Video&Filmmaker is made by filmmakers for filmmakers and can guide you through each step of your film's production, from visualising and funding your script, to selecting gear and planning your shoot. With tutorials & reviews to help you capture the best possible sound & vision, the post-production process, right on through to the distribution of your finished project.
Now we have sat on this for about a month now as we wanted to test the ‘Wireless Go‘ thoroughly.
We got our hands on the Canon c700FF and strapped the Wireless go onto it and took it for a spin. To set the scene we filmed in the middle of the city so RF traffic was heavy.
We also ran a more expensive ‘professional’ wireless system on a second c300mk2 to compare.
As anybody that shoots run and gun style in the city knows that being able to Mic up talent, scan for frequency and start record clean audio can be challenging. We found the Wireless GO really easy to set up and mount onto the camera. The light weight receiver is also a nice change on a heavy shoulder rig. We found the audio to be super clean even against the more expensive pro unit and among all the other RF traffic. Having a mic built into the transmitter is also great when you need to quickly mic up talent. The unit actually has a clip on the unit itself so you can literally clip it onto the subjects shirt or jacket.
Who is the Wireless Go aimed at?
My initial thoughts were that this unit was aimed at entry level users and vloggers but after using it my mind has been changed.
I personally think that this unit suits entry level users, vloggers and professionals alike. This system is a simple, no fuss solution for great quality wireless audio.
As a professional camera operator, would I use the Wireless Go as my main lapel mic set up, NO.
BUT the price point is affordable enough to keep the Wireless Go kit in your camera bag as a very good back up or for when you are needing a super quick wireless solution in a run and gun situation or when you need to capture audio on a gimbal mounted camera.
The RØDE Wireless GO transmitter measures in at 44 x 45.3 x 18.5mm and only weighs 31g. This compact size and weight make it a good companion when using smaller sized cameras or saving valuable real estate on larger cameras that have multiple accessories hanging of it.
Similarly, the RX measures in at 44 x 46.4 x 18.5mm and also only weighs 31g It has a dual-purpose mount to clip onto a camera strap or mount directly onto a hot shoe. The belt clip is actually the width of a cold shoe so you don’t have to attach any other accessory or hot shoe mount.
Ultra-compact digital wireless microphone system, only 31grams each
Dual purpose transmitter with a built-in omnidirectional microphone and external 3.5mm TRS input
Three-stage output pad on the RX (0db, -6db & -12db)
All-new Series III 2.4GHz digital wireless transmission with 128-bit encryption
Built-in rechargeable batteries, charged via USB-C
Up to 7 hours on a full charge, including a battery saver mode
Easy, intuitive interface
For Mobile Journalist, Videographer
Built-In Omni Mic & 3.5mm Mic Input
Miniature Clip-On Transmitter
Miniature Clip-On Receiver
Easy Setup with No Menus
Bright, Informative LCD Screen
Battery Status & Audio Level on Display
Up to 8 Mics on Set / 230′ Range
What’s in the box?
Rode Wireless GO Compact Wireless Microphone System (2.4 GHz)
2 x Fur Windshields
SC2 Right-Angle 3.5mm TRS Coiled Patch Cable
USB Type-A to USB Type-C Cable
Limited 1-Year Warranty, Extendable to 2 Years upon Registration
THE AMAZING SPIDER-MAN TAKES AUDIENCES ON AN EMOTIONAL AND SOMETIMES BREATHTAKING 3D JOURNEY WITH A TEENAGER NAMED PETER PARKER WHOSE PARENTS MYSTERIOUSLY DISAPPEARED YEARS AGO. THE YOUNGSTER IS BEING RAISED BY AN UNCLE. PETER IS DETERMINED TO DISCOVER WHAT HAPPENED TO HIS PARENTS.
The Amazing Spider-Man (2012) Official HD Trailer Premier - YouTube
One day, he finds a briefcase that belonged to his father. When Peter opens the briefcase, he discovers clues that lead him to Oscorps, a laboratory run by his father’s former partner, Dr. Curtis Connors, whose alter ego is The Lizard.
After that discovery, it becomes a quest for justice. Somewhere along the way, Peter is bitten by a mysterious insect, which injects a genetic, radioactive substance into his body. Within a day, he is much stronger and can move a lot faster. Peter continues evolving day after day. During the last part of the film, he becomes Spider-Man. The story is set in contemporary times.
Andrew Garfield was cast in the roles of Peter Parker and Spider-Man, Emma Stone plays his girlfriend Gwen Stacy and Rhys Ifans portrays Dr. Connors and his alter ego The Lizard. The ensemble supporting cast includes Martin Sheen and Sally Field. This is the fourth Spider-Man movie. The first three were directed by Sam Raimi. Marc Webb was brought onboard to direct The Amazing Spider-Man.
