murdered brought amusing
his estranged wife. scenes into what
was otherwise
Currently being shot in a very serious
Melbourne with ProHD subject matter.
cameras, the movie’s DOP Brand continued,
Eddie Beyrouthy gave feedback “We shot a
on the production. “We chose street scene in
the JVC ProHD camera because Williamstown
it is compact, lightweight and involving a cop
offered flexible features for and our lead
our movie. We were searching actor, who had
for a camera that offered HDV been made up
progressive recording and was to look like he’d
small enough for comfortable been beaten. The
handheld shooting. The scene looked so
capabilities that this camera realistic, we had Sound Glenn Taylor; actors Tim Ferris and Dennis Manahan; Steadicam Louis Puli
has achieved on set have been the ‘real’ police
amazing. We have combined show up to make
it with a Red Rock M2 Cinema sure everything
adapter with Nikon Lens kit was OK. Shooting
and it has made on-set shooting with industry
a breeze,” he said. veteran Reg
Gorman has been
Shooting in real 24p and interesting too.
making use of interchangeable We shot in a pub
lenses, Eddie and his crew and kept being
have put the ProHD through its interrupted
paces. by the locals
popping into
Director David Brand added, the frame to say
“We have been tailoring hello.”
our shot composition and
subsequent camera moves to Commenting
suit the drama and tone of the on the current
scene. As our story commences, state of the
Yanni Columbus, Lighting; DOP Eddie Beyrouthy; actors are Marguerite Tierney
we have been using more Australian film
locked off shots. When the industry, Brand and Dennis Manahan
action and drama kicks in, concluded,
the camera is more fluid and “It’s tougher than ever to film unfold before your very by Salvatore Di Muccio
hence we are using more make movies in Australia. eyes. On top of that, the JVC
handheld movements, focusing You really need as much help has enabled us to capture shot
on close ups and extreme as you can get. With a savvy ideas as they come up on set.
close ups - these also suit the camera operator, the JVC With a little lighting prep and a
psychological state of the main makes realising your vision a quick chat to the actors, we’ve
character. Furthermore, we reality, both from a creative and been able to shoot heaps of
have used tripods, a jib, a car financial point of view. Coupled extra cutaways and pick up that
mount, steadicam and a dolly with a 35mm lens adaptor and normally would be out of the
and achieved excellent results some good lenses, the JVC is a question if we were shooting
every time.” great way to start seeing your film. Our editor is very thankful
for the extra options.”
30

ac_issue#39.indd 30 23/10/08 9:25:30 PM

 on set MAO’S LAST DANCER

Louis Puli
Camera Operator / Pro Steadicam Owner Operator

“Don’t just move the camera Move the story”

Mob: 0419 5420 24

www.louispuli.com

ac_issue#39.indd 31 23/10/08 9:25:31 PM

 a picture OF HEALTH

A Picture of Health
Holding a 5-20kg camera on set every day doesn’t just take its toll on your
back. It can take a huge toll on your back pocket if you don’t take regular
preventative care of your health and wellbeing, starting with services like
Chiropractic, Acupuncture and Remedial Massage.

Franc Biffone interviews Chiropractor, Osteopath and Acupuncturist Petros

Vournelis on the benefits of getting your body regularly serviced just like you
would your car or your camera.
Franc: What are the exercises; that can be done Petros: Prevention is the best hip flexes and the posterior
common injuries and at home or with guided types way but humans usually react neck muscles because they
treatments experienced by of therapy. Symptoms such as to pain and we don’t have are the ones that will be
Cinematographers? headaches, lower back pain, the knowledge about what active all the time when you
shoulder injuries can also be our posture is doing unless are bending forward. The
Petros: The basic dysfunction in common for cinematographers someone else actually makes opposite muscles need to be
Cinematographers that I have with a tendency to work on one that assessment. Come in strengthened because the
seen in practice isn’t just lower side of their body with varied from time to time regardless muscular system is a system of
back injury; it is usually neck weight and size of cameras; of whether there is pain to paired muscles, so that as one
and upper back dysfunction. this is going to contribute to actually prevent injuries from dominates the other weakens.
Work is being done in the front these symptoms. Exhaustion occurring. That is the smart You need to strengthen the
of the body, holding cameras syndromes where people are way to use chiropractors and anterior neck muscles, mid
forward; which relies on a lot working long hours on set osteopaths. back muscles and buttock
of muscle activity in the back play havoc with your vital muscles. A balanced system will
to stop the gravity having body energy. The way I see Franc: I think one of the work more efficiently and be
an effect on the body part. A cinematography is it fluctuates. key problem areas with less susceptible to injury and
practitioner can assess the You are all on or you have a bit cinematographers is that fatigue.
postural imbalance and guide of a gap and then you are on depending on where they are
the Cinematographer, to seek again. The body has to keep and what sort of work they are Franc: As far as prevention
forms of exercise or treatment peaking all the time and then doing – they may be leaning is concerned, is there
that will help them with the dropping. over a camera in a bad posture a set of exercises that
symptoms of pain or discomfort. for extended periods, then basically or broadly suit a
There are also other things, not quickly move to a running shot cinematographer and maybe
Franc: When a so specific to cinematography: and pull a muscle. Can you expand on to other forms of
cinematographer comes to see computer based work. expand on that? exercises like yoga.
you, are there problem areas Cinematographers are shooting
that are specific to that type of all day then going back and Petros: Putting a lot of pressure Petros: Specific abdominal
work? viewing their images on on your back also puts a high exercises are the way to go.
computers. It enhances and demand on the muscles of your Doing pelvic floor exercises
Petros: Yes absolutely, promotes the injuries they are back. The body’s response is for males and females is really
depending on body type. doing during the shoot. Working to then tighten and lock up important because it controls
There is rotation through the at laptops reinforces injuries certain areas in your thoracic the position of the sacrum,
lower back, tightness through due to bad back posture for a cage which then increases the working your good muscles and
the upper trunk and around cinematographer, carrying it demand on the lower back to then making sure that your mid
the neck because they are over to editing / post functions. be more mobile. The way you back, is nice and mobile and
holding their head forward. would prevent something like also strong. As far as general
Working for long stretches, Franc: Is it a good idea to that is to make sure that there exercise Yoga is great for
they should try to use good come in and see you regarding is good mobility through the mobility but so is Tai Chi and
postural alignment to support problems that are existing spine and the peripheral joints Chi Gung - any of the mobility
their body rather than using as well as issues for each and then a solid prescription exercises. Pilates is fantastic.
more muscle support. Creating individual that can manifest of stabilizing exercises for
more balance can be achieved over time? the lower back. You will need The benefit of prevention is
through direct treatment or to stretch the pecs and your that you are healthy the whole

