Australian Film and Video Summer 2009 - Federation of Australian ...

Australian film
& video
No 6
Summer 2009
Inside this issue:
President’s Comment 3
Club Link 4
Convention Area Photos 9
Morecambe Bay - UK 11
Basically Videography - IS 12
Two Bits Worth - B King 14
Tech Topics - Joe Leon 16
Protea Awards - The Cape 18
Tasmanian Director Report 19
Pot Shots - Ian Simpson 20
Migration to Australia 21
Ringwood Movie Makers 22
Home Movie Day - DW 23
Chroma Key for Everyone 24
Gadget No 1 27
Chroma Key - The Edit 28
Making Interesting Videos 30
Gadget No 2 33
Amateur Video Club - DF 34
Combined Clubs Report 36
Another Scam 38
The Edit Controller - JH 39
Titles & Graphics - Bob K 40
“Bender” Book Review 42
Classifieds - For Sale 43
The Perfect Show - DW 44
Gadget No 3 46
Conditions of Entry 5 Best 49
Bits & Pieces - Rob F 50
UK Correspondent - SE 66
Mail Bag 68
From The Editor’s Desk
Welcome to the Summer Edition of Australian Film & Video E-Magazine and what a
bumper edition it is, all 72 pages of it. We have two articles by Rod Kay on using
Chroma Key and the Edit. Ian Simpson continues with his Basically Videography & Pot
Shots. We had an excellent response to “Club Link” and there is still room to add your
Club to the list.
There are some more Convention photographs & cartoons from Barry Pusey continues.
There’s “The Eric's” Competition in the UK. Barry King’s “Two Bits Worth” about capturing
from the computer screen, Joe Leon’s Tech Topics Review on Windows 7, the
South African “Protea Awards”, Stuart Hobson’s report from the “Apple Isle” Tasmania.
Claude Knox enlightens us about his migration to Australia and also Ringwood Movie
Makers DVD project for the Monkami Drama Group.
Dave Watterson talks about “Home Movie Day” in October 2010. There are three different
gadgets to read about from a $20 Boom Pole to an inexpensive microphone support
from a USA contributor as well as an easily manufactured “Steady Cam”.
How to make Interesting Videos contributed by John Sirett. David Fuller writes about
the “Amateur Video Club”.
These is a report by Ian Simpson on the NSW - Southern Division Combined Clubs
Meeting. There is another SCAM to beware of and John Hussell is “Looking Back” at
the Video Edit Controller. There’s “Titles & Graphics” by Bob Kennedy and a “Bender”
book review by Rainer Listing.
Would you believe it, a
full page of CLASSIFIEDS.
Perfect Public Shows by
Dave Watterson of the UK,
plus a feature article by Rob
Farquharson on Creating a
Menu Driven DVD using
DVD Architect Pro 5.0 are
also included
Finally there’s the “Mail
Bag” full of comments and
the “Back Page” for a laugh.
17th to 21st May 2010
NOOSA -
SUNSHINE COAST
QUEENSLAND
Gary.
Under the Auspices of
the Federation of Austra-
We’re on the FAMM website
http://www.famm.org.au/home/index.html
Australian film & video
Page 1

Federation of Australian Movie Makers Limited
Australian Film & Video
Editor: Gary Peterson AFAMM SSFAMM
PO Box 75 Toronto
NSW 2283 Australia
Email: afv_1@ymail.com
Mobile: 0402 681 157
CONTRIBUTORS
Technical
Robert Farquharson - Ncle & Hunter Valley Cine Soc
Barry King - Newcastle Video Moviemakers
Joe Leon - Newcastle Video Moviemakers
Ian Simpson - Wollongong Movie Makers
Directors
Ron Gregson - Queensland Division
Stuart Hobson - Tasmanian Division
Sub Editors
John Hussell - NSW Southern Division
John Lawrie - South Australian Division
Foreign Correspondents
Stewart Emm - Edinburgh - Scotland UK
Peter Smith - Cape Town - South Africa
Howard Patterson - Christchurch - New Zealand
Andrew Wylie - Otago - New Zealand
David Fuller - Nanaimo - Canada
Dave Watterson - AMPS Webmaster - United Kingdom.
Ned Corderly & Alberto - AMPS - USA
Guest Contributors
Rod Kay - Brisbane Video Moviemakers Association
John Sirett - South West Video Club
Jack Cook - BVMA (Contributed to Spring Issue)
Claude Knox
Guest Cartoonist
Barry Pusey
FEDERATION HONOURS
Honours shown throughout Australian Film & Video were
awarded under FAMM and not FAMM Ltd. All care has been
taken to ensure the Honours are allocated to the correct recipient.
If an Honour has not been attached to your name or the
Honour is incorrect please let the Editorial Staff know so as a
correction may be addressed.
DISCLAIMER
In regard to products, services and/or procedures which are
either advertised or mentioned in this magazine, readers
should determine for themselves the reliability and/or suitability
of these products for their own particular requirements.
Australian Film & Video cannot accept responsibility for
any products or service statement made herein and the opinions
or comments by contributors are not necessarily the
views of the Federation, the Executive, or the Editor.
FREE CLASSIFIED ADS
If you are a member of FAMM and you have equipment to
sell or are in the market to buy, then please place your Ad in
Australian Film & Video magazine for Australia wide distribution.
FEDERATION OF AUSTRALIAN MOVIE
MAKERS LIMITED
http://www.famm.org.au/
FEDERAL EXECUTIVE
President: Ron Gregson (07) 4129 5842
kaosvid@netspace.net.au
Secretary: Stewart Gordon (07) 3207 8457
srgordon@ozemail.com.au
Treasurer: George Way SSFAMM (07) 2848 5233
orvid@bigpond.com
DIVISION DIRECTORS
NEW SOUTH WALES – CENTRAL DIVISION
Colin Marshall (02) 4960 0313
colin_m@mysoul.com.au
NEW SOUTH WALES – SOUTHERN DIVISION
Mark Tunningley
tinningley@grapevine.net.au
QUEENSLAND DIVISION
Ron Gregson (07) 4129 5842
kaosvid@netspace.net.au
VICTORIAN DIVISION
John Stevenson SSFAMM (03) 9546 7554
jastevo40@bigpond.com
TASMANIAN DIVISION
Stuart Hobson (03) 6243 7751
stuarthobson2@bigpond.com
SOUTH AUSTRALIAN DIVISION
Barry Schrapel (08) 8264 1412
bschrapel@bigpond.com
WESTERN AUSTRALIAN DIVISION
Trevor Wigg
netwigg@upnaway.com
COPYRIGHT
All articles and photographs appearing in this magazine are
subject to copyright and may not be reproduced in whole or
part without the author’s consent. Enquiries regarding permission
should in the first instance be directed to the National
Editor Australian Film & Video.
Page 2
Australian film & video

President Ron Gregson’s Comment
Federation of Australian Movie Makers Ltd
Seasons greetings to all. I hope you all have a very Happy Christmas with family and
friends and that the New Year brings all you wish for and presents great movie making
opportunities.
Time marches on, just five months till the Tewantin Convention at Australis Noosa Lakes Resort begins
and we reacquaint with old friends and establish new lasting friendships with like minded movie makers.
You will be entertained, educated and excited by all the activities planned from workshops to a relaxing
day exploring the beauties of the Noosa region of Queensland – not forgetting a visit to the oldest silent
movie theatre at Pomona.
Have you and your club finalised your entries for Australia’s Five Best and Federation Shield competition
Entry forms are now available either by downloading from the FAMM web site or from your club secretary.
The closing date for the competition is 10 th February so time is fast running out for you to complete
your “blockbuster”.
Have you also completed your One Minute Movie entry and your 30 second Promo (on any subject) to be
screened during the Monday evening’s program of the Convention These movies are always welcomed by
conventioneers as a great way of beginning an enjoyable week; hand in your One Minute Movie and
Promo as you register.
I ask that you all give considerable thought to the election of a new FAMM President and Executive as
Stewart, George and I are all completing our term in these positions at the Convention in May. It would be
a great impetus for FAMM to have the new executive based in a State other than Queensland. After eight
years new ideas and enthusiasm are needed for the continuation of FAMM. Stewart, George and I will give
all necessary assistance to the incoming executive to ensure a smooth transition.
Southern N.S.W. and South Australia have already elected their Divisional representatives on the FAMM
Board of Directors for 2010 (Mark Tunningley and Barry Schrapel). Each club needs to contact their Divisional
representative to ensure that their elections are carried out shortly so that all information can be included
in the Convention Handbook. All elected Divisional representatives will be formally confirmed at
the A.G.M. on the Tuesday of the Convention.
As 2009 comes to a close all clubs should have by now been in a position to nominate the club’s Most Improved
Movie Maker for the awarding of the FAMM annual trophy, these awards will be presented at the
Convention. Nominations must be forwarded to reach FAMM no later than the end of February. There was
a great delay in finalising the 2008 awards due to a small number of clubs not sending in their nominations
when requested.
I would like to add my congratulations to all the accolades that Gary has received from not only club members
but also from around the world for the publication of Australian Film & Video (AF&V). After the
great enthusiasm shown at the Bridport Convention Gary approached the FAMM executive with the idea of
“re-birthing” AF&V. He has achieved much more than what was expected. The publication is interesting,
informative and entertaining and extremely readable. Gary has gathered contributors from almost every
FAMM club plus contributors from New Zealand, South Africa, Canada, the U.K. and the U.S.A. and this
has made AF&V a very relevant international magazine, possibly the only one relevant to our hobby. Well
done Gary!
Once again I wish you all a Happy and Safe Festive Season.
See you and your camera at Tewantin in May. – Bring your togs – that’s Queensland speak for swimmers,
trunks or bathers as the weather will be great!
Ron Gregson
Let’s Meet Again In Two Thousand & Ten
Australian film & video
Page 3