“Melanie Banders was my loader and second assistant on various films,” John Schwartzman ASC reminisces. “She and Marc went to college together. Melanie was trying to introduce me to Marc for years. Marc and I spoke for two hours at our first meeting. Afterwards, I called my wife who had worked on the original Spider-Man movie as a set decorator. I told her, I’m going to shoot a movie about the origins of Spider-Man.
Schwartzman was born and raised in Los Angeles where his father was an attorney who specialised in representing filmmakers who became legends in their own time, including Francis Ford Coppola, William Friedkin, John Schlesinger, Hal Ashby and Stanley Kubrick.
“I was a Spider-Man fan as a kid. I have a huge collection of Spider-Man comic books that I bought at the Cherokee Book Store in Hollywood. I have about 3,000 comic books from the golden age of Marvel comics from the 1960s, including Spider-Man One.
“My father discouraged me from considering a career in the film industry, because he felt that it was a recipe for a life of heartbreak and insecurity,” he recalls.
Schwartzman majored in economics during his undergraduate years in college. He continued his education at the USC film graduate school, where he focused on cinematography. Schwartzman began his career working on low budget horror films, commercials and music videos. His feature film credits include Conspiracy Theory, Benny and Joon, Armageddon, Pearl Harbor, The Green Hornet and Seabiscuit, which earned an Oscar nomination for cinematography and an ASC Outstanding Achievement Award in 2004.
Webb and Schwartzman discussed producing The Amazing Spider-Man in 35mm anamorphic film format during their first meeting. However, 3D mania was sweeping through the industry, and that sparked a mandate from Sony Pictures Studio executives to produce The Amazing Spider-Manin 3D stereo format. It was the first experience shooting a 3D movie for both Webb and Schwartzman. They made an early decision to produce The Amazing Spider-Man in 3D format rather than converting two dimensional images to 3D during postproduction.
Schwartzman heard that a new camera called the Red Epic was being built for Peter Jackson, who was going to direct The Hobbit. He asked production manager Joann Perritano to make a call asking for a demonstration. Schwartzman had never shot with a digital camera.
“I met with guys from Red and looked at the prototype for the Epic camera,” he says. “It was lightweight and about the size of a Hasselblad 120/220 camera and recorded around 5K resolution images. I told them, I’m starting on December 7th and need seven cameras.”
Next on his preproduction agenda was finding a small and lightweight 3D stereo rig that would enable him to move two cameras in ways needed to convey a feeling of energy when Spider-Man was in action scenes. Schwartzman met with Steve Schklair at 3Ality Technica.
“They were building a prototype rig for the Red Epic camera for Peter Jackson and my friend Andrew Lesnie (ACS ASC) to use during production of The Hobbit,” Schwartzman says. “When I heard that production of The Hobbit was pushed back five months, I called Andrew and ask him if he would agree to me using the Red Epic cameras and prototype rig that were built for The Hobbit. I said I would share everything that I learn with him. We also needed matching sets of ARRI Ultra Prime lenses for each 3D.”
Schwartzman credits costume designer Kim Barrett with playing an important role. She designed a skintight costume for Spider-Man using dark colours that they had discussed.
“I told Kim that we would be shooting night scenes in mercury vapor or HMI light,” he says. “During scouting, we looking for locations with that lighting. When, necessary, we created the right lighting. The suit always looked best in the darkness with a bit of rim light on it and not a lot of fill. It looked more menacing, almost, but not quite a silhouette. I didn’t put a lot of light on the suit at night. The shape and the way he moved was more important.”
The story takes place in New York City. They began production The Amazing Spider-Man on sets at Sony Pictures Studio and moved on to practical locations, including high schools, a church, city streets and other places in New York City and Los Angeles.
“We primarily shot exterior scenes in New York,” Schwartzman says. “We would shoot Andrew and Emma going into the building and coming out.”
Scenes were staged in dirty, dark places with trash on the streets and graffiti on the walls of buildings. They averaged shooting 25 setups a day with two cameras on each of several rigs that could be handheld, put on a Steadicam or a Technocrane depending on the scene.
There are scenes with Spider-Man wandering through Manhattan looking at his girlfriend’s apartment at 81st and Central Park West. There are other scenes with him that look like he is climbing to the tops of buildings in Chinatown. They generally covered scenes with two crews at different angles. Schwartzman notes that on a film shoot it would take a camera crew of eight. He had 22 people on his crew during the production of The Amazing Spider-Man.
“It took a lot of infrastructure,” he says. “Marc and I had a traditional video village 12 feet behind the camera. There were a lot of cables. I had the stereographer calculating the distances between the two cameras on each rig to create a sense of depth.”
The audience can’t see Spider-Man’s eyes when he is wearing his mask. “Both Marc and I spoke with Andrew about him needing to give the audience a sense of the soul of Spider-Man when he is wearing that mask,” Schwartzman says. “He understood that and played it really well. Andrew used body language to communicate what was going on inside of Spider-Man’s head. He also removes the mask a lot more than in other Spider-Man movies.