32

ac_issue#39.indd 32 23/10/08 9:25:31 PM

 a picture OF HEALTH
perceive to be an important locations. We are here fairly
recovery, then fantastic. I long hours and people can
mean muscles that overwork also ring us for advice and if
become tired and do not they can’t get to us, we can
function normally, so massage give them advice over the
will increase the blood flow phone that will certainly help
to those muscles and flush to prevent it from getting any
things away and you can also worse.
be doing things making sure
you are supplementing it. Franc: If we were shooting in
Drink two litres of water a day the Maldives?
and if you are working hard
then you will need to up that Petros: We try not to do house
volume of water. Massage and calls but I’d be over there in a
acupuncture are very effective flash! But we certainly make
to release the tightness of the it a fairly transparent process,
muscles as well. and say this is what is going on,
how long we expect it to take,
Franc: To sum up, you and this is what we expect you
would be a good first point to be doing for the best possible
of call to get an overview outcome.
and treatments, into looking
after your muscles and bone Thanks Petros. I’m sure this
structure? will be of great benefit to the
ACS members.
Petros: We’re one aspect of it
and what we can do is assess
what is going on in people’s
muscular skeletal wellness,
assess what they do in front
of their computer or behind
time so when your next job having a family and you don’t
their camera. We don’t know
is there for you to take, you take the time out for yourself?
everything about all of those
are not going to say, “I don’t
factors but we are a good point
know whether I should do Petros: I am not a dietician but
to begin because we understand
this because my back is sore.” there are sensible steps you
the muscular skeletal side of
So being proactive about can take right from the onset.
things, it is what we do every
your health means that you Weight is a big issue and there
day so we are a good place to
can be more productive as a is a lot of data that suggests
start.
cinematographer. the more weight you put on
the harder it is on your joints,
Franc: Tell us a little bit about
If you are in pain you are back, knees and hips. Weight
your website and how your
not going to function, your can be coupled with lifestyle
clients can access information.
productivity is going to be as well, drinking a little bit
down, you are not going to offer more, having a cigarette, all
Petros: The website
your client your full capacity that has a compounding effect
www.socc.com.au contains
and potential so everything is as we get older. Diet and rest
some information about how we
compromised. So it is a bit of a are important parts of the
function and who works within
false economy saying, “I don’t puzzle and be sensible about
the practice and also gives an
necessarily need treatment the workloads – just do the
overview about our philosophy.
so therefore I won’t do it”. You work when it is there and have
It has an information section
are still better off once every effective downtime as well.
to access exercise ideas. It
three months, preferably at the
does not self prescribe, it
beginning and the end of each Franc: What about simple
gives advice. The benefits are
major job. things like getting a massage?
there for practitioners to help
people and to give them some
Franc: What about other health Petros: I think again if you are
information on exercise. I am
issues like weight gain, not going in for a relaxing session
also contactable on email if
exercising enough or you start and that is part of what you
people are shooting in remote
33

ac_issue#39.indd 33 23/10/08 9:25:31 PM

 larry THE LAWNMOWER

LARRY THE LAWNMOWER

included the PDWHD1500 Sony footage being delivered by two
Professional Disc Recorder, camera units every day. Her
PDW700 Sony Professional job, to collate the good, the
XDCAM® HD Camcorders bad and the very useful, into
and PDWU1 Professional Disc a bank of reusable locations,
Drive Units. Once the package and character expressions.
was agreed Liell and colleague Then employing Sony’s XDCAM
Rob Floro conducted extensive transfer application, transfer the
testing on the kit with Fraser, files 1.5 times faster than real
cameramen Brad Smith time into Final Cut Pro to deliver
and Richard Rowley, Series a fast-turnaround offline cut.
Producer Monica O’Brien and Instead of re-ingesting all tapes
Senior Production Manager at conform, we do a picture
Kate Cooper. lock-off in FCP and playout to
the AVID DS HD Nitris suite for
Smith added, “The progressive grading and titles.”
pictures the PDW700 delivers
are without doubt, the Adam Spendlove, CornerPost’s
knockout clincher. These technical engineer said, “After
cameras and this workflow extensive testing this was by
bring HD back to levels that, far the most efficient workflow
although slightly more than taking into account the time
Digibeta, are very affordable issues we were challenged with”.
and give all the advantages of
tape and non-linear. It’s the top Larry the Lawnmower is
of the line in XD evolution.” shot in a visualised studio
space created by veteran
With Ambience’s budget designer Michael Bridges
Richard Rowley
having to cover 65 half-hour and imaginatively light-
Glenn Fraser, one of the three other broadcasters take their programmes for Channel sculpted by Peter Borosh ACS,
directors on the Larry the lead from them, so if you can Seven, editing and storage also and gaffer Graham Dickson.
Lawnmower series explained tick the acceptable acquisition became key deciding factors. The Directors and the Larry
Ambience’s decision to use the criteria that they demand, “We investigated a variety of crew deal with a child’s eye
new equipment and workflow. you’re pretty much safe. platforms for editing,” explained view of Larry the Lawnmower
“We knew there was going to be Secondly, you’ve got to ensure O’Brien. “Omnilab Media’s that is a hyper-realised world
a developing requirement for that the uplift to HD isn’t going CornerPost facility provided and exists within the backyard
HD content for children’s series to outweigh the programme’s the ultimate post production of a large suburban garden.
like Larry, and the existing delivery opportunities. It’s not workflow by embracing the Similar to Doctor Who’s Tardis,
HD acquisition strategies much good feeling sexy about Final Cut Pro-ProRes offline it is a place of seemingly
were either too expensive or having HD at the front end if path utilising the elegant file-
Brad Smith
weren’t fully developing the you don’t have the processing based workflow directly off
rounded look we thought could power or storage to run the the XDCAM Professional Disc
be achieved. This XDCAM extent of your series without media. This allowed us to work
HD solution came along at burning drive space. It’s a false in ProRes reducing our storage
just the right time. It might economy. The PDW-700’s clever requirements but without
feel like there’s a new flavour compression algorithm means compromising the image quality.
of HD turning out every six that it’s possible to get your As the schedule is tight the only
months, but when it comes to pictures travelling back and way for us to get through 65
practicalities, there are really forth in a good stream at 50Mbs. half hours was for us to further
only a few things to consider. And all that in full raster utilise the XDCAM workflow
Number one being, ‘is your 1920x1080.” in a way that we haven’t been
acquired picture considered able to do previously due to
real HD by the partners Videocraft’s involvement began cost and time constraints.
to whom you’re looking to even before the project had We did this by using a media
deliver your deliverables?’ been green lit with NSW State manager on set who, with a
The pinnacle of HD delivery Manager Andy Liell consulting running knowledge of the scripts
is still pretty much the to the Ambience team and and the series’ goals, would be
BBC standard - most of the suggesting a package that the first pair of eyes across the
34