Newcastle & Hunter Valley Cine Society (NHVCS) - NSW
NHVCS, in collaboration with Newcastle Video Moviemakers, has started a Sony Vegas
Users group under the guidance of Joe Leon who said that the group was to help develop the
use of the program for movie editing. The group is open to members of both Newcastle
clubs and meets on the third Monday of the month at various member’s homes.
Joe Laughton also presented an interesting “Half Hour” to NHVCS members. Joe has documented
many historic events over his time as a movie maker and the movies are a treasured record of cultural
change in Newcastle over the last 60 years.
At another club meeting Harold Barnes presented his “Half Hour” by showing some video from the Newcastle
Show that had been altered in very subtle ways to match the beat of the music. Harold used a combination
of time stretching/shrinking and reverse video to achieve his objectives. Some scenes, such as one
featuring farm animals (lambs & turkeys) were subtly speeded up to match the rhythm of the music. In a
further example, Harold animated a camel’s head to swing back and forth in time with the music. This was
all achieved using Harold’s computer and his non-linear editor (Ulead 10).
It was very impressive to see how subtly and seamlessly the effects were applied and were a credit to Harold’s
precision and patience. Harold also showed an animated sequence of four differently coloured birds.
The original bird was hand drawn, scanned, computer copied and the resulting four birds computer coloured.
With Harold’s engineering background, he was able to employ binary numbers to assemble his cues
(timing) on the timeline of his editor to make the coloured birds independently bob up and down to the music.
Wollongong Movie makers - NSW
The September monthly meeting was members’ videos night and what a
productive night it was. We had more videos than there was time to
show to the audience. Tom Hunt conducted the meeting in John Devenish’s absence. Seven videos were
shown ranging from “Australian Story” type format, to a promotional video, to holiday experiences, to DIY
video to audio-visual.
Brian & Katherine Harvey are touring Australia and at time of writing were in Kakadu and found it very
hot, humid and full of crocodiles! Also managed to film the Yellow Waters Cruise today. Ann & John Devenish
are touring USA, Canada, UK & Ireland, and are currently in Ireland. The drive across Ireland was
faster than anticipated as there are new motorways not marked on our ten year old map!
The October meeting was chaired by Tom Hunt in John Devenish’s absence. After the announcements, it
was Ian Simpson’s turn to do the Hot Spot. Ian chose to show an example of an ongoing project he is involved
in. He is gradually transferring his Super 8 films to video.
He explained how this process involves not only the capturing of the images but also the reconstruction of
the sound track and titles. The original sound was either on reel-to-reel tape or cassette tape and so sometimes
needed enhancement and speed adjustments to maintain sync. The titles were generally re-done, as
the NLE system titles are far superior to that achieved manually during the cine days. The 4 minute long
video Ian showed was a compilation of events that were important to him during the year 1986.
To tie these different events together he used the “once in a life time event” of Halley’s Comet visit that
year as the “glue” to join other “once in a life time events”. The video was entitled, In the Days of the
Comet, a direct copy from H G Wells book of the same name.
Page 4
Australian film & video

Christchurch Video Camera Club - New Zealand
CVCC advise that Viewfinder will be a new glossy New Zealand made magazine for people
who enjoy making videos. Aimed at the keen amateur / hobbyist to semi-pro video
maker, the magazine aims to offer readers interested in producing better videos the chance
to learn new skills, learn from the professionals and share their ideas, tips and tricks – via
the pages of the magazine and the Forum on the website at www.ViewFinder.net.nz (Make sure that you
have a look at the video made on a mobile phone on the homeless of Sydney & New York. Ed)
There is also a list of many video camera clubs on the Video Camera Clubs page. The magazine is for people
such as club members and suggestions as to its content are welcome. It is edited by Steve Hart, a journalist
and keen photographer who has worked in video production, produced corporate and commercial
videos.
The Club has now set up our own web site. It is www.chchvideo.org.nz. This will provide a window for the
Club’s activities and make many people using video know that we exist and ultimately increase our membership.
It will provide information about the club, activities, meetings, competitions, newsletters, etc. It is
still being developed but you are welcome to access it and see what it is like.
Queensland Movie Makers
One of the major events of the year for QMM is the Award Movie competition and the subsequent
Award Movie Festival which was held this year at the Kedron club rooms on the 2nd
September.
The evening was a great success with many club members and friends and visitors from other clubs filling
the hall for two hours of movies. They varied for travelogue to documentary to humour and drama with
entries from QMM and three other clubs making up the program.
I would like to thank all the people who entered their movies this year who with their variety and quality
proved that club movie making is alive and well. I would also like to thank all those people who worked so
hard behind the scenes to make the evening run so well, from coordinating to judging to making up the program
and getting the event so well advertised and just making the whole show run so well.
Our club is conducting an outdoor shoot
at Ormiston House on the 24th and everyone
is invited to come along and participate
either in a movie making capacity
or just to enjoy the action. We have
the use of the “Old Slab Hut” and surrounding
area to make our epic but we
are not allowed by the owners of Ormiston
House to film in the big house itself.
Bring a lunch and a chair and be
prepared to help the Director (Sally) get
this great script from Fay Finlay turned
into a great movie.
The Slab Hut, Ormiston House
Photo by Col Tretheway
The QMM website is an important part of our club structure and along with the Lamphouse Newsletter
and short emails we intend to use it to let everyone know what our club is up to and to advertise the club to
the world.
At the moment we are in the process of restructuring the website to reflect the changes that have occurred
in the last few weeks to the way QMM runs as a club. We will let you know when it’s ready for viewing.
Australian film & video
Page 5

Page 6
Auckland Movie Makers - New Zealand
Lots of new ideas are coming forward with everyone participating in some part of the
meeting. I hope to start organising a few projects that various members can get involved
in. This in turn will make for new happenings at club level. We also need a new club project.
How about a club promotion to show on Triangle TV Anyone got any ideas.
Plans are coming along for a visit to Tauranga club in the new year, and for a visit to the railway in the
Coromandel. An ideal place for members to make a video for next years competition night.
Bob Jessopp had brought a video that he had made 15 years ago for the Waitakere City Council. It is a film
that is played after the swearing-in ceremony at Waitakere City when people become New Zealand citizens
- an event that soon will no longer happen when the Greater Auckland City is formed. The film opens on a
waterfall with the title “Waitakere City” over it. There are scenes of the olden days of Waitakere – film
taken of the Kauri logging and buildings of that time, scenes of the water dams, of waterfalls, of the
beaches, and of the surfing on the West Coast beaches. It moves to more modern times of the new shopping
complexes, the people, outdoor eating, pottery, and art galleries, scenes of the Arataki visitors centre
and walks in the Waitakeres. It showed murals, costumed players, the drama of films being shot in the
area. It included industry - wine making, boat building, and moved to flight, horse riding, swimming in
stream and on the beach, to golf. The film ended on runners.
Stoke Cine & Video Society - United Kingdom
Alan Woods Technical Titbits
Need Help with Windows 7 It’s Going to Cost You… Readers will no doubt have heard of
the new Windows operating system which was launched in October 2009. Alan Wood saw
this in an email that I received: Microsoft have stated that Windows 7 will be compatible
with all software designed for Windows Vista.
This sounds like a great improvement on previous Windows releases, which have usually caused major
compatibility headaches when running older software, but when you consider what a flop Windows Vista
has been, it isn’t really that great. Most software is still designed to be XP compatible, and is tuned to the
peculiarities of XP, meaning that even recent software might not necessarily run that well on Windows 7.
Microsoft are trying to combat this problem with a new advisory service designed to help people make the
leap to Windows 7. Sounds great, but the only catch is the cost. At $US210 per hour, the service is beyond
the means of most users, and is currently only available in the US and Canada.
Protea Video Club - South Africa
Green Screen.
Lately there has been quite a lot of discussion on
green screen not only in tutorials, but from Marietta
in Durban who seems to have also caught the
bug. It is quite fascinating and very difficult to get
it right. The main problem is to find a room large enough to fix up a
mini studio.
John has managed to erect a green screen in a spare room at his
son’s factory. One of the main things to remember before sticking
your subject in front of the screen is what are you going to replace it with. If you are videoing a girl and the
background is an outside shot, remember that it could be windy so therefore you will need a fan to get the
girls hair blowing, otherwise it will show up. Also watch your lighting; you don’t want any hotspots on her
face if you are placing her on a scenic background. So plan everything first otherwise it will stick out like
sore thumb.
“Chroma Key For Everyone” by Rod Kay of BVMA - Commencing on page 14 Ed.
Australian film & video