“That’s when the audience can see his eyes and get a sense of how he feels about what is happening. Andrew is quite an extraordinary actor. I’m sure that 20 years from now, I’m going to look back and say, I got to work with a great actor during the early days of his career.”
They were framing scenes in 2.4:1 aspect ratio, generally shooting with cameras on two rigs and sometimes three. Schwartzman says that his approach to lighting was no different than any other movie. It took a little longer because of the cables required to power the cameras. He describes the visual grammar as “very reality based.”
Schwartzman was usually next to the cameras, so he could see how lighting was hitting faces. He trusted his camera operators to get the framing right. Webb was generally around 10 feet behind him in the video village watching the A and the B and sometimes the C cameras on monitors in 2D just like it was a regular film shoot.
“I would watch a take or two and then I would run back to the video village and have them play the digital images back in 3D with my glasses on to make sure that I like the look and feeling of depth,” Schwartzman says. “One of the things that we had talked about with Rob Engle, our stereographer, was that when Peter Parker is a 17 year old teenager walking around Manhattan dressed in street clothes, we wanted depth, but not a lot. We wanted the feeling of a 3D movie, without accentuating it too much.
“When he puts the Spider-Man suit on, we used wider lenses, 24mm rather than 32mm, so there is more energy moving towards and away from the lens.”
Peter Collister was the second unit cinematographer. He shot action scenes and plates. The Amazing Spider-Man will be released to 3,000 cinemas in 3-D and 1,800 in 2D.
What does Schwartzman do for an encore?
“I’m going to shoot a low budget, independent film with my friend (director) John Lee Hancock who I did The Rookie with in 2002. It’s one of the best scripts I’ve ever read.”
The Genie Mini II is now available so you can capture spectacular motion time-lapse and video.
The Genie Mini II builds upon the previous Genie Mini, adding functionality while keeping the same small form factor. It also incorporates features previously only found in the Genie II.
Importantly, it adds updated connectivity like WiFi, USB-C and Bluetooth 4.2. WiFi now gives Syrp the ability to more easily push out firmware updates to the device. Future planned releases include camera control, auto exposure ramping and a time-lapse compiler. Best of all, Syrp plans on keeping these software updates free.
The new Genie Mini II may look like the original Genie Mini, but boasts a huge number of new features:
Bluetooth 4.2: providing a more reliable and faster connection with other Syrp devices and the app.
USB-C: charging and with a later update; for camera control.
Multirow panorama: use the new app to sync two Genie Minis together (Pan & Tilt). Simply specify the focal length and overlap for each image, shoot up to 5 rows for creating high-resolution ‘gigapixel’ images and 360 content
Set up to 10 keyframes and program more complex motion control movements, ability to pan at different speeds and even directions.
Connect Genie Mini II to other Syrp products like the Genie II Linear or other Genie Mini’s to create up to 3-axis motion control. Customize each axis separately for more advanced motion control movements.
The “Simple Setup” feature allows you to adjust your smooth panning motion by using the simple dial user interface.
In-app joystick control for setting start and end points. Use the onscreen joystick to move the Genie Mini II to the desired start and end point perfect for quick setup.
WiFi: enabling access to future software features.
For the Hulu six-episode miniseries Catch-22, directed by Grant Heslov, Ellen Kuras and George Clooney, cinematographer Martin Ruhe relied on two sets of Cooke Optics’ S4/i prime lenses matched with two ARRI ALEXA Mini cameras to capture this latest on-screen version, which premiered on 17 May.
Based on the acclaimed Joseph Heller novel Catch-22 is set during World War II and revolves around a military by-law which states that if you fly your missions, you’re crazy, and all you have to do is ask not to fly them. But if you ask not to, then you’re sane, and so you have to fly them. The book’s title coined the term that has entered the common lexicon since Heller’s book was first published in 1961.
One thing that was made clear was that it would be its own film, and not based on the 1970 version. “We all looked at the original film, and the two projects have a different nature,” said Ruhe. “Ours is a dark comedy with a strong look for a strong visual story, as compared to the original which was more of a straight comedy. The aerial scenes had to show the intense horror of being up in those small tin boxes. It had to be about life and death.”
Ruhe’s goal was to contrast the horror of the aerial scenes and the absurdity of the ground scenes. To do that, he made use of two identical sets of Cooke S4/i prime lenses — 14mm, 18mm, 21mm, 25mm, 32mm, 40mm, 50mm, 65mm, 75mm, 100mm and 135mm focal lengths — shooting with the ARRI ALEXA Mini’s Super 35mm (2.8K) sensor in ARRI Raw 16:9, which would later be finished in 4K HDR.
“We had two sets of camera/lens combinations as we were cross shooting as well as having some days with splinter [second] unit shooting,” explained Ruhe. “While I used all of the lenses, the 32mm was my all-time favourite for close-ups inside the planes. Although, to be honest, I did have to move to the 50mm at times due to the limited space within those planes.”