ac_issue#39.indd 34 24/10/08 10:51:08 AM

 larry THE LAWNMOWER
infinite size and opportunity for and the service and support
the characters. Due to the from Videocraft. This is a real
fast turnaround schedule benchmark. As a result, HD
for episodes, the team were productions are now truly
having to workably effect affordable due to the efficiency
choice on a textural scale, and of the XDCAM workflow. The
decided most efficiency was argument that HD is too
gained by doing 95% of their expensive just doesn’t hold
work in camera. Everything up any more. We just couldn’t
is bright, and richly detailed - do this amount of episodes in
grand, green lawns and azure the time we have without this
skies - it is something like leafy, workflow - it’s that simple.
suburban Australia in miniature Andy, Rob and the whole
with puppets. team at Videocraft have been
phenomenal. I have never (l-r) Jay Laga’aia (narrator), Brad Smith, Richard Rowley, Monica O’Brien
“With such a huge amount of experienced such amazing
work to be undertaken, the service and you can quote me
Videocraft team, led by Andy on that!”
Liell, have truly been pivotal
to the success of the project About Videocraft
thus far.” Fraser continued,
“Videocraft’s services and Established in 1972 Videocraft
assistance have been nothing has grown to become one of
short of exceptional. In testing Australia’s premier broadcast
workflows via their Final Cut equipment sales and rental
Pro setups they were always specialists. Following a
quick to initiate solutions, not restructure in the mid-nineties,
sales. As a reasonably confident the company has since been
technician at this level myself,
headed by MD Jeanette Taylor
it would have been easy to see
and Sales Director James (l-r) Cameramen Brad Smith and Richard Rowley
through a sales patter, but
Taylor. As system providers
the experiential wealth they
Videocraft are dedicated to the
were able to honestly share
sale and rental of broadcast
meant that they were genuinely
interested in the truth of the and professional video
tests. The level of Rob and equipment and involved in all
Andy’s technical and hands-on aspects of digital production
expertise meant that I never technology. With sales, support
felt compromised and always and service professionals
felt supported.” operating from both Sydney
and Melbourne offices, the
Monica O’Brien concluded, company has experienced
“We are absolutely delighted consistent year-on-year growth
with the XDCAM HD solution in the broadcast industry. Richard Rowley

www.videocraft.com.au

35

ac_issue#39.indd 35 24/10/08 10:51:09 AM

 CML
cml
A committee of CML members, not the Listmums,
have been working at clarifying the rules.
Here they are :-

CML RULES
1. Not knowing these rules is not an excuse for not
following them. Read on.

2. You must register with your real name, and sign your
posts with your real name as well as your job title and
location.

3. CML is primarily for professionals who work in film and

digital production: students should post questions in
cml-basics but only after searching the archive.

4. Keep your posts as short and to the point as possible.

pole
Never quote more than five lines. You are limited to five photo by Chris Wal
posts per day.

5. Post in the most appropriate list. Do not send the same cinematography
mailing list
message to more than one list.

6. Do not speak beyond your experience. Informed

speculation is allowed, but if you are speculating say so.

7. If you work for a company whose product you are 3-Perf Depth of Field Query :
discussing, say so. http://www.cinematography.net/edited-pages/3-Perf-Depth_Of_Field_Query.htm

Audio In Choppers :
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Earth Explosion fps :

9. When replying, address the question, not the person who http://www.cinematography.net/edited-pages/Earth_Explosion - fps.htm
asked it. Address your message to everyone on the list. Estimating Stock Needs For Feature :
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10. Always re-read your post before you send it, and check Estimating_Stock_Needs_For_Feature.htm

the address you are posting to. Don’t send private Examples Around A Table :
messages to the list by mistake. http://www.cinematography.net/edited-pages/Examples_Around_A_Table.htm

Exposing Fireworks :
11. Sometimes messages are delayed by up to 24 hours. http://www.cinematography.net/edited-pages/ExposingFireworks.htm

Do not repost if your message does not appear on the list Filming/Photographing Wedding :
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Images and Text Copyright © CML.

36

ac_issue#39.indd 36 23/10/08 9:25:33 PM

 TRALIA
US LI
A

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Y

IT
The New Sony PDW700 XDCAM HD Camcorder
SON

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• A

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ac_issue#39.indd 37 23/10/08 9:25:35 PM

 new gear
new GEAR

by Nicola Daley

AUSTRALIA TURNS RED Joshua Gannon has recently

set up a new web site/
forum for Australian Red
camera users. The idea
behind the website is to set
up a local community for
Red users to talk about all
things red without having
to sift through the massive
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This is a not-for-profit
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38

ac_issue#39.indd 38 27/10/08 8:12:46 AM

 new GEAR

Brand new Sony XDCAM EX

family of cameras arrive at
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call Takao Hasuike on 0412 574 847.