Adelaide Filmo Club - South Australia
The shoot of the “Down Under” London to Brighton Vintage Car Run went off well. Our producer David Benton
had inspected the route and the six camera crews had their locations and duties advised at the club meeting
and by email.
Most of us arrived at the starting point at 8 am, well before the first cars appeared on the scene, for David to
give us our final instructions. The weather forecast was for a possible shower which never came, but the partial
cloud cover was good as the morning sun could have given problems with some camera angles when the Mayor
of London aka the Mayor of West Torrens made his speech and waved the cars away to start the run.
What was not so good was the biting breeze which made us keep our jackets on and got into the microphones of
the PA systems at the start and finish points. Most of us were equipped with microphones on or connected to
our cameras that could handle the windy conditions but were stuck with the second-hand sound during the
speeches over the PA systems.
About the halfway point of the run everyone (except those of us assigned elsewhere) stopped off at some club
rooms for a London bun and a cup of tea. At Brighton beside the sea the forty four cars all arrived safely to be
greeted by the Mayor of Brighton aka the Mayor of Holdfast Bay.
All up, we finished up with several hours of DV and HD camera tapes and one lot of AVCHD all in 16:9. Barry
Schrapel has collected it all up and is busy making a 48 minute documentary which we hope will be suitable to
be shown on Adelaide’s TV Channel 31. Barry is a regular provider of content to Ch 31 so he knows what they
require.
Colin Phillips has made a 12 minute movie about our club member Arthur Mullins, his family and their involvement
with veteran cars. Michael Maros has made a 1 minute movie. We wait to see what will turn up from the
rest of our members.
In all, this has been an interesting exercise. Some lessons have been learned. Not all of our assigned tasks were
successfully completed. Some cars arrived sooner than expected some much later and some from the wrong direction.
This has been the 22nd running of the event. If we attempt to do it again next year then this has been a
very good practice.
John Lawrie
Barry Schrapel (left) and Alf Zanker at work while a Veteran car
leaves London road.
Michael Maros interviews Noel Mullens at the
wheel of his 1912 Model T Ford at London
Road.
Australian film & video
Page 7

Otago Cine Video Club Inc - Dunedin - New Zealand.
Illness prevented our September Speaker attending. Instead we viewed an item on Blue Ray Technology
and followed up with an open discussion on the subject. Our annual Thirty Second commercial competition
also took place with three good entries.
John Hart, Artist, Award winning still photographer & Member of the Dunedin Photographic Society was
our October Speaker. He demonstrated audio visual slide show techniques by showing several of his productions.
NZ still photography clubs are now into this in a big way and we wonder when they will finally
take up Videography
On the 23rd of November we had our final meeting of the year which included the AGM, Christmas supper
and our internal major Arthur Richardson competition. This was won by Neville Smith with an excellent
documentary on the Dunedin railway station.
At the AGM, Members voted for a Club name change! When all the paper work has been done we will be
known as “Otago Amateur Movie Makers Incorporated.” This change in the hope of attracting new members
to our hobby - the old name not exactly spelling out what we do....
Our 2010 President is John Armstrong.
Andrew Wylie
2009 President
Otago Cine Video Club Incorporated.
FAMM Convention
Noosa Queensland 2010
Page 8
Australian film & video

17th to 21st May 2010
NOOSA - SUNSHINE COAST
QUEENSLAND
Noosa Tewantin Caravan Park, idyllically located within a short distance of pristine beaches and panoramic
hinterland located in the heart of Tewantin, Noosa Tewantin Caravan Park creates a relaxing sanctuary
at the centre of a cosmopolitan playground. Beautifully secluded, the Park finds a perfect balance between
comfort and cool contemporary style. Its comfortable and spacious layout mixes privacy with ease of
convenience.
Telephone: 07 5449 8060
Toll Free Number: 1800 008 060
Fax: 07 5474 1171
Email:
Location & Postal:
info@noosacaravanpark.com.au
143 Moorindil Street,
Tewantin, Queensland 4565 Australia
Looking towards the
Australis Noosa Lakes Resort Entrance
The nearby Marina offering great eateries
An Australis Noosa Lakes Resort Suite
Full Registration: $375.00 Per Conventioneer
Turn to page 67 for the Latest Convention News
Australian film & video
Page 9

The activities undertaken by an organisation such as FAMM
Ltd. are many and varied. To give some indication of the
scope of our operation, here is a necessarily abridged list:
• FAMM Ltd. negotiates and adjudicates for its members in National and International affairs.
• We also negotiate on behalf of members with State and Federal bodies to obtain production grants or
other benefits.
• We offer start-up advice and assistance for new groups.
• Technical or Production advice is offered where possible.
• FAMM Ltd. allocates and maintains a “competition calendar” on an agreed, national basis.
• A library of notable, past movies is maintained and updated.
• Low cost insurance is offered through member groups.
At approximately two-yearly intervals, the Executive of the day organizes a National Convention, over
about a week. This is a time full of watching movies, learning about movies, enjoying fine food and seeing
some of the sights as well as renewing old acquaintances from distant parts. Conventions are always well
attended!
As you can probably see, our aim is to make life a little easier and more productive for members. At this
time in our history, after fifty years, we are looking to expand and refine our services to remain an indispensable
part of the independent movie-makers life.
Copied from the FAMM Ltd Website.
HAVE A LOOK
NIGHT FALLS UPON A CITY
I received the following email and checked out the site and was impressed. My AVG anti virus said there
were no active threats, but as always you check out these sites at your own choice and I refer you to the
“Disclaimer” on page 2 of this publication.
After you click on the link below, place your cursor at the top of the photo.
You will notice it is 6:10 PM. Bring the mouse down slowly over the photo without pressing the button on
the mouse. Do not right or left click. Night time appears, the lights come on, and at 7:40 PM, it's dark!
Photo Technology at its best!
http://61226.com/share/hk.swf
Merry Christmas & a Happy New Year
To all of our valued readers
From the staff at
Australian film & video
Page 10
Australian film & video

Morecambe Bay International Video Competition - UK
To celebrate the fortieth anniversary of Morecambe Bay Movie Makers a prestigious
internet based international video competition, “THE ERICS”, has
been inaugurated. The entry closing date is 1st February 2010 and the Winners
Award Ceremony will be held at The Dukes Theatre, Lancaster on Saturday
10th April 2010.
The Erics
This competition has been established to honour the memory of Eric Morecambe,
to encourage young people to become interested in the art of videography
and to stimulate film and video clubs around Great Britain. Also to draw
attention to this, one of the most beautiful areas of England, as well as acknowledging
forty years of film and video making by members of one of the most
active video clubs in the UK, Morecambe Bay Movie Makers.
Competition Contact
Mr Chris Abram : Event Organiser
Email Chris
Morecambe Bay Movie Makers
The club is celebrating forty years of film and video making in January 2010 and this competition is just
one of the special events arranged to celebrate the event.
The club have worked with local schools and groups to produce promotional and educational movies and
we go around to many local societies and groups giving performances showcasing member’s films.
In addition to club movies individual members have produced a whole variety of work using the entire
movie making technology available. The subjects include rock climbing & pot holing, travelogues, comedy
& drama, local events, craftsmen and artists at work, the heritage of the local area and many other subjects.
The club have a close working relationship with the North West Film Archives in that material has been
loaned to the club and in return we have filmed events specifically at their request in the area for inclusion
in the Archive for future generations to study and enjoy. We also voluntarily source old films for preservation
by the organisation.
We now meet in St. Christopher’s Church Hall, Bare, Morecambe at 7.30 every Monday night from September
to May each year.
Visit Morecambe Bay Movie Makers by clicking the link below.
http://www.morecambebaymoviemakers.org.uk/
Australian film & video
Page 11