In fact, one of the main benefits of using Cooke S4/i primes for Ruhe was their size. “I had to be very fast and versatile in tight places. I didn’t want to get stuck fighting minimal focus, and thanks to the S4/i’s, I didn’t,” he added.
To help understand the period, Production Designer David Gropman provided a lot of stills from Heller’s regiment to show the team what life in those camps was like, along with viewing historical newsreel footage. Then, during camera tests, stills were taken and placed into Photoshop to match the old postcard look of the era. Company 3, which would handle the digital intermediates, then created LUTs for the cameras to match the required looks.
With more than 20 years of experience with Cooke lenses, Ruhe knew from the start that he wanted the S4/i primes. “I first grew attached to Cookes on commercials, and I shot The American with S4s as well as The Keeping Room, where I also used original Cooke Speed Panchros,” he said. “They are just beautiful in the way that they fall off, how they flare and the texture you get from them. This is especially important when shooting in digital, as the lenses give you a nice organic feel. There’s just something so beautiful about the Cookes, and I go back to them time and time again. And the close-up with the 32mm is just the perfect tool.”
For both the ground and aerial scenes, Ruhe went for a natural look. This was especially important on-board the planes as he didn’t want them to be too perfectly lit. For ground interiors, a 120’x75’ soft sail and grey screen was used with a 20K standing in for sunlight.
“You want people to feel the heat of the day,” explained Ruhe. “We worked with hard contrast; blow out when inside the tent looking out. I think this looked quite natural, as I wanted to convey the feeling of heat.”
For Ruhe, one of the standout scenes for the S4/i was in episode six. “I don’t want to give away any spoilers, but there’s a scene that was entirely shot with the 32. It’s so close to the faces and so intimate, which I love. You’ll have to see it to understand it, but every DP out there will know what I’m talking about when they watch that episode. It just looks great.”
With a unique improvisational acting style at the heart of the Netflix original film, Paddleton, capturing audio was of paramount concern for Sound Supervisor Daniel S. McCoy CAS, owner and operator of ToneMesa, Inc. Taking into consideration that renowned comedian Ray Romano is in the starring role, McCoy made sure to showcase the actor’s comedic style by integrating two audio powerhouses, DPA Microphones and Wisycom, into his production workflow.
DPA Microphones and Wisycom enabled McCoy to succeed as a one-man sound crew on the set of the Duplass Brothers’ production. In today’s ever-changing landscape of film and cinema, the paradigm has shifted to where many projects, such as Paddleton, have more of a documentary formula and require reliable equipment with a skeleton crew that can work at an efficient pace.
“Sometimes, the team would go off to unplanned locations and I’d have to be ready to follow immediately,” says McCoy. “It was imperative to have microphones, receivers and transmitters that I could trust in situations where I didn’t know exactly what was going to happen next. Using DPA and Wisycom on Paddleton, I never had to stop a take and I’m really proud of that.”
During the production, McCoy used DPA’s d:screet CORE 4061 Miniature Microphone – one of the world’s first film projects to deploy the new CORE by DPA technology – along with d:dicate 4017 and 4018 Shotgun Microphones.
“It’s amazing how the boom mics blend seamlessly with the lavs, not only in the mix on-set, but also in post-production, when you need to blend them together,” adds McCoy. “I like to use some of the bass and proximity from the omni (4061) on the body, blended with the high-audio pickup of the shotgun mic in free space to get better articulation. Using DPA’s 4000 series lavalier microphones together with the 4017 and 4018 boom mics enabled me to create a harmony of vocal and ambient sound. The actors’ dialogue blended seamlessly on top of the sounds of real neighbourhoods, towns and driving. I was able to capture crisp, clean vocal audio over all that background noise and still get incredible fidelities you can hear in the film.”
For wireless, McCoy turned to his trusted Wisycom MTP40/41 Wideband Bodypack Transmitter paired with the MCR42-S2 Dual True Diversity UHF Miniature Camera Receiver. “With Wisycom, I know that the exceptional RF range will ensure a perfect capture every time; it always amazes me how much range I can get with them,” he continues. “For this project, I employed the AES3 output on the mic transmitters to have that feed directly with a digital stream of audio on the receiver. It all stayed digital once it hit Wisycom’s MCR42, which sounded great. Post-production received a huge dynamic range of audio and was able to really carve and shape the sound design throughout the film from the tracks we provided.”
DPA Microphones and Wisycom further proved their reliability during a road trip scene where McCoy arranged monitoring systems in the actors’ car and follow vehicles. “We couldn’t always be within two or three car lengths of the actors’ car, but with Wisycom and DPA, that wasn’t an issue,” adds McCoy. McCoy was able to capture audio from up to a mile of range, while seamlessly mixing sound for the scene – as well as audio for the entirety of the film.