39

ac_issue#39.indd 39 23/10/08 9:25:39 PM

 flashback

FLASHBACK

PETER HANNAN
ACS BSC

His career started as a

newsreel cameraman
for Cinesound and
Movietone.
Peter joined the ACS
in 1988.

Peter Hannan ACS BSC chats to

Rosemary Reid

Peter was born 1 February 1941.

I wanted to be a stills of people and to the News office to be in the right place at the Australia I wanted as long as I
photographer and I have been at The Sydney Morning Herald. right time. Anyone could get sent back three stories a week.
taking stills all my life. My first Because I was the junior I had a job in the media. Cinesound
camera – at ten years old – was to pick up the weather forecast was wonderful, very tough. Rosemary: From the same
a Brownie. Later I got a really from the Meteorological office When they shot 35mm film location?
upmarket camera, a Kershaw behind the Observatory near they didn’t print the neg; just
Bellows and I’ve still got it. It the Harbour Bridge. I was the cut and then printed it to go Normally in a similar area but it
had a bellows and you could set assistant for two weeks and to the cinemas twice a week. could be 50 to 100 miles (80 to
the stops and all that. I didn’t then I was given a camera and a Cinesound went to Melbourne 160 km) apart but you still had
get an interchangeable lens car and I was a cameraman. for the Cup and I was on the to get three stories a week.
camera until years later. It was lens which showed the whole
all black and white, 120 or 624. Rosemary: That was quick. field of horses and Lloyd Shiels One thing led to another and
I did all my own processing and was on the lens that covered Cinesound were looking for a
stuff in the bathroom. In 1958 It was ridiculous. I couldn’t one horse. I think the lens was cameraman and they offered
I was waiting for my Matric to get into stills because I was called Big Bertha, 561 mm. me twice the money so I went
see if I got into university or too old and didn’t have enough Lloyd had backed a horse which back. I was about to buy a
not and then my sister saw the experience to be an assistant he followed on the lens and it bigger and better boat or a flat
advertisement. photographer and I was too won. It was wonderful but it but I was told by a friend, “you
expensive to be a darkroom boy. was a long time ago and I’d ask have to see the world.” I talked
Rosemary: Was that for I stayed at Channel 7 for about Lloyd if it was true. another cameraman, Ross into
Channel 7? six months. I wanted to get coming with me. We talked
into 35mm filming and luckily In 1961 or 1962 I left Cinesound about how much money we
Yes, I went for an interview and enough I got a job at Cinesound. to go to Movietone. It was much had but it wasn’t enough to do
they asked me two questions. All their top men were doing freer. Movietone was 35mm only the world; we could do Greece,
Did I have a driver’s licence and commercials, documentaries while Cinesound was 35mm and Turkey and Italy. The only ship
could I spell? The answers were and stuff like that so they didn’t 16mm and they also did News we could sail on to Italy was
Yes and No and still I got the have anyone for News – it was for Channel 9. Galileo Galilei. In Singapore
job. I was taken out by a legion perfect timing and I happened I could go anywhere in and Hong Kong we bought

40

ac_issue#39.indd 40 27/10/08 8:12:05 AM

 flashback
and Hong Kong we bought We met a woman named Gay Althorpe and he said you are eight pictures with Richard
enough gear to shoot Ben Hur. Britton – her stage name – as now a focus puller on and I did Loncraine – lighting. We formed
I bought two Bolex cameras, she was a stripper returning not know what a focus puller a company called Kaleidoscope
normal lenses and lots of stills to London after entertaining was but I learned quickly. It was but it came to be a thing of the
gear and Ross bought other troops in Germany. She went for a film by Stanley Kubrick, past. I was a DOP and have kept
camera stuff. Last week on the to the ship’s canteen and came 2001: A Space Odyssey. going on as a DOP; still am. I
ship malaria hit Ross badly. back with two ham rolls and have been very busy.
On the last night on board we two cups of tea. Some years later I came out
drank what money we had left here to do Walkabout and I Rosemary: Any funny events
and got off in Naples without a At Dover all the camera gear stayed to do another picture that stick out in your mind.
care in the world although Ross was impounded. It was very directed by Ted Kotchef, it
was very ill. I knew we could go cold and this was the year the was Wake in Fright. Monica Things happened on Walkabout
to the bank tomorrow and get Thames froze. Gay was met by Dawkins was the make-up when I was focus puller in 68
money and everything would be her boyfriend in a gold Rolls artist. or 69. For the first night they
fine. We booked into a pensione. and she gave us a bottle of put up these tents and they
champagne and ten pounds and Rosemary: I interviewed her for had prints of Mickey Mouse
Rosemary: A pensione? that got us to Victoria Station this magazine. and Donald Duck on them.
and the bank. Years later when They were very cheap and too
A really cheap little hotel. Ross we had enough money we sent Donald Pleasance was there small. Nick Roeg gave us the
was bright yellow and had the the champagne back with two in Broken Hill. We all moved day off and we went into the
worst type of malaria and he ten pound notes; we signed into a large motel as rooms Alice and bought our own tents
shouldn’t have lived. I kept one each. She used to send became available. It was run and lived in them for seventeen
going to the bank but the money Christmas cards each year and by a husband and wife team weeks. Nick learned, the way
hadn’t arrived. That took ten then they stopped. Perhaps she but the wife ran off with one he managed a film and he can
days and in that ten days the died or stayed in Europe, I don’t of the kangaroo hunters and tell when people are getting
first meal was oranges and that know what happened – a great disappeared. Then the son tired and he just sits and tells
was a windfall. Old ladies used lady. disappeared and I don’t know stories at sunset. One of his
to carry fruit in baskets and if what happened to him, the expressions was ‘Let’s go and
anything fell out street urchins Ross went into hospital and was husband fell in love with an shoot a dozen’. We’d go and take
could have it so we classified there about six to eight weeks. I actor and was broken hearted some shots and everyone would
ourselves as urchins and we got involved with the ‘television as the actor was already having be refreshed and the next day
got three oranges. Our second chair’ which was used when an affair with the prop man and would be a full day. He was the
meal was a bowl of spaghetti filming from a chopper. I was the guy that broke them up was cameraman and the director.
each. Later we bumped into told that a camera operator a young kid with a young family.
people from the ship. There was wanted to see it set up and after The youngest daughter, who Barry our sound mixer used to
a school teacher and he is now about ten minutes looking at it was twelve, ran off with one of light fires at night; he’d light
a professor of English at NSW he said, ‘Oh yes. I’ll take it.’ The the sparks and he was in his our tents at night, he was a
University – Ralph Sadler. film he was doing was Charge twenties. The eldest daughter total pyromaniac. They got
of the Light Brigade. He said, went off with someone else but scorched but we didn’t lose any.
Rosemary: Did you ever have “Let’s go and have a drink.” He I can’t remember who he was The cooks were mad. One night
contact with him again. kept on saying he could get me but it didn’t last. She came to they had a fight, one chased
into the film industry and he Sydney to live with him for a the other with an axe. The grip
Yes, we lived together in said you can’t do what you’re while and then she came back went troppo as well.
England. Money still hadn’t doing, you’ve come to England, to Broken Hill. Other romantic
come through and he lent us you have to get into a studio. misadventures wrote off the When we were in town, a guy
some – just enough to buy His name was Alan McKay and family. Donald Pleasance took walked up and asked if we
two railway tickets to London he was head of the camera over the catering of the motel. were looking for camera crew.
as we had to get Ross to the department at MGM. He cooked the meals at night He came from a film school in
Tropical Diseases Hospital in and had a wonderful Israeli girl London (a camera guy) but
London. We had no food at all I got back to London and friend who served us. After that was told he could have a job as
going across Europe until a just on the off chance I went we all went back to Europe. cook. There was also a German
lovely Italian lady gave us some out to MGM studios and saw The cameraman offered me looking for a job. He had been
salami. When we got to Calais a wonderful mechanic who the job of operator on his next kicked out of Thailand for
the train was shunted into a looked after the big 65mm picture. It was Sunstruck with selling drugs outside his club.
ship for the Channel crossing. cameras. I also saw John Harry Secombe. Then I did He got a job as a second cook.