BASICALLY
VIDEOGRAPHY
by Ian Simpson
If Picture is Primary then what is Sound
In previous articles I have emphasised that for the lone amateur videographer getting good and varied images
should be the primary concern. After all what fundamentally separates videography from photography is that in the
former the images move and as we all know from experience our eyes search out movement subconsciously, this is
a relic reaction from our pre-historic caveman forefathers. So if the moving picture is primary then where does
sound rank for a videographer
If you look at some of the “how-to-do” magazines that appear in newsagent’s shelves you will get a clue. One such
magazine I bought recently (The Complete Guide to Home Video) had 26 pages devoted to how to shoot a video of
which only one page was devoted to sound, that is 3.8%. Of the 30 pages devoted to editing, 10 pages were devoted
to sound, that is 33%. So from this small survey we could conclude that it is only at the editing stage that
videographers take some notice of the sounds that will go with their videos. Considering my “picture is primary”
position you might conclude I would concur with this delegation of sound to a very, almost non-existent, position
during the shoot. But then you would be wrong!
In an online “course” on how-to-make a documentary, the Pinnacle Studio webpage indicated that:
“…. There’s one thing that makes professional video productions stand out from amateur ones” and that is “the
quality of the sound.” As the Pinnacle Studio course writer went on to state:
“If you can’t hear what an interviewee is saying then it doesn’t matter how interesting they are or what they’ve got
to say.” In other words, if you want to video a tour leader giving a talk or a guide explaining an exotic location, if
you can’t get close to that person then don’t even attempt to video the person. The Pinnacle Studio website went on
to make the following generalisation about amateur videographers:
“Sound tends to be the last thing” on their minds when videoing. This does not have to be so. We can improve our
sound recording but firstly, like the alcoholic , we have to recognise we have a problem.
We expect sounds to be recorded as clearly as we hear them. We expect the small built-in microphone and the
automatic sound level control in our camcorders to perform miracles. We don’t realise that our ears and brain do a
lot of filtering and concentrating of the sounds we hear. The small microphone in our camcorders has none of these
selective hearing facilities, it hears everything and can make no distinctions on which source of sound is most important.
In an article on the question: Is Videography the New Photography in the September-October 2009 issue
of Capture, one of the tips given to the still photographers wishing to embrace the new world of videography was:
“First of all, good audio is a must. Built-in camera microphones are often poor and an external microphone is an
essential piece of equipment.”
If we take this advice then we should all go out and buy a good
quality external microphone. I did. But before you rush out and
buy one, there are a few things that need to be checked. Firstly not
all camcorders have a external microphone input. Secondly not all
camcorders have an accessory shoe to which an external microphone
can be attached. Further those that do offer one may have
one of a non-standard size. Sony is particularly difficult in this regard
and often offers an accessory shoe that only takes their
branded equipment. Then if your camcorder passes all these barriers
there is still the problem of having an external microphone that
is bigger and heavier than your camcorder. Thus making hand held
videography more difficult. The price of persistence however is
better quality sound which, according to the Pinnacle Studio webpage,
will make your “video productions stand out from amateur
ones.”
Before you rush out and buy an external microphone you need to decide how broad an area in front of the camera
you want to capture sounds in. Do you want to capture sounds from all directions, thus achieving material for a
Page 12
Australian film & video

ackground sound track (Omni-directional); or do you want to concentrate more on what is happening in front of the
camera (Cardioid); or do you want to just pickup that speaker in front of the camera (Shot-gun). The most popular
pattern for amateur videography is the Cardioid.
If you ever get involved in two camera shoots where each camera has a different type of external microphone, then
be aware that each microphone can “sound” different. How can microphones “sound” different you ask It can be
because each microphone has a different signal-to-noise ratio or because it has a different pickup pattern. We found
this fact out during a Club shoot where sound from one microphone was so different that we could not intercut it
with scenes from the other camcorders.
As most amateur videography is done out of
doors, the next thing we have to consider is
how to reduce the unwanted “howling” that is
recorded on windy days. If you are lucky your
microphone will come with a windshield, if
not you will need to make or buy one. Windshields
come in the form of foam or material
that covers the microphone and so reduces
Omni-directional Cardioid Shot-gun
(Note: The microphone is at the centre of the faint circles)
audible effect of the wind. In the photograph
on the previous page you can see the windshield
that came with my microphone, it is
often called a “dead cat.” If that seems like an odd nickname then it became explicable to me when I was going
through a customs check and the customs dog took particular interest in the “dead cat” in my camera bag. After inspection
of my camera bag I was allowed to proceed and the dog received a reward for finding the “dead cat”.
Not all situations can be adequately captured by a cardioid or shot-gun microphone attached to the camcorder. A
very good example of this is when you are videoing a wedding ceremony. The acoustics in the church may be marred
by echoes, outdoors may be marred by wind and both may be affected by distance. Often you need to have a backup.
In this instance it is a good idea to mic the groom using a lapel microphone and a small solid state
recorder that can easily fit into a coat pocket. With the groom being within a metre of all the
speakers, you will receive a good recording of all that is said, even if the vows are spoken softly.
Once you have an independent means of recording sound you soon find other uses for it. When on
holidays you can mic yourself or another family member and record continuous sound that is independent
of the stopping and starting of the camcorder (very necessary for later editing). You can
record the whole of a guide’s talk or a conversation. For example, in our family history gathering
sessions, we have found that if we mic ourselves and set the recorder going and then stick it out of
sight in a pocket, then relatives soon forget that they are being recorded. It is so much less confronting
than having a camcorder staring at them. Snippets of the recorded conversation can then
be edited against suitable still images. These small solid state recorders can record for hours unlike
the 45 minutes per side limit of the old audio cassette recorders.
If you thought that it was only amateurs that didn’t give a lot of thought to sound at the shooting
stage then maybe you’ll be surprised like I was whilst reading Designing a Movie for Sound by
Randy Thorn (www.filmsound.org/articles/designing_for_sound.htm). Here Randy makes comments
like:
“On the set, virtually every aspect of the sound crew’s work is dominated by the needs of the camera
crew.” and “The sets are typically built with little or no concern for, or even awareness of, the
implications for sound.”
Solid State
Recorder
He puts forward a strong argument for thinking about sound, or as he terms it designing sound, at the shooting stage.
His focus and comments refer to the Professional Cinema Industry but we can still learn from the good and bad practices
of this industry. He regards a great scene in a professional film as one where “the visual and aural elements are
working together so well that it is nearly impossible to distinguish them.” This should also be our goal in our movies.
Randy did not consider professional film to be a “visual medium” but then that view is to be expected when writing
an article for the better appreciation of sound in film. For the amateur I firmly believe that at the shooting stage, pictures
are primary. However, in the final video, sound will help establish the reality of the scene; it will create the
atmosphere and will carry most of the emotional content. So we should at the shooting stage make the best effort
possible to achieve good quality and appropriate sound so that at the editing stage we have the best material to
achieve visual and aural elements that are working so well together that it is nearly impossible to distinguish them.
Australian film & video
Page 13

om time to time it can be convenient or necessary
F to capture all or part of whatever is on the computer
screen. The image that is captured can then be printed or
simply filed.
A simple way to do this of course is to press the Print
Screen button on the keyboard. This will copy whatever
screen that was captured to the “clipboard”. Open a
word processing program or favourite paint program and
press Control + V (paste) to paste it into your document.
When capturing
any material,
please be aware
of possible copyright
restrictions.
Capturing From The Computer Screen (PC)
The unfortunate part of this operation
is that the whole screen will be captured,
when only a part might be required.
The unnecessary part could
be removed in a paint program - this
adds another step.
While there are many programs available to “snap” or
“grab” part of the screen; one of the most useful I have
found is MWSnap. It is generously offered by the author,
Mirek Wojtowicz, as freeware with the option to
donate if your conscience so dictates.
It is available as a 643KB download from:
http://www.mirekw.com/winfreeware/mwsnap.html
It is a very powerful yet simple program that is capable
of capturing the whole desktop, a highlighted window,
an active menu, or a fixed or free rectangular part of the
screen and has the option of saving out to five different
image formats: .jpg, .bmp, .gif, .png or .tif.
Shown below are the options available from the opening
screen.
Print Screen > Paste would result in the following image.
Not really suited for inclusion in a brochure!
Leaving the above map open; start MWSnap which will
open over the top of Google.
Select Any rect. area and click Snap any area.
1.Select Any rect.. area
2.Select Snap any area
This area is where the
capture is previewed.
These are the capture
options.
If a fixed rectangle is
required the size is
set here.
Once a capture option is selected
this button takes you to the screen
where the capture is to take place.
Google will return to the front of the screen. Position the
cursor on a corner of where the capture will start; left
click and drag to select the area to be captured. Release
the left mouse button, left click once more and the area
selected will appear in the preview area of MWSnap.
1. Position the cursor
on a corner.
HOW IT WORKS (A Practical Exercise)
The address of the forthcoming FAMM Convention was
entered into Google Maps to be used in this example.
2. Left click and drag
to select the area.
Page 14
Australian film & video