Paddleton, a Duplass Brothers dramedy featuring Romano and Mark Duplass, takes viewers on an emotional journey as an unlikely friendship sparks between two misfit neighbors after the younger man (Duplass) is diagnosed with terminal cancer. The director, Alex Lehmann, decided to utilize an improvisational style much like his past film with Duplass, Blue Jay.
Have you ever wanted a DIY guide to making a film? well we have found one!As a filmmaker we face many challenges and unfortunately there is no substitute for experience. Experienced Director and Filmmaker Usher Morgan has put pen to paper or should we say finger to key and written the complete guide to life on set.
After releasing his debut feature film to wide acclaim, filmmaker Usher Morgan (Prego, Windblown, Pickings) decided to write a filmmaking book which detailed his approach to writing, directing, and producing his own work, as well as the steps he took to distribute and market his film, Pickings, and release it to theaters across the nation.
Video And Filmmaker sat down with Usher to find out how he became a filmmaker and the lessons he has learnt along the way.
Take us back to the beginning, tell us what first sparked your interest in Filmmaking?
I’ve always wanted to be involved in film, ever since I can remember. Then when I was about 13-years old or so I watched the “behind the scenes” DVD of The Matrix at a friend’s house and became obsessed with VFX, and for a long time, that’s what I thought I was going to do.
At what age did you decide to pursue filmmaking as a career and what steps did you take to make it happen?
In 2012 (just short of my 27th birthday) I ended up on the producing end of a documentary film called The Thought Exchange with David Friedman and Lucy Arnaz. That was the trigger that brought back my youthful obsession with cinema and filmmaking. I started writing my first short comedy film (Prego) and the rest is history.
Did you have a big break in your career or did you just slowly build your profile in the industry?
I did post-production for a long time, so I was working as an editor and VFX super for low-budget indie films. When the time came to make my own stuff I wasn’t sure that I had something special to bring to the table. I didn’t know whether or not people would like my “voice”. Once Prego went viral and started winning all these awards that gave me the confidence I needed to move ahead and plan my next step. So I’d say it’s probably a combination of both.
If you think back over your career, what were the roadblocks you had to overcome and how did you overcome them?
Every step is a roadblock, whether it’s not having enough money, time, resources, or not having the right team. The first few projects are ALWAYS a struggle. But the thing I learned is that your passion and obsession will always trump any excuse you may have for not doing what you’re supposed to. If you really love movies, and you see yourself as a filmmaker then that’s what you’ll be. The only real road-block is the one you have inside your own head. If you can tackle that, the rest becomes much easier.
When you are planning a shoot, take us through your process that you like to follow.
I visualize a lot, I plan meticulously and listen to music, that always helps. I also tend to trust the people I work with. My team is pretty familiar with my quirks and by this point they know how to anticipate my needs. My job is to just plan ahead as much as I can and then articulate my vision to the people around me – explaining what you want is 80% of the battle, and I use a lot of visual aids to keep things clear, since my brain can be a little too cluttered.
How do you decide what camera, lens and lighting package you will shoot on and do you have a favorite?
That really depends on the project. Every project needs a different set of tools. I’m really in love with the Blackmagic Ursa 4.6K and the Blackmagic Pocket 4K cameras, they’re amazing, and I’ve shot the last 4 projects using those cameras. I also have an obsession with vintage lenses, I shoot on Zeiss most of the time, but when I can – I go vintage.
Your new book is a must read for any filmmaker, director or DOP that wants to learn the ins and outs of life on set and its full of very useful information but let’s go back in time. Can you give us 3 pieces of advice that you would give yourself at the beginning of your career?
01 – Trust yourself more.
When you make a movie, the people you surround yourself with are always more than happy to share their thoughts and opinions on what it is you do and how it is you go about doing it. If its people you like and admire you’ll be tempted to go against your own gut feeling and make decisions that are based on popular opinion. That’s NOT a good idea. I’m very aware of myself when I’m on set. I hire amazing people and I listen to what they have to say, but when I think I’m right – I go for it, regardless of what everyone else has to say.
02 – Treat your crew well
Moral on set is something that people don’t think about too much until they hit day 17 and the atmosphere turns toxic. I learned firsthand how important it is to keep a chill set, play music, have fun, buy some afternoon treats for the crew, look after my actors, keep lots of GOOD FOOD on set, and wear a smile even when things get tense.
03 – Be a Business-Man
Show business is a business, a movie is a product, and like any other product it needs to be released strategically, it needs a marketing strategy and when it finally hits theaters it needs to be profitable. Trusting in my entrepreneurial spirit was the best decision I made since I started making movies. And if I can go back I’d tell myself to keep that spirit in mind when the product is being planned in pre-production, when it’s being made, and when it’s finally being released. Being able to switch from artist to business-person was the only reason I got this far.
Red Digital Cinema today introduced a new DSMC2 Gemini Kit offering a comprehensive solution for cinematographers who shoot in a variety of environments.