41

ac_issue#39.indd 41 23/10/08 9:25:41 PM

 flashback
They were put on a wage and piece of rubbish. He has never Rosemary; You lead a colourful In 2001 Peter won a
given so much money each day forgiven me for walking off. life, what is next? BAFTA TV Award for Best
to spend on food. They turned Everytime I see him he says Photography and Lighting for
out to be amazing. ‘you walked off and left us for I should be starting a film. Longitude.
dead.’
Rosemary: I am surprised you Rosemary: May I ask what it is?
didn’t get hash cookies. I went back to England and
went straight into the bar at No, it is bad luck. It is a In 2002 the AFI Award for
In fact there are probably a lot Shepparton Studios and was wonderful script with Johnny Cinematography for The
of little green plants growing offered The Razor’s Edge and Depp producing and acting. Gathering Storm was won by
there. The boom guy was the had I not walked off the other Bruce Robinson is directing. Set Peter.
supplier and everywhere we film I wouldn’t have got that in Puerto Rico in the 60s. It was
stopped he’d plant some just in one. in the 50s originally but they In 2006, Peter together with
case he got back. rewrote the script and made Laurie Frost and Richard
Rosemary: Did you ever get the it the sixties because the Viet Loncraine was awarded the
Rosemary: Any advice for impounded gear back? Nam war was going on at that Scientific and Engineering
budding cinematographers? time. Award by the Academy of
Ross was well again and he and Motion Picture Arts and
There are some excellent Ralph (who lent us money) Sciences, for the development
cinematographers that have decided to go to France and of the remote camera head
been lucky and worked with get the gear on the way. They known as the Hot-Head.
the right director and the right got off at Calais and hitched a
script and there are other ride. Their driver pulled into a
people at the top who don’t take away self-service station to
deserve to be there. Luck and a have a cup of coffee and the guy
passion for it. said he was going to get petrol
I walked off a film when it had and he drove off with all the
started. The director was a gear. It had never been used.
nasty man. Michael Caine acted
in it, Blame It on Rio which

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Call Rosco Australia (02) 9906-6262 for more information and dealer locations. www.rosco.com

42

ac_issue#39.indd 42 23/10/08 9:25:41 PM

 We Are Part of the Revolutions A Versatile Package There’s More
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ac_issue#39.indd 43 23/10/08 9:25:44 PM

 ▲ DOP Damien Wyvill and Michael Pickells with Delta Goodrem ▲ Congratulations: Tony and Catherine Luu on their wedding day
▼ Laurie Gilbert in Beijing

44

ac_issue#39.indd 44 23/10/08 9:25:45 PM

 Want to see your mug shot in SNAPS?
send your pics with caption to [email protected]

▲ Mark Broadbent goes

▲
beachcombing

▼ Louis Puli: first Red

Camera at Broken Hill

45

ac_issue#39.indd 45 23/10/08 9:25:46 PM

 ▲ Norbert von der Heidt with his fan club

▲ Jan Kenny and Tony Gardiner

▲

Anniversary
of the Australian
Cinematographers
Society

▼ Stage 7 Fox Studios, Sydney

46

ac_issue#39.indd 46 23/10/08 9:25:47 PM

 Anniversary
of the Australian
Cinematographers
Society

▲ Dean Semler and Heidi Tobin

Jacob Barker and Red ▲

Anniversary
▲

of the Australian
Cinematographers
Society

▼ Dean Semler, Andrew Lesnie and Daryn Okada

Anniversary
of the Australian
Cinematographers
Society

47

ac_issue#39.indd 47 23/10/08 9:25:51 PM

 Anniversary
of the Australian
Cinematographers
Society

▲ Nigel Walters and Daryn Okada ▼ Jan Reichle and Belinda Mayne

Anniversary
of the Australian
Cinematographers
Society

48

ac_issue#39.indd 48 27/10/08 8:12:11 AM

 Anniversary
of the Australian
Cinematographers
Society

▲ Ron Windon and Peter Hannan ▼ The Windon Dynasty

Anniversary
of the Australian
Cinematographers
Society

49

ac_issue#39.indd 49 23/10/08 9:26:05 PM

 Anniversary
of the Australian
Cinematographers
Society

▲ David & Marianne Wakeley; David was the co-host of the awards ceremony ▼ Marcus & Katie Hides