Capturing From The Computer Screen (cont.)
If the capture is suitable then the final step is to save the
image.
Here’s How.
Right click on a vacant part of the Desktop; From the
Menu select Properties. Write down the original settings
for later.
When the Display Properties window opens; from the
Tabs select Appearance and from the Font Size Drop
Down Box select Large Fonts.
Selected area appears in
Preview Window
Select Large Fonts
Select File > Save As, name the file and save in your
choice of format.
1. Select File > Save As
Next, select the Settings Tab and increase the Screen
Resolution by sliding the pointer. Click Apply > OK.
The computer may need to be Re-Started.
2. Select File type,
Name and Save
Increase Resolution with slider
Hint: Increasing the screen resolution can improve
the finished quality of the capture and if the capture
contains text then selecting Large Font will make the
capture easier to read.
The resolution and font can be changed back once the
project is completed.
On completion of the project return these settings to
their previous state.
CALCULATE YOUR BMI BEFORE THE FESTIVE SEASON
BMI = BODY MASS INDEX
Say your weight is 65 Kgs
Below 20 = Underweight
Your height is 1.68 metres 20 - 25 = Healthy
The Sum: 1.68 x 1.68 = 2.82 Over 25 = Overweight
Divide 65 by 2.82 = 23 BMI Over 30 = Obese
Over 30 = Serious Hazard to Health
Australian film & video
Page 15

TECH TOPICS - Summer 2009 With Joe Leon ©
All Registered Names, Artwork, Logos and Trademarks appearing in this
article remain the property of the respective Copyright & Trademark owners.
Migrating to Microsoft Windows 7 …
Before moving over to MS (Microsoft)
Windows 7 you should be aware of some
of the available options, limitations and
requirements like 32-Bit or 64-Bit Windows 7 and versions,
Hardware and existing Software Compatibility,
Driver availability, Single/Dual/Multi Boot Operating
Systems like Windows XP, Vista and Windows 7.
Microsoft Windows 7 Versions …
Microsoft Windows 7 comes in 3 versions, plus Full
or Upgrade and 32-bit or 64-Bit. Which version you
acquire and Install depends on your needs and finances.
The 3 versions of Windows 7 are:
Windows 7 Home Premium Upgrade
Windows 7 Home Premium Full
Windows 7 Professional Upgrade
Windows 7 Professional Full
Windows 7 Ultimate Upgrade
Windows 7 Ultimate Full
Before you decide which is the best version for you,
visit the Microsoft Store for product information, comparisons,
prices and suitability for your needs.
http://store.microsoft.com/microsoft/Windows-
Windows-7/category/102
http://store.microsoft.com/Windows7/Compare
While at the 2nd site make sure you Click & view:
View Windows 7 Full Versions and
View Windows 7 Upgrade Versions.
Minimum System requirements:
Processor:
1GHz or faster 32-bit (x86) or 64-bit (x64) CPU.
Memory:
1GB RAM (32-bit) / 2GB RAM (64-bit).
Video card: DirectX 9 graphics processor with
WDDM 1.0 or later driver.
Hard disk: 16 GB available disk space (32-bit) / 20
GB (64-bit). For the download version, an additional
3.0 GB is required.
Windows 7 Approximate Price Comparisons:
Version: Retail Win 7 OEM
Home Premium Upg $168.00
Home Premium Full $268.00 $119.00
Professional Upg $335.00
Professional Full $397.00 $169.00
Ultimate Upg $365.00
Ultimate Full $419.00 $249.00
Windows 7 OEM 1PK DVD versions, 32 & 64 BIT
Conditions: Sold with systems, or where end users are
acting as system builders by assembling their own PC.
Prices are approximate and could differ between vendors.
Look around for the best deal.
Special Note:
Windows 7, 64-Bit versions cannot be installed on
PCs with 32-Bit Motherboards and 32-Bit CPUs.
Windows 7 Upgrades cannot be installed on PCs running
non-genuine versions of Windows Vista.
Windows XP to Windows 7 Upgrade …
Upgrading your PC from Windows XP to Windows
7, you'll need to select the Custom option during Windows
7 installation. It basically formats your HDD and
does a clean install of Windows 7 where you lose all
programs, files, and previous settings and have to reinstall
everything. I would not recommend it unless it’s
what you want and have the knowledge to proceed.
Windows Vista to Windows 7 Upgrade ...
Windows 7 Upgrade is for Windows Vista only. On
Windows Vista you can do an Upgrade without losing
any Data, Programs, Internet, etc. A Clean Install can
also be done losing all data if any. The problem with a
Clean Install is you may not like Windows 7, have
problems getting all your programs and attached hardware
to work correctly.
BIG NO-NO-NOS ….
Somebody I know has had their Windows XP upgraded
to Windows Vista and then to Windows 7. In
effect there are 3 Operating Systems merged into one
while someone else I know rushed out and bought 64-
Bit Windows 7 Ultimate and tried to install on a 32-
Bit Motherboard with a 32-Bit CPU.
Page 16
Australian film & video

TECH TOPICS - Summer 2009 Part 2 ...
All Registered Names, Artwork, Logos and Trademarks appearing in this
article remain the property of the respective Copyright & Trademark owners.
Windows XP Mode for Windows 7 …
Windows XP Mode runs on Windows
7 Professional, Enterprise or Ultimate)
while Windows 7 Home Premium is not
supported. Download 32-Bit (x86) or 64-Bit files that
match your version of Windows 7 and download from:
http://www.microsoft.com/windows/virtual-pc/
download.aspx
Download and install Windows XP Mode 1st and
Download and install Windows Virtual PC 2nd.
All filenames have been changed for clarity.
Windows XP Mode Setup x86.exe (469 MB)
Windows Virtual PC x86.msu (9.14 MB)
Windows XP Mode Setup x64.exe (469 MB)
Windows Virtual PC x64.msu (8.87 MB)
Single/Dual/Multi Boot OS (Operating System) ...
For me and possibly for you the ideal situation could
be having Dual or Multi Boot OS Systems available
at power up. Just select which OS you want to use.
This leaves me free to try out Windows 7 at my leisure
and work out which programs need updating for Windows
7 compatibility and which devices need new
drivers, etc. Do not attempt Dual or Multi Boot unless
you know how to partition the Hard Drives yourself
and understand the process.
The image shows my 3 HDD (Hard Disc Drives) plus
the 2 DVD Rom Re-Writers. I used Disc
Management from Computer Management Utility
from Administrative Tools. Only the relevant part of
the page is shown. By assigning your Own Drive letters
and Volume Names it becomes easier to navigate
and is especially important if you make an Image
(Back up) of your OS HDDs which I do on a regular
basis. In case of a severe Virus attack or HDD failure it
only takes minutes to restore the HDD Image.
Compatibility with Windows 7 …
The major drawback for Windows 7 like
any new Operating System is existing
Program and Device Driver compatibility.
The older the program or device the
harder it could be to make it work in Windows 7.
Windows XP Mode for Windows 7 could be one answer
while for Vista programs there’s an easier solution.
Just Right-Click and select Vista Compatibility.
I have slowly been updating the programs that I use for
ones that are Windows 7 compatible and have been
very surprised on how many programs have been updated
and how quickly considering that Windows 7
has only been out since October 22nd.
Although I’m running Windows XP and Windows 7
in a Dual Boot environment, unfortunately I haven't
had the time to spend with Windows 7 and get to
know it as well as I would like to and have barely
scratched the surface. Quite a few people I know love
Windows 7 while others don’t. As mentioned previously,
Dual Boot could be the answer for you and is
certainly for me as I still use Windows XP daily and
run Windows 7 when time permits or the need arises.
Windows XP
Windows 7
Right Click on any DVD Rom Drive or HDD Partition and you can change
it’s assigned Drive letter to any other available Drive letter as I have.
Australian film & video
Page 17

