Cinematography's 50th a box office hit
June 25th 2008 07:13
Cinema screenings and workshops by award-winning cinematographers, plus a hands-on exhibition of film and TV's most advanced technology underpinned some 60 educational and social events at the recent "ACS50: Future of the Image" - the Australian Cinematographers Society's 50th Anniversary celebration.
Future of the Image reflected on 50 years of Australian cinematography as well as looking to cinematography's future survival.
With only a few of the conference sessions still available days before the event opened many of the workshops and industry panels had already sold out leaving many disappointed attendees scrambling for the final remaining tickets on offer. The accompanying free exhibition turned out ot be quite an accomplishment as those with and without tickets strolled through the showcase on offer.
Academy award-winning cinematographers Dean Semler AM ACS ASC (Dances with Wolves, Apocalypto) and Andrew Lesnie ACS ASC (Lord of the Rings) joined Producer George Miller (Babe, Happy Feet) along with 50 other highly awarded directors and creative image technologists in discussing the skills and tools needed to ensure long term career success.
Lesnie talked about ‘Getting the right Coverage’, while Semler presented his session on ‘Digital Cinematography’ and sharing his experience working on Apocalypto.
ACS50 Chair Calvin Gardiner ACS, whose father Jack Gardiner ACS was among the 50 founding ACS members at Sydney's Film Club in 1958, explained before the event why Future of the Image was such a pre-release box office hit.
"The international success of our members has attracted the best cinematic image creators from Australia, Europe and Hollywood, eager to share expertise spanning from 3D and animation to which camera, software and workflow procedures best suit production. We are at a critical stage between film and digital cinema technology - and of course whether your images will be enjoyed on Imax, home cinema or mobile phone - or all three."
Participants included industry professionals both local and internationally including cinematographers' societies such as the American Society of Cinematographers (ASC), British Society of Cinematographers (BSC) and European Federation of Cinematographers (IMAGO) with the biggest guest at the conference on the first morning being Daryn Okada, President of the ASC. Okada presented the Master Class session ‘Film & Digital: The Story remains the same’.
“The theme of the conference ‘Future of the Image’ is very much what it is focused on, like dealing with what are the current issues cinematographers have to face,” says Atlab’s Dominic Case after attending ‘Test Drive: HD Acquisition Tools for Today’. “And what I’ve seen so far particularly the session which I just came out of, which was a comparison of a number of different digital cameras and 35mm film – it was very informative. It probably raised far more questions than it could probably answer.”
The session was an exercise in how top range cameras, one film and four digital format, could handle a number of controlled set of tests on location and studio shoots with the same material.
Cinematographer Franc Biffone said that the results of that session would not be limited to the conference. “We will follow it up by having this test result available to use as an information tool for not only the DPs but producers and directors as well. But we’ve still got some more work to do on that.”
This DVD package is available to people within the industry as a guide on the five cameras basically, and what they can do with minimal post-production work being done on them.
The special 50th Anniversary award night saw more than 570 of cinematography's elite reward creativity and innovation in news, drama, visual effects, documentary and feature film cinematography in 2007. The Milli Award for Best Australian cinematographer is the year's pinnacle award, with Golden Tripod awards on offer for excellence in each category.
Cal Gardiner concluded, "While the five Academy award winners in the ACS are inspiration to us all, Future of the Image will be deemed a success if it helps chart a course of consistent employment for its members, based on achieving the highest creative goals."
Future of the Image reflected on 50 years of Australian cinematography as well as looking to cinematography's future survival.
With only a few of the conference sessions still available days before the event opened many of the workshops and industry panels had already sold out leaving many disappointed attendees scrambling for the final remaining tickets on offer. The accompanying free exhibition turned out ot be quite an accomplishment as those with and without tickets strolled through the showcase on offer.
Academy award-winning cinematographers Dean Semler AM ACS ASC (Dances with Wolves, Apocalypto) and Andrew Lesnie ACS ASC (Lord of the Rings) joined Producer George Miller (Babe, Happy Feet) along with 50 other highly awarded directors and creative image technologists in discussing the skills and tools needed to ensure long term career success.
Lesnie talked about ‘Getting the right Coverage’, while Semler presented his session on ‘Digital Cinematography’ and sharing his experience working on Apocalypto.
ACS50 Chair Calvin Gardiner ACS, whose father Jack Gardiner ACS was among the 50 founding ACS members at Sydney's Film Club in 1958, explained before the event why Future of the Image was such a pre-release box office hit.
"The international success of our members has attracted the best cinematic image creators from Australia, Europe and Hollywood, eager to share expertise spanning from 3D and animation to which camera, software and workflow procedures best suit production. We are at a critical stage between film and digital cinema technology - and of course whether your images will be enjoyed on Imax, home cinema or mobile phone - or all three."
Participants included industry professionals both local and internationally including cinematographers' societies such as the American Society of Cinematographers (ASC), British Society of Cinematographers (BSC) and European Federation of Cinematographers (IMAGO) with the biggest guest at the conference on the first morning being Daryn Okada, President of the ASC. Okada presented the Master Class session ‘Film & Digital: The Story remains the same’.
“The theme of the conference ‘Future of the Image’ is very much what it is focused on, like dealing with what are the current issues cinematographers have to face,” says Atlab’s Dominic Case after attending ‘Test Drive: HD Acquisition Tools for Today’. “And what I’ve seen so far particularly the session which I just came out of, which was a comparison of a number of different digital cameras and 35mm film – it was very informative. It probably raised far more questions than it could probably answer.”
The session was an exercise in how top range cameras, one film and four digital format, could handle a number of controlled set of tests on location and studio shoots with the same material.
Cinematographer Franc Biffone said that the results of that session would not be limited to the conference. “We will follow it up by having this test result available to use as an information tool for not only the DPs but producers and directors as well. But we’ve still got some more work to do on that.”
This DVD package is available to people within the industry as a guide on the five cameras basically, and what they can do with minimal post-production work being done on them.
The special 50th Anniversary award night saw more than 570 of cinematography's elite reward creativity and innovation in news, drama, visual effects, documentary and feature film cinematography in 2007. The Milli Award for Best Australian cinematographer is the year's pinnacle award, with Golden Tripod awards on offer for excellence in each category.
Cal Gardiner concluded, "While the five Academy award winners in the ACS are inspiration to us all, Future of the Image will be deemed a success if it helps chart a course of consistent employment for its members, based on achieving the highest creative goals."
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