Anniversary
of the Australian
Cinematographers
Society

50

ac_issue#39.indd 50 23/10/08 9:26:11 PM

 Anniversary
of the Australian
Cinematographers
Society

▲ Ted Rayment, Daryn Okada, Tony Gardiner and Evan Okada ▼ Suellen and Ian Baseby with John and Marion Leake at dinner

Anniversary
of the Australian
Cinematographers
Society

51

ac_issue#39.indd 51 23/10/08 9:26:17 PM

 reviews

BOOK REVIEW point often lost in today’s reviews and debate, this is about
films and novels - works of fiction, not detailed textbooks of
THE CHANT OF JIMMIE fact and historical record. Both filmmaker and author have
multiple factors to consider - entertainment, keeping faith
BLACKSMITH with the story, making a point, making money, the story has
Henry Reynolds to flow in the timeframe for the average movie and attention
span of the audience etc. Textbooks and documentarires
have different restrictions. He also discusses and examines a
Series: Australian Screen number of faults and problems in the film and fictional story.

Classics This essay explores those themes succinctly and provides a

reminder of the impact cinema can have on contemporary
society.
Publisher: Currency Press
and Australian by Robyn Turner

Film Commission

The Chant of Jimmie Blacksmith is one of the series,

Australian Film Classics which revisits Australian films
WEB REVIEW
matching them with distinguished writers and thinkers for http://www.facebook.com
a series of critiques and essays. It feels odd to be writing About Facebook groups.
a review of a critique or a review of a review if you like.
Reading this small book reminds me of the crib notes you Facebook Groups is a part of Facebook: a global social
could buy as a student to cover the reading lists for English networking site with over 100 million users. Members can keep
Literature classes. The likeness goes further, as to some up to date with friends, post videos, messages and photos. They
extent it reads like an essay assignment along the lines of, can also organise events and share information.
‘review and discuss the film and book, The Chant of Jimmie
Blacksmith in its political and social context’. The added The ACS has a group page on Facebook.
viewpoint and insight provided by an historian and author http://www.new.facebook.com/group.php?gid=4637904581
takes it beyond the student assignment.
Our members can upload video and photos, join a discussion
In this contribution to the series, Fred Schepisi’s film, The and can post information and links to sites they find
Chant of Jimmie Blacksmith is discussed alongside the novel interesting. Anyone can join and invite others. Messages for
by Thomas Keneally on which it’s based. In this essay, the events can be sent to our Admins for posting on the group page.
author gives a number of pertinent reminders: anyone viewing
We currently have 386 Members on Australian
the film or reading the book needs to consider the political
Cinematographers Society Facebook group, including our new
and social context in which the film and book were written
Federal President Ron Johanson ACS.
and produced - 1970’s Australia - a very different political
and social climate than today. Also most relevantly and a by Rosemary Reid

the next step

in the evolution of the jib

52

ac_issue#39.indd 52 23/10/08 9:26:23 PM

 reviews

Film Review for a pilot program produced by ABC stalwart Bill Stellar. The
personal reflections of Lockout veterans like Jack O’Shea, Jim
Lockout and Mabel Comerford, Henry and Grace Scanlon, Wally Wood,
Australia’s Most Violent Industrial Conflict Coogan Frame and Orrel Butler give a special human dimension
Reviewed by Bob Brown* to the presentation.

Without the heroism, courage and working class solidarity

demonstrated during the Lockout there is no doubt that the coal
owners and the conservative governments would have pursued all
opportunities to seek the destruction of the mining unions as a
forerunner to attacks on the whole of the trade union movement.
In that sense, the Lockout, which has often been seen and
described as a failure, was a great victory. And it was a victory
paid for with the blood of the victims at Rothbury, the hunger of
children and the humiliation suffered by men and women from
the batons of the basher gangs. That was one of the enduring
lessons of the Lockout of 1929-30.

Five years in the making with a $410,000 budget backed by

private investors, and turned down for funding by Film Australia’s
National Interest program, Lockout is another example of
a recent crop of independently produced films eschewing
traditional film Agency support and making inroads into a
domestic market, dominated by a lot of sausage-factory content.

Andrew Pike’s Ronin Films has picked up its distribution to

the Australian education market. Lockout was nominated for
Best Documentary in last year’s Asian Festival of First Films.
Considering the highly competitive nature of the festival the
nomination is an outstanding achievement and attests to the
brilliance of the production.

My appreciation of this film is both deep and profound. It will

The Lockout of 1929-30 saw the coal miners of the Northern always remain the primary film record of that terrible period in
Coalfields of NSW in their most heroic battle and at their the history of the Australian coal mining industry and, especially,
most courageous best. It was a defining moment because that of the subliminal effect of that period on the psychology of the
heroism served notice on the ruling class that workers would people of the Northern Coalfields of NSW. Together with Back
stand their ground and fight back against injustice, treachery, at the Coalface, it will join my copies of At the Coalface, Jim
deceit, intimidation, misrepresentation and blatant lies. Comerford’s Lockout and Andrew Metcalfe’s For Freedom and
Lockout is a powerful and emotional presentation of those Dignity among my treasured possessions.
dreadful days when conservative governments and the armed
forces of the state sought to bludgeon, humiliate and starve BOB BROWN* was the Federal Member for the Hunter and later
working class families who were in a desperate struggle to Charlton and Minister for Land Transport in the Hawke and
preserve their rights. Keating Governments.