Hosted By the Protea Video Club
Brought to you from the Cape - South Africa
Protea Awards Ceremony “A Great Success” writes our
South African foreign correspondent Peter Smith.
Thanks to Mike whose sole effort in finding the right venue and motivating members to take part resulted in one of
the best, if not the best function we have held since the club was started.
Over thirty members including partners and friends gathered at the “Golden Eye”, a small private cinema, situated
off the R44 and run by landowner Peter Spence; the occasion, to eagerly wait the result of what the judges had considered
to be the top video in the competition and worthy of the “Platinum Award”.
Not even the weather could dampen our spirits. In gale force winds and torrential rain members arrived, armed with
plates of food and drink and made a mad dash across the lawns to the comparative safety of the bar.
Having been suitably fed and watered Ken gathered everyone in to the cinema to start the proceedings. First off Ken
welcomed all those who braved the rain to attend our awards ceremony and a special welcome to our two judges
Karen and Megan who did such an excellent job in writing such informative critiques. Thanks also went to one of
our past members Christo for designing the awards certificates.
Ken then gave a brief chat on how the Protea Awards started before Alan B was asked to present certificates to Alan
P and to Ken for their entries in the competition and a Gold certificate to Mike and Peter for the “Voice of Cape
Town”.
Ken then presented the “Barbara Domerghi” Trophy, given to the member who is considered by his peers to have
contributed the most for the club in a year. Alan P was deservedly the winner, not so much for making the most videos,
but just importantly, working behind the scenes, looking after the club monies and helping out on locations
whenever someone needed an extra hand.
Mike then presented the “Fun Cup” on behalf of Mark who couldn’t attend. Again this was started by the late Barbara
Domerghi who came up with the idea to present a “Cup” made out of an old plastic Coke bottle and suitably
inscribed with past members. A poem had to be read out about the new recipient and Mike took great delight in reading
out some definite “untruths” about yours truly, (Wait ‘til it’s his turn)!
It was now time for the major event of the afternoon and the presentation of the Platinum Award judged to be the
best overall video with the most marks. But first we showed six of the Gold awards to give our audience a taste of
the high quality and excellence of the entries. Having the advantage of a full cinema screen and sound made a tremendous
difference to the viewing. Anyone of the Gold entries could have taken the top award, but the three independent
judges unanimously voted, out of a possible 600 marks 532-538 and 590 the “Voice of Cape Town”, to be
the overall winner and to receive the Platinum certificate.
Peter and Mike receive the
Platinum certificate from Ken
Page 18
The audience await the results
of the Protea awards.
Australian film & video

Stewart Hobson
Director
Tasmanian Division
Tasmanian Directors Report - November 2009
Returning to Tasmania after our three months winter “migration” to sunny Queensland I was happy to find
that the small group of loyal Tasmanian Movie Makers had been meeting regularly through the cold wet
months. (Indeed Tassie has had the wettest winter for many years, filling our dams and promoting the
greenest green state you could ever wish for!)
The major activity was the compilation and editing by Barrie Balfe of some successful member videos, into
a DVD featuring “Our State”. Cleverly titled “Down under, Down under”, Barrie has selected a range of
member’s productions and included a narration to introduce them and promote the state and some of its
famous places and activities. These range from Werner Stadler’s Bicentenary Tall Ships visit, the famous
Salamanca Markets, by Barrie, Greg England’s fantastic footage of the rugged wild south west, a sample of
John Grey’s wonderful wet rainforest collection and a recent YouTube production featuring night shot
footage in the Hobart Riverulet tunnels directly under the main street of the Hobart CBD by our new member
Doug Armstrong. It is a worthy showcase of members work and a great promotion for Tassie. The intention
is to share it with anyone interested and of course to send overseas to groups like Dave Fuller’s in
Canada.
Jon Grey and I recently attended a WideAngle short film showing and renewed our acquaintance with Bev
Jefferson who was a speaker at the Bridport Convention. She remembered the event and spoke enthusiastically
about the value of the convention and the quality of the moviemaking. WideAngle is a ScreenTas
supported organisation which provides opportunities and equipment for developing film makers here. The
bulk of their support goes to young people but I have long contended that we, senior citizens or not, should
all qualify for those funds too. And, incidentally, we felt that the short films produced with their support
were no better or worse than FAMM member’s offerings in the “Best Five”.
Conventioneers will remember Sheila Hagendorfer, with Wendy McLennan, a driving force in the convention
organisation – I asked her how the Bridport group is going and sadly, it seems that interest has faded
somewhat and while they had a meeting recently not much has been happening. It seems Wendy had a period
of illness and they are currently offering the “Flying TeaPot” for sale so perhaps her lively interest is
missing.
Back in Hobart, we are looking forward to the Annual End of Year Barbeque and Short Movie Comp. Jon
Grey returned from his trip to Ecuador and Galapagos with still camera movie footage – if you know what
I mean. Can he produce an award winning movie from these very short, highly digitised clips My guess is
that on previous form, he will!
That’s it, from Tassie, for now.
Stuart Hobson
See the Annual Awards of the Auckland Movie Makers 2009
There is now a clip of the AMM Awards Night on their web site, travel there
By clicking on the Link below
www.videomakers.org.nz
Australian film & video
Page 19

The CCD—CMOS Sensor Debate
Anyone with an older camcorder with a CCD image sensor will at some time have experienced the vertical shaft of
light that is produced when the camcorder is pointed at a light source. The CMOS sensor doesn’t do this but it has
some gremlins of its own. Anthony Burokas posted an interesting article on the internet: http://www.eventdv.net/
Articles/Editorial/Features/CCD-Versus-CMOS-for-HD-Production-56033.htm where he examined the different ways a
CCD sensor and a CMOS sensor capture each frame of a video and especially the image defects that a CMOS sensor
creates. These defects relate to when trying to capture movement (either camera or subject movement) and when
videoing an event that also has still photographers taking flash pictures. As the CMOS sensor seems to have almost
replaced the CCD sensor in new camcorder and digital cameras, these differences become a real concern for the
CMOS camcorder owner or the photojournalist who uses the new video-capable D-SLRs. But firstly you may ask
why the move to CMOS sensors The cynical answer would be that they are cheaper to manufacturer, allow the design
of smaller camcorders and so allow higher profits. A more optimistic view would be that they allow better battery
life and more portable camcorder designs. Whatever the view, no change comes without some consequences. To
see what these consequences were when moving from a CCD to a CMOS sensor, Anthony used two still cameras
with video capability:
(1) The 10 MP CMOS-based Canon SX1 IS captures a full 1920x1080 30p HD video,
(2) The 12 MP CCD-based Canon SX200 IS which records 1280x720 30p HD video.
To understand why there should be a difference between the images that a CCD and a CMOS collects we have to
understand how each sensor type collects the image. A CCD sensor effectively receives the information from each
pixel in the array at the same timing, like what happened in the old cine cameras. Whilst the CMOS sensor reads the
information from the pixels line by line from the array. This sequential readout is the secret of the CMOS’s low
power usage but the “cost” is the skewing of a moving image. Anthony
showed the effect of this skewing by panning along a wall that had two vertical
white strips attached to it. As Anthony described his observations:
“The rolling shutter of the CMOS chip does not ‘snap’ a frame; it gathers the image
one row of pixels at a time until it has gathered the entire chip. This approach presents
no problem if there is no movement in front of the camera. However, if what is in front
of the camera moves, or if the camera itself moves, whatever you are trying to record
with video is in a different place by the time the camera gets around to recording pixel
row two, and in a different place again when it records pixel row three, and so on.
Compile those errors row after row and you get images that bear no resemblance to
reality.”
Anthony then examined the flash band effect where
if one is videoing and a flash picture is taken of the
subject at the same time then unlike the CCD sensor
which will record only one frame with a washed out image, the CMOS sensor will record a
band of washed out image which will fall usually over two frames and so on viewing will
produce a disturbing effect. Further Anthony found the light band would have a random
position in the frame and could even be located in one frame only.
Panasonic has recognised this problem with CMOS sensors and in their AG-HPX300 series
camcorders have included a “fix.” The presence of a flash band is detected during signal
processing and then both affected frames are combined to give a single frame that is
flash affected. A result that Panasonic claims is a “more natural looking frame sequence”.
But with every “fix” there is a “fault.” If there is also camera or subject movement then
this combining of frames will result in jerky movement.
CCD Sensor CMOS Sensor
CMOS sensor capture of a
flash from a digital camera
Page 20
Anthony was concerned that that our camcorders faithfully represent reality, unfortunately
any copying of reality is flawed and so it comes down to which flaws are acceptable.
Australian film & video