At the heart of the new system is the DSMC2 camera Brain with the Gemini 5K S35 sensor, which leverages dual sensitivity modes to provide greater flexibility in a variety of lighting conditions. Filmmakers can shoot in standard mode for well-lit conditions or low-light mode for darker settings, and operators can easily switch between modes through the camera’s on-screen menu with no down time. Red’s Gemini delivers incredible dynamic range and produces cinematic quality images.
The new DSMC2 GEMINI Kit features:
DSMC2 GeminiI 5K S35
DSMC2 Red Touch 7.0” LCD
DSMC2 Outrigger Handle
DSMC2 V-lock with I/O Expander for a variety of input/output selections
S35 AI Canon Mount
IDX Duo C98 Battery and IDX VL-2X Battery Charger
Red Mini-Mag (960 GB) with G-Technology EV Series Reader
Heavy-Duty Camera Case
The kit provides a premium bundle that is “ready to shoot” when paired with the user’s chosen lens. The newly packaged system is available for purchase on RED.com and from RED Authorized Dealers.
At this year’s Fujinon Fujifilm Australian Cinematographers Society (ACS) National Awards held at Melbourne’s grand 1920s Plaza Ballroom, it was Bob Nguyen who won the prestigious Australian Cinematographer of the Year Millli Award. Nguyen also won a Gold Tripod for his work on the Vietnamese film Song Lang.
Nguyen, who was on location when he learned of his wins said, “I’m super delighted to have received these awards from the ACS.”
Host and MC for the evening, Ray Martin AM carried the evening along in his usual, professional and quick-witted fashion and as always, ACS National President Ron Johanson OAM ACS started proceedings with some special awards.
Ron presented the Drew Llewellyn ACS Camerimage Scholarship to Simon Woods and South Australia’s Claire Bishop with the John Leake OAM ACS Emerging Cinematographer Award whilst commenting, “The ACS is thrilled to be supporting young talent in our industry, in ways like this.”
The ACS also inducted Nino Martinetti ACS, Anna Howard ACS along with, posthumously, renowned Australian war cinematographer Damien Parer into their Hall of Fame.
The ACS CineKids award was won by eleven-year-old Bella Merlino for her short film This is Me and a Gold Award for Student Cinematography was awarded to South Australian cinematographer Jack Davis for his short film Language.
Benjamin Powell won a Gold Tripod in the Experimental & Specialised category for Falling in Reverse, Richard Bell won in the John Bowring ACS TV Station Breaks and Promos category for his work on Celebrity Haunted Mansion and Allan Hardy took home gold in the Music Videos category for Parkway Drive’s The Void.
In the news and current affairs categories the Gold Tripod in the Syd Wood Local/National News category went to Kevin Hudson for Ember Storm, Matthew Allard ACS picked up a Gold Tripod in the Neil Davis International News category for Bringing the Past to the Present and Aaron Hollet ACS picked won gold in the Current Affairs category for City of Ghosts.
The Gold Tripod in the Entertainment and TV Magazine category went to Liam Brennan for an episode of his original short documentary series Rough Hands while Jordan Maddocks won a Gold Tripod in Corporate and Educational for his Leclerc Briant Champagne promo Vibrations.
The Gold Tripod for Documentary was awarded to Thomas Davis for his unique A Stargazer’s Guide to the Cosmos tour of the southern sky and then! It was time for the night’s special guest.
Guest of Honour, legendary film actor Jack Thompson AM gave an emotional speech that described not only his incredible experiences through acting but also his close relationship with cinematographers and their craft over the years, a speech many in the room will remember for some time.
Other Gold Tripod award winners included Abraham Joffe ACS in the Ron Taylor AM ACS Wildlife & Nature category for an episode of the Tales by Light series, Jeremy Rouse ACS in the Short Films category for Armour, Judd Overton in Serial TV & Comedy Series for No Activity and Denson Baker ACS NZCS for his work on the period-drama Victoria.
ACS National President Ron Johanson OAM ACS said, “On behalf of the ACS I would like to congratulate Bob on winning the Milli and also all the other award winners for their truly excellent work and commitment to the craft of cinematography. They are an inspiration to us all. I would also like to thank Fujifilm Fujinon and all of our sponsors without whom these awards simply wouldn’t be possible.”
The ACS National Awards weekend also included several other events taking place alongside the awards themselves including the now-annual ‘Meet the Nominees’ get-together, a screening of Ladies in Black and an entertaining Q&A with Peter James ACS ASC.
Apple today introduced the all-new Mac Pro, a completely redesigned workstation for pros who push the limits of what a Mac can do, and unveiled Apple Pro Display XDR, a new pro display. Designed for maximum performance, expansion and configurability, the all-new Mac Pro features workstation-class Xeon processors up to 28 cores, a high-performance memory system with a massive 1.5TB capacity, eight PCIe expansion slots and a graphics architecture featuring the world’s most powerful graphics card. It also introduces Apple Afterburner, a game-changing accelerator card that enables playback of three streams of 8K ProRes RAW video simultaneously.