The film illustrates the incredible strength of working people Director: Jason van Genderen
when they are determined to defend their own dignity. DOP: Gavin Banks
Technically the film is outstanding. Narrated by award-winning Second Unit: Brian Dyer
actor Chris Haywood, the film captures the atmosphere and the Producers: Greg Hall and Diane Michael - Lockout Productions
dynamics of those 15-months through interviews with Lockout Pty Ltd
veterans, re-enactments and dazzling graphics demanding the Narrated by Chris Haywood
attention of the viewer. The commentary is objective which
necessarily makes it empathetic to the case of the coal miners, Based on Alan Murray’s Working Class Heroes: The Great
their families and communities but it does not sacrifice in any Australian Lockout of 1929-30.
way the professional or personal integrity of the production
team. It is true to historical accuracy. It contains never-before-
seen 16mm footage of interviews with Lockout veterans shot

53

ac_issue#39.indd 53 27/10/08 8:12:27 AM

 short ENDS

Any one know where this came FROM THE ARCHIVE – MARK ENGEL NAMED film and television production.
from? Most news cameramen the 1975 Milli Award. Among its achievements are
will have had an experience PRESIDENT, CEO four technical Academy Awards,
like this one.
Russell Boyd ACS began
AT ROSCO an Emmy and a variety of

A General was interviewed on his career with Cinesound LABORATORIES, INC. product awards.
radio recently. Productions in Melbourne in
1961, initially as a trainee and Mark Engel joined Rosco over
You’ll love his reply to the graduating to cameraman on 16 years ago. He had served as
lady who interviewed him news and commercial filming. Chief Financial Officer before
concerning guns and children. He spent a year with HSV7, advancing to Chief Operating
Melbourne in 1964 on news Officer. A native of Connecticut,
FEMALE INTERVIEWER: camera work, followed by three the 45-year-old Engel graduated
So, what things are you going years with CFD Productions from Dartmouth University
to teach these young boys when and four with Supreme Films and earned his M.B.A. at the
they visit your base? Kellogg School of Management
(formerly Supreme Sound
Studio) specialising in at Northwestern University.
GENERAL: He resides now in Stamford
documentaries. He launched as Mark Engel was named
We’re going to teach them
a freelance cameraman in 1972, President and Chief Executive with his wife and four children.
climbing, canoeing, archery and
beginning with the television Officer of Rosco Laboratories Active in many industry
shooting.
series The Spoilers for Gemini today. associations, he works closely
FEMALE INTERVIEWER: Productions. with the Technical Standards
Shooting! That’s a bit Engel, who had been the Committee at ESTA.
irresponsible, isn’t it? Thirty one year old Russell Boyd company’s Chief Operating
has been named Australian Officer, is only the third In making the announcement,
GENERAL: Cinematographer of the Year president in Rosco’s nearly Stan Miller said, “I hope Mark
I don’t see why, they’ll be for his filming of the 90 minute 100-year history. The company has as long a run as President
properly supervised on the rifle was started in 1910 by Sidney as his two predecessors. He is
feature film Between Wars. He
range. certainly qualified, since he has
was presented with the 1975 Rosenstein, who remained at its
Milli award at a function held helm until 1958. That year, Stan been steeped in Rosco and the
FEMALE INTERVIEWER:
at Macquarie University, Sydney Miller bought the company, industries it serves for 16 years.
Don’t you admit that this is a
on 18 May 1975. whose primary product was Much of the credit for Rosco’s
terribly dangerous activity to be
teaching children? color filters made of gelatin recent success in growth and
Reprinted from Industrial & (“gels”) and assumed the product development is due to
GENERAL: Commercial Photography, position in which he has served his leadership.”
I don’t see how. We will be June/July 1975. Official for 50 years. He remains active
teaching them proper rifle Journal of The Australian as Chairman of the Board at Rosco is headquartered in
discipline before they even Cinematographers Society Rosco. Stamford, Connecticut. It has
touch a firearm. wholly-owned subsidiaries in
When Miller bought the Toronto, London, Madrid,
FEMALE INTERVIEWER: Sydney and São Paulo, and
company it had four employees
But you’re equipping them to offices in California, Germany,
Heard on Stage 7, Fox Studios and gross sales of under
become violent killers.
during Test Drive. ‘There are $100,000. Today Rosco employs Amsterdam, Tokyo and Italy.
GENERAL: too many lightmeters and too hundreds in eleven different
Well, Ma’am, you’re equipped to many different opinions so it countries around the world and
be a prostitute, but you’re not sort of opens up a little bag sales are well up in the millions
one, are you? of worms but that’s what you of dollars. It remains the
expect.’ Stuart Drayton. world’s largest manufacturer of
The radio went silent and the color filters, as well as dozens of 1st
interview ended. other products used in theatre,

54

ac_issue#39.indd 54 23/10/08 9:26:26 PM

 short ENDS

From The Sydney Morning Herald

– 17 July 2008.
Anne Cooper wrote in Heckler. your say, your spray
Franc Biffone
‘Once again I have suffered through an appalling Australian film.
No need to identify the culprit, because we all know how the Shooting at World Youth Day
Australian genre of late is concerned in the main with addicts,
World Youth Day (WYD) is the largest youth event in
the abused, the dispossessed and the unhappy, expressed through
the world and was held in Sydney from Tuesday 15 to
overacting and directorial pulling of the pud.’
Sunday 20 July 2008.

WYD08 attracted 223,000 registered pilgrims, including

110,000 from 170 nations making it the largest event
ever hosted in Australia.

Amongst all the pilgrims and clergy was a small

population of international media from all over the
world with the majority coming from Italy, working for
all the major Italian broadcasters including RAI Italy’s
major government broadcaster and Sat 2000 the official
Vatican TV!

Earlier in the year the call went out for Italian speaking
camera operators, producers, directors, audio operators
to help man crews for this global TV event and one ACS
member answered the call, Franc Biffone or as he was
known to the Italians Francesco Biffone. Crewed with
RAI producers and based out of the International Media
Centre in Darling Harbour, Franc, his audio operator
Luca Mistretta with their AAA passes filed reports from
every WYD venue and event.