MIGRATION TO AUSTRALIA
By Claude Knox
“We did not come looking for government handouts or to overthrow the existing
order”, writes Claude Knox who was a post World War 2 migrant.
I arrived in Australia in 1948, on Melbourne Cup Day, following a 10 week journey on a refugee ship.
Conditions were so bad that the boat was the subject of several inquiries which however all fizzled out.
Anyway, here I was in Melbourne on Melbourne Cup
Day, and I had never heard of it! I was 18 years old, in a strange country and I had a lot to learn.
My first digs in Australia were in a bed and breakfast joint in Grey Street, St. Kilda. After the nightmare
journey, it was like heaven. I also had a job lined up as soon as I stepped off the boat, so I was one of the
lucky ones. (Although jobs were plentiful in those days) To get to work, I got on a train at St. Kilda station
(which was then a proper station with proper trains, not the tram stop it is today) and travelled the
short distance to South Melbourne markets. This market still exists today, but was completely rebuilt following
a fire. In those days you could get 20 bananas for a shilling (10 cents).
In 1955 1 was successful in obtaining an administrative position based in Sydney, which meant moving
there. I was happy to do it too, for I had always had the wish to live in Sydney. On arrival, I did two
things: I got married and I put a deposit on a house. The marriage has survived all these years, the house
alas has not; it was demolished to make room for flats. It was situated in Cobar Street, Dulwich Hill, having
been built before the first world war. The walls were double brick (not brick veneer) and it had a backyard
the size of a football field. Had we kept it, it would by now have made us millionaires.
In 1974 we moved again, this time to Liverpool, then at the edge of the metropolitan area. The house was
in Darling Ave., Casula. Liverpool was different but it excelled in one respect: shops. There was nothing
you could wish for in the way of shops which you wouldn't find there. And it was second to none in development;
one day you could observe cattle or horses grazing peacefully, the next day the bulldozers moved
in and whole suburbs sprang up. We lived there for 25 years and then moved into a retirement village on
the beautiful Central Coast.
The post World War 2 migrant was a tough cookie. Having survived the war and incredibly difficult conditions
getting here, we did not come looking for government handouts but to do what we could to help
our adopted country. Neither did we come with the idea of overthrowing the existing order and imposing
our own ideas. I hope that this article, showing in a few words the outline of what happened to one of
them, will lead to greater understanding all round.
TELSTRA
For anyone contemplating using the Sensis directory service number 1234, you’ve seen the ads on TV.
Have a think about it, Sensis is a subsidiary of Telstra. The 1234 number is replacing the Telstra 12456 directory
assistance number, but which costs, 40c to call the number (depending on your phone plan if you
are with Telstra) and then approximately 4c a second.
By law, Telstra have to provide a FREE directory assistance number, because they are still majority owned
by the government. We feel Telstra forgot to pass this number on to the public.
What’s the FREE number 1223 USE IT! It’s FREE.
Australian film & video
Page 21

Ringwood Movie Makers
Proud to work with Monkami
Monkami is a non profit disability service provider, which has been operating for more than 50 years. Presently,
there are 95 people from the eastern suburbs of Melbourne who utilise Monkami services.
An important activity at Monkami is the drama group which is responsible for writing & creating their own
stage show. It is a great opportunity for them to perform and receive audience feedback.
The staff at Monkami encourage an individual's self expression, which increases self confidence, develops
communication skills, increases body awareness, and enhances listening skills.
RMM was asked to produce a DVD of this year's production by Monkami players. The on stage performance
was videoed at the Karralyka Theatre Ringwood using 3 cameras and edited together to produce a
very watchable DVD.
This is the third year RMM has been involved with Monkami and we are sure it will become an annual
event for us.
Because of the disabilities these people have you have to admire their determination to do their best in the
performance and the uninhibited happy way they perform for the enjoyment of a packed house.
Go to the Club website www.ringwoodvideo.org.au where you can find a short extract of the performance
which in total lasted for one hour.
MAKE MOVIES MAKE FRIENDS
So
Let’s Meet Again In Two Thousand & Ten
At the Queensland Noosa Convention
Page 22
Australian film & video

International Home Movie Day will be Saturday 16 October 2010.
What's that
It is a day to celebrate all those 9.5mm, 16mm, 8mm and super-8mm films made on
family subjects, holidays and special occasions. Upturn the attic, clear the cupboard, root around in the cellar
to see what gems might be hidden away there.
The notion was started by film archivists who wanted to find and preserve some of these films. They can
reveal more about the real lives of people than any number of formal documentaries. It does not matter
whose wedding it was, but what were the fashions for clothes, cars, cakes in those days Who cares about
the birthday boy - let's see what he is eating at his party and what toys he gets.
But it rapidly became an occasion for families to unearth old film, bring it along to a central location where
it was checked, cleaned and if possible projected. There are countless stories of total delight when relatives
and communities got these glimpses into the near past.
Obviously the amateur film world can help ... many of us are old enough to have experience in handling
film and many have working projectors. We could work with local archivists to organise an event on that
day.
But more than that...lots of clubs have a public show now and then. It is often a chance to show-off the latest
work by members, to screen a “newsreel” of what has happened in the town recently and maybe to
show a couple of top films from elsewhere. So why not tie those in with Home Movie Day to make a combined
celebration which could attract a lot more publicity and attention
It’s worth a try. Last year only Sydney’s Hazelhurst Regional Gallery staged a Home Movie Day event but
2010 with our help might see many more of them around the country.
More information on www.homemovieday.com
Oh - and did I mention the possibilities for recruiting new club members at such an event.
Dave Watterson - UK
And now, something to think about;
An elderly Chinese woman had two large pots, each hung on the ends of a pole which she carried across her
neck. One of the pots had a crack in it while the other pot was perfect and always delivered a full portion of water.
At the end of the long walks from the stream to the house, the cracked pot arrived only half full. For a full two years
this went on daily, with the woman bringing home only one and a half pots of water. Of course, the perfect pot was
proud of its accomplishments. But the poor cracked pot was ashamed of its own imperfection, and miserable
that it could only do half of what it had been made to do.
After two years of what it perceived to be bitter failure, it spoke to the woman one day by the stream. “I am ashamed
of myself, because this crack in my side causes water to leak out all the way back to your house.”
The old woman smiled, “Did you notice that there are flowers on your side of the path, but not on the other pot’s
side” “That’s because I have always known about your flaw, so I planted flower seeds on your side of the path, and
every day while we walk back, you water them. For two years I have been able to pick these beautiful flowers to
decorate the table. Without you being just the way you are, there would not be this beauty to grace the house.”
Each of us has our own unique flaw. But it’s the cracks and flaws we each have that make our lives together so
very interesting and rewarding. You’ve just got to take each person for what they are and look for the good in them.
So, to all of my cracked pot friends, have a great day and remember to smell the flowers on your side of the path!
Australian film & video
Page 23

By Rod Kay
Page 24
Australian film & video

Australian film & video
Page 25

On page 28 of this issue: The Edit
Reprinted with permission of the Author Rod Kay & BVMA Scanlines Newsletter September 2009
PRODUCTION DETAILS
The following details are required to be printed on the DVD and at the START
of the production.
The production should have a leader of approximately 15 seconds duration, consisting
of a static full frame caption running for about 5 seconds containing the
Movie Title, Producer’s Name, Production Date, Running Time and Music
Statement, followed by 10 seconds mute/black leader before the start of the
Movie’s Main Title.
These details at the start of the DVD keep the projectionist informed.
Please DO NOT place these details at the end of the movie as they are not
screened to the viewing audience.
You may still acknowledge music details in your end credits & you can also
print the details on the reverse of your DVD Case.
Editor.
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Australian film & video

Gadget No 1
MAKING A $20.00 BOOM POLE
If you have any technical articles
or gadgets you would like to share
with our readers, please send them
to the Editor at;
Australian Film & Video
Reprinted with permission from the QMM Lamphouse Newsletter October 2009
For Your Interest – As a Service to our Readers.
HD Camera Guide has an exclusive video with technology consultant Mark Schubin discussing HD Camera
Image Quality. The video is educational and informative; we believe that this video will be of interest
to you and your organization. http://www.hdcameraguide.com/guide/schubin .
Thank you.
Rosa Esposito
Marcomm Group | integrated marketing communications
55 Northern Blvd. | Great Neck, NY 11021 | www.marcommgroup.com
TEL 516.829.0404 | FAX 516.829.0472
Australian film & video
Page 27

By Rod Kay
Page 28
Australian film & video

Reprinted with permission of the Author Rod Kay & BVMA Scanlines Newsletter October 2009
Australian film & video
Page 29