Pro Display XDR features a massive 32-inch Retina 6K display with P3 wide and 10-bit colour, 1,600 nits of peak brightness, a 1,000,000:1 contrast ratio and a super-wide viewing angle, all at a breakthrough price point.
“We designed Mac Pro for users who require a modular system with extreme performance, expansion and configurability. With its powerful Xeon processors, massive memory capacity, pioneering GPU architecture, PCIe expansion, Afterburner accelerator card and jaw-dropping design, the new Mac Pro is a monster that will enable pros to do their life’s best work,” said Phil Schiller, Apple’s senior vice president of Worldwide Marketing. “Pro Display XDR is the world’s best pro display and the perfect companion to the all-new Mac Pro. With Retina 6K resolution, gorgeous colour, extreme brightness and contrast ratio, and a highly functional design, Pro Display XDR delivers the most comprehensive set of features ever offered on any display at this price point.”
Tremendous Processor Power and Massive Bandwidth
Designed for customers who demand the ultimate in CPU performance — for workflows like production rendering, playing hundreds of virtual instruments or simulating an app on a dozen iOS devices at once — Mac Pro features powerful Xeon processors up to 28 cores, with 64 PCI Express lanes. It also provides over 300W of power along with a state-of-the-art thermal architecture to allow the processor to run fully unconstrained all the time.
Enormous Memory Capacity and Expansion
For pros working with the largest projects, analysing huge data sets or running multiple pro applications, Mac Pro provides enormous memory capacity to meet needs as they grow. Featuring a six-channel memory architecture and 12 physical DIMM slots, the new Mac Pro allows for a massive 1.5TB of memory. And with eight PCI Express expansion slots, which is twice that of the previous-generation Mac Pro tower, pros can customise and expand their system in ways never before possible in a single workstation.
World’s Most Powerful Graphics Architecture
For pros animating 3D film assets, compositing 8K scenes and building complex 3D environments, graphics performance is more important than ever. That is why Mac Pro features up to 56 teraflops of graphics performance in a single system. Its groundbreaking graphics expansion architecture, the Apple MPX Module, features Thunderbolt integration and over 500W of power, both firsts for any graphics card. And for super quiet operation, the MPX Module is cooled by the Mac Pro system thermals.
Mac Pro graphics options start with the Radeon Pro 580X. Mac Pro debuts the Radeon Pro Vega II, featuring up to 14 teraflops of compute performance and 32GB of memory with 1TB/s of memory bandwidth. Mac Pro also introduces Radeon Pro Vega II Duo, which features two Vega II GPUs for 28 teraflops of graphics performance and 64GB of memory, making it the world’s most powerful graphics card. Mac Pro can accommodate two MPX Modules so customers can use two Vega II Duos for 56 teraflops of graphics performance and 128GB of video memory.
Introducing Apple Afterburner, a Game-Changing Accelerator Card
The new Mac Pro debuts Afterburner, featuring a programmable ASIC capable of decoding up to 6.3 billion pixels per second. With Afterburner, video editors using high-res cameras that require the conversion of native file formats into proxies for easy editing can now use native formats right from the camera and decode up to three streams of 8K ProRes RAW video and 12 streams of 4K ProRes RAW video in real time, virtually eliminating proxy workflows.
Modular Enclosure with 360-Degree Access
The design of the new Mac Pro starts with a stainless-steel space frame with an aluminium housing that lifts off for 360-degree access to the entire system. The frame provides a foundation for modularity and flexibility, and incorporates smooth handles for easily moving Mac Pro around the studio. The housing also features a new lattice pattern to maximise airflow and quiet operation. For customers who want to rack mount their Mac Pro in edit bays or machine rooms, an optimised version for rack deployment will be available this spring.
Performance to Transform the Pro Workflow
With up to 28 core Xeon processors, 56 teraflops of graphics performance and the groundbreaking Afterburner card, the new Mac Pro delivers performance that will transform pro workflows. A number of developers are seeing amazing results that have never been possible in a single workstation.
Blackmagic Design brings full CPU and multi-GPU accelerated 8K real-time editing, effects and colour correction in ProRes 4444 for the first time on any system.
Avid can enable support for up to six HDX cards, resulting in more IO, increased voice count and two times the real-time DSP processing than any other system can achieve in Pro Tools.
Maxon’s Cinema 4D is seeing 20 percent faster GPU render performance when compared to a Windows workstation maxed out with three NVIDIA Quadro RTX 8000 graphics cards.