Whilst shooting one such report during the opening

mass at Barangaroo, Franc and the crew came across
a very excited group of 1000 or so Italian pilgrims all
trying to get themselves in front of Franc’s lens. In their
best broken English the pilgrims shouted “Hello ABC
Australia” only to be corrected by the RAI producer
identifying the crew as RAI Italy which sent the already
excited pilgrims into an absolute frenzy and cries of
“Ciao Mamma”.

WYD has come and gone; all the pilgrims have vacated
the city, the Pontiff and all the clergy have returned
to their parishes around the world, and once again
Australia has shown the world how big this little
student country of ours is and how world class our crews are!

55

ac_issue#39.indd 55 25/10/08 11:44:31 AM

 what’s in MY KIT

What’s In My Kit? by Nick Paton ACS

incident. Variable output to
me, saves time. I’m now buying
more and more fixtures which
allow individual bulbs to be
switched on or off or that
have dimmers allowing for
output change without colour
temperature changes.

California Sunbounce

I came across this recently.

Think of the sunbounce as
a better flexifill without the
wind wobble. The sunbounce
material is stretched over a
collapsible frame which easily
mounts to a stand with a grip
head. The Lisa Marie side
renders neutral skin tones and
the material stays stiff in heavy
Having the correct tool at of these would you carry all the been encouraged by a talk John breezes. I have this packed in
hand is often a production time to save your butt? I’d have Seale ACS ASC gave years ago 100mm downpipe PVC.
time saver and the difference to answer with the following: about Rain Man. The original
between getting the shot 4x4 now gets used with a 4x5.65 You can’t imagine the amount of
and/or sequence or not. As a Lighttools Eggcrates as lenses get wider. The 4x4 money production has saved on
cinematographer who finds is useful for putting “on edge” Gaffer tape when using these
his work increasingly coming I own a few of these, the 40 in a combo tray to pull down effective tools.
from international sources, degree variety, fully collapsible levels on walls etc saving time
the tools that I have relied and very effective; they help trimming with big blacks etc.
on locally haven’t necessarily keep the dreaded spill off walls The larger soft edge ND, used
fitted within the producer’s while lighting with large soft conventionally, has saved my
idea of acceptable excess sources. The eggcrates help bacon and kept the image in
baggage charges. As I move on, reduce grippage enormously. range for later post colouring
I am gathering an enormous leading to a more filmic
collection of specialist Point 6 soft edge ND outcome.
equipment that cannot be
rented for love or money in the I’ve had one of these on my Barger Baglite
places I find myself. When I person for years and I use it for
reflect and ask myself, “Which interiors and exteriors having Having worked closely with
Ed Barger on the 240 volt
modifications to this system,
mainly so I could use one, the
Baglite has to be the most
compact and soft tungsten
source for my beloved Chimera.
Being able to switch off the
strip bulbs individually allows
me to trim tungsten output
quickly and accurately. I
have the GT-3 which packs
very neatly into a small case
and has now travelled 50 ‘ish
international legs without
56

ac_issue#39.indd 56 23/10/08 9:26:33 PM

 in memoriam
Kevin Roche was the last fully employed newsreel cameraman

In Memoriam in Australia. In the days before television, people saw newsreels

at the cinema. Cinesound and Movietone were the newsreel
companies and when the cinemas ran their last newsreels Kevin
joined the News department at Channel 7, Sydney. He retired in
1994 and moved to the Central Coast, NSW.

There are some cinematographers who will remember Kevin as

the terror of the newsroom, making a lot of noise but sharing his
wealth of knowledge in an avuncular style.

Kevin had been a projectionist and he was the projectionist at the

first ACS screening at the Cinesound building in Darling Street,
Balmain. He always said that he could not remember what was
screened but he could not forget the Chinese take-away that was
eaten.

In retirement Kevin suffered greatly from illness but never lost

his sense of humour and his love of cinema. A group of Channel
7 people attended the funeral and as they left the chapel Seven’s
helicopter flew a slow circle over head. I will always remember him
as a friend who took delight in steam trains, anything cinematic
and dinners (he always referred to snow peas as moon peas) at the
Golden Wheel in Eastwood.

Kevin Roche was a bloody good bloke.

The first issue of Australian Cinematographer has an article about

Kevin and the heyday of cinema newsreels.

KEVIN ROCHE 1928-2008 Butch Calderwood ACS

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57

ac_issue#39.indd 57 23/10/08 9:26:34 PM

 ADVERTISERS INDEX WANT TO BE IN AUSTRALIAN CINEMATOGRAPHER?
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Contact the Committee at the following email addresses: DEADLINES
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62

ac_issue#39.indd 58 25/10/08 11:44:43 AM

ac_issue#39.indd 59 23/10/08 9:26:43 PM
 ONFILM
M A N D Y WA L K E R , A C S

“My mother began taking me to art galleries

when I was a child. She had a big influence
on my interest in art. I took black-and-
white photos and made prints in my own
darkroom when I was a teenager. I also
loved foreign films. They affected how I
saw the world. I knew I wanted to be a
cinematographer when I was 13 or 14 years
old. I decided that I was going to learn by
being on crews, watching other people
work, and then shooting my own films. At
some point, I realized that film making is a
universal art form just like the paintings that
I saw in galleries. Cinematographers have
to understand and master technology, but
they also need the instincts of an artist. You
have to get inside the mind of the director,
understand his or her vision, and interpret
it as composition, light, atmosphere, mood,
and emotions. I think it is really important for
people to see films and stories from around
the world. I believe they can affect how we
feel on an emotional level about people and
issues.”

Mandy Walker, ACS was born in Melbourne,

Australia. She began her career shooting
documentaries, music videos, commercials
and short dramatic films, including the
award-winning Parklands in 1996. Her
subsequent feature credits include Love
Serenade, The Well, Walk the Talk, Lantana,
Australian Rules, Shattered Glass and the
upcoming release of Australia.

[All these films were shot on Kodak motion picture

film.]

For more information telephone 1300 139 795 or visit

www.kodak.com.au/go/motion

© Eastman Kodak Company, 2007.

Photography: © 2007 Douglas Kirkland

ac_issue#39.indd 60 23/10/08 9:26:43 PM