Pro Display XDR Features Largest Retina Display Ever
Featuring a 32-inch LCD panel with a 6016 x 3384 Retina 6K resolution with more than 20 million pixels, Pro Display XDR delivers a super-sharp, high-resolution viewing experience with nearly 40 percent more screen real estate than a Retina 5K display. With a P3 wide colour gamut and true 10-bit colour for over 1 billion colours, pros will have a more true-to-life viewing experience — critical for video and photo editing, 3D animation or colour grading. Pro Display XDR also features the industry’s best polariser technology, delivering a superwide, colour-accurate, off-axis viewing angle, so now multiple people can view more accurate content simultaneously. To manage reflected light, Pro Display XDR has an industry-leading anti-reflective coating and offers an innovative new matte option called nano-texture, with glass etched at the nanometer level for low reflectivity and less glare.
Pro Display XDR uses a direct backlighting system with a large array of LEDs that produce 1,000 nits of full-screen brightness and 1,600 nits of peak brightness. With an advanced thermal system that uses its aluminium lattice pattern as a heat sink, Pro Display XDR can sustain 1,000 nits of full-screen brightness indefinitely, something that has never been possible before on a display with this resolution. And with an amazing 1,000,000:1 contrast ratio, images will have the brightest specular highlights, super dark blacks and all the details in between.
Stunning, Flexible and Modular Design for the Way Pros Work
With edge-to-edge glass and narrow, 9-millimetre borders in a stunning, aluminium enclosure, Pro Display XDR features a highly functional and flexible design. The Pro Stand has an intricately engineered arm that perfectly counterbalances the display so it feels virtually weightless, allowing users to easily place it into position. The Pro Stand provides both tilt and height adjustment, and also allows Pro Display XDR to rotate into portrait mode, perfect for tasks like retouching photos, designing a web page or writing code. Easily removable, the Pro Stand quickly attaches and detaches so it is easy to take on location. For pros with unique mounting requirements, a VESA mount adapter is interchangeable with the Pro Stand. With a single Thunderbolt 3 cable, Pro Display XDR connects seamlessly to the Mac product line, including the new Mac Pro, which supports up to six displays.
Alright we know that this camera was released a couple of years ago but we thought that it would be a good time to revisit it and give you all our first hand opinion on the Canon 6d Mk2.
Now as we all know it’s a full frame! That’s right.. a full frame camera that is affordable. This is fantastic as this means you can take full advantage of Canon’s full frame lens selection, Including the super wide Canon 16-35mm which in my opinion is up there with the best of them. The other thing to note is that it has a flip out screen which makes it perfect for vloggers, gimbal users and all those selfie lovers. At the time of release this was the only full frame camera with this feature but obviously with the release of the Canon EOS R that is not true anymore but if you have a look at the price difference the Canon 6d mk2 is still a hot contender.
One thing I really loved is the touch screen, it makes navigating the menu system very easy. It also has WIFI and Bluetooth which makes sharing to your phone and other devices quick and easy. Over all I found this camera super easy to setup and use.
If there is one thing the 6D mk2 does well, it’s the shooting experience. Canon has really refined the menus, buttons and triggers over the years and that much is obvious: there are few cameras that feel as good to use as a Canon DSLR. The record button is easy to press and is very responsive, the menus make a lot of sense and are easy to navigate, and the Q menu combined with the 6D mk2’s touchscreen makes it s super easy tap and change shooting settings.
as mentioned, the flip-out screen or “vari-angle” as it is also referred to, is my personal preference over the tilt screen found other cameras due mainly to the ability to see the flip-out screens from the side or front. Though they are often considered to be less “sturdy” than the tilt screens, in practice I’ve never found that to be an issue.
The aforementioned touch screen is very nice, and one of the better versions of the technology you will find on the market. It’s much better than the Sony Alpha camera touch screens, It’s especially useful when combined with the Dual Pixel autofocus. Tapping and dragging to focus on the 6D mk2’s screen feels so damn good, and the responsiveness of both the autofocus and the screen itself together craft a shooting experience that is just top notch. I also found it really useful when running the 6d mk2 on the Ronin S being able to tap the screen to lock on your subject quickly and reliably.
Canon EOS 6D Mark II Sample Movie: Tsukiji - YouTube
Price: AU $1999
● This and the original 6D are the lightest full-frame DSLRs ever. Sony’s top full-frame mirrorless cameras aren’t much lighter.
● Superb technical image quality.
● In-camera, as-shot 4:3, 1:1 (square) and 16:9 crops.
● Works flawlessly with all Canon EF lenses made since 1987; never any incompatibilities which are a growing sore spot with the once-great Nikon system.
● Quiet shutter mode.
● Weather resistant.
● High quality domestic Japanese production, not made in China or Thailand like Sony or Nikon.
● No facial recognition for regular shooting, so you have to select focus points manually when photographing people — a big slow-down compared to most mirrorless and higher-end DSLRs today.
● No second card slot.
● 45 AF points, but like all full-frame DSLRs, they’re all in crammed into the center.
● 4K video only in Time Lapse mode; regular video is 1,080 maximum.