HOW TO MAKE INTERESTING VIDEOS
A discussion on video content for beginners
by John Sirett
So, you have just purchased an expensive new video camera and joined a video
club for the purpose of making movies to entertain your family and friends Perhaps
to enter video festivals as a competitor
Here are some thoughts about things to consider when embarking on movie-making as a hobby.
What is “Video”
Video is not only a visual medium, it is more than that!
It is a “story telling” medium, a “doing” medium. To show what is happening now and what follows afterwards.
N.B. “Story telling” refers to “the natural progression of events’ in the video, not merely a fictional
tale, a historical account, or a drama.
Successful video action revolves around engaging the viewer’s attention and having the viewer wanting to
know about the subject – whatever that subject might be.
Whether it’s fictional, factual or technical, instructional, historical or whatever, video has to tell a story.
Video is a “doing and happening” thing. There must always be a natural progression of events.
What is a “Short Video”
A “Short Video” is not one labouring under a time limit.
It is one where the story has only one single strand. Deals with one single story line.
(This is usually the type of video we make in our video clubs.)
Important points to Remember:
* Tell your story quickly and simply
The art is to deal with that single strand, that idea, as effectively as possible by telling the story quickly and
clearly.
* About people
People like to see people, to see what they're doing and what they’re saying, what they are feeling and how
they are reacting, so a successful video will contain human interest, and will play on the viewer’s emotions.
To win your viewer’s attention, use any of the many emotions like; Humour, Joy, Sadness, Curiosity, Anger,
Horror in your video, so that the viewer can feel some empathy for the story, or subconsciously identify
with characters and emotions portrayed in it.
Humour is the device most commonly used, and the easiest one to employ.
Even tedious subject matter like instructional videos can benefit from some emotive factor to hold the
viewer’s attention. Facts are facts and statistics may be important, but your viewer will respond to human
interest when even the most telling facts will leave them disinterested.
* About subjects that are not people
Build your video around the actions of characters that can be likened to people.
Pets are an obvious example of this and when their actions are paralleled to those of a human, the viewer
can empathize with the character.
* Inanimate subjects
Even if the subject is not a living being, give it a name, or a character that your viewer can recognize and
perhaps empathize with it.
For example, consider this storyline:
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Australian film & video

“An old man owned a small boat that he often used, to go fishing”… Simple facts, but not really interesting.
But presented this way:-
“Amos was an old man of the sea. His one love was his little boat Dorothy. Amos and Dorothy
would go fishing together every day”
The introduction of a human element lends warmth to the story.
* Technical subjects
Even the most dispassionate of subjects, the Technical Instructional video, can benefit.
Involve the audience in the explanations and procedures by using a narrator to ask rhetorical questions.
Video is a “Subjective Medium”
A video movie depends upon what you, the viewer, make of it in your own mind.
* There are no “specifications” to say what should go into your video or how it should be made.
* There are no proclaimed “standards” that can be referred to in order to find out if your video reaches a
required level of proficiency.
* There are no measurable standards for reference, only guidelines, drawn from the experience of others.
In the end it is the purely subjective opinion of the individual viewer – does he or she like it, or not
Of course this matter of subjectivity also applies to you -- the video maker.
A topic that may interest you intensely may not be of interest to other people, regardless of how well you
make your video, and how well you tell the story.
The influence of your viewer audience
Not as individuals this time, but as a category or class. What kind of story would they like to see
How would they like it presented
This could influence a film maker’s choice of subject and the treatment of that subject, right from the start.
For example: a young audience – say teenagers – will have a vastly different expectation of video content
than a mature audience.
I think of an audience as having “Group Subjectivity”. Once again, there is no standardisation.
Similarly, the expectations of judges in different competitions and in different regions will vary.
The Videomakers initial considerations
Should be as follows :-
* What do you want to show and tell
* How will your viewer react
* What an audience might expect
Potential pitfalls in video making
* Don't film “Stationary” subjects (because video is essentially a “doing thing”)
By stationary, I mean subjects that are better presented as still photos in a photo album, so that the viewer
can linger over details in the photo as long as desired.
That is the extent of the “story” attached to those visuals and its better communicated that way.
Beautiful scenery, snow covered mountains, the mist hovering in the valley. Striking colours of sunrise
over the ocean are all “Stationary Subjects” because there is no “progression of events”, no “action”.
* Family videos
Relatives, grandchildren at play, family pets etc – priceless memories to the Videomaker, but almost invariably
of little interest to anyone outside the family circle.
(Unless perhaps, it’s someone’s unfortunate accident ending up on TV’s “Funniest Videos”)
Australian film & video
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* The travelogue
A type of video requiring careful consideration.
Unless the scenery or action is so remarkable that it captures and holds the viewers attention, the travelogue
can fall into the same basket as the family video.
That is, of interest only to the people who have been there, or were there at the time – a memory recall.
Make sure your travelogue has a story, has action and involves people.
Post production - Putting your video together
* Include in your video only those scenes that promote the story. If a certain scene plays no part in telling
the story, remove it and get on with the story telling.
(This can sometimes be a hard decision to make, if the scene is one of your personal favourites.)
* Similarly, a scene may be longer than necessary. Trim it down to a length where it just plays its part in
the story and no more. Don’t linger over something on the screen too long.
The human brain is visually very quick; it is surprising how short some scenes can be to tell their story.
This contributes to “Tight Editing” and better pace of the video.
Self-Evaluation – important
* When assembling your video story at the editing stage and making decisions about which scenes to include,
which to delete, how long each scene should be etc, it is important to review your story from someone
else's point of view.
One of the greatest hazards when editing a video is the very fact that you know intimately what the story is
all about and you tend, unconsciously, to assume that your viewer also knows.
Considering again, that there are no set “Standards” for reference, the Videomaker initially has to rely on
self-evaluation of the video to gain a sense of how well the video “works”.
* Adopt the stance of a “first time viewer” who knows nothing about the video and is, in fact, seeing it for
the first time.
Then ask yourself the pertinent questions:- “Do I understand the story ” “Do I like it” (If not, why not )
“Does that scene contribute anything to the story” and so on.
How to check your progress at video-making proficiency
Because of the subjective nature of video, the only way to check and improve your skills is through sampling
the reactions of your viewers and responding accordingly.
If you enter your video into a competition (or have it screened on a club night) the criticisms that come
forth do not relate to a book of standards, but from the subjective opinion of judges, or those who criticise,
(and sometimes, these opinions may vary wildly.)
However, if enough people criticize a particular aspect, then you have an indicator of something you
should attend to and can therefore improve upon.
To summarise
* Make a story, a natural progression of events – action. (Video is a doing and happening medium.)
* Involve people and emotions (people like to see people).
* Set out to make your video emotive, even if it is a documentary or a travelogue.
* Don't film subjects that would be better presented as still photos.
* Don't offer “Family” videos to public audiences. There will be little interest outside the family circle.
* Evaluate your own work by looking at it through the eyes of a detached “first time viewer”.
* Don’t be deterred by harsh criticism. Use it to your advantage.
Remember, the critic can only offer an opinion. Seek out opinions from as many people as possible and
consider their comments as helpful suggestions.
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Australian film & video

Gadget No 2
Below is an inexpensive microphone support unit gleaned from the Stokes UK Newsletter which was
gleaned from the AMPS USA July/August 2009 Newsletter.
An Inexpensive Microphone Support
by Alberto Kniepkamp
Here are the details of the Shotgun microphone boom support made from a 3¼” diameter x 3¼” length
plastic sewer pipe coupling. Two sets of rubber bands stretched across from notches cut into the plastic
pipe at 90 degrees from each other suspend the microphone and isolate it from boom handling noises. A
3/8" separation of the notches for each rubber band will fit 19 to 25 mm diameter microphones.
Thank you to
Ned Corderly &
Alberto for permission
to print
their article also
Acknowledgement to The American Motion Picture Society & Web Site. Why not visit http://www.ampsvideo.com/
Australian film & video
Page 33

The Small Amateur Video Club
The “Production Process” for an Amateur Video Club
By David Fuller.
The following is all “old hat” to experienced video-makers, but may serve as a guide for members of
small clubs or ones with inexperienced members.
It begins with, “Hey, let’s make a storyboard movie, eh”
Two alternatives emerge. Use a copyrighted screenplay or stage script and pay the fee, or, write an original
narrative. Both ways will need conversion to a “Director’s Screenplay Version.”
And both choices will face two time-honoured limitations, viz., finding suitable, willing actors and finding
locations. Actors and locations. Simply, “Can we pull this thing off” Before we get all “ambitious”, be
practical and realistic!
If the “writing” appears first in prose-form, the writer alone is first to “see” images and “hear” dialogue in
her mind, where she conjures up a plot-structure, puts conversation into the mouths of characters and imagines
their body movements. However, it may transpire that much of the prose is written in indirect speech
and in the third person. From the writer’s vision comes a prose-written narrative, the base for our Club
movie.
A skit may be discovered by word of mouth, on a web-site or, for example, in book of short “Party Jokes.”
If you negatively prejudge the merit of using “stale-looking” material - “these weary old, worn-out jokes
can never cut it” - bear in mind that you can still bring a fresh treatment to old stuff. New twists. Even if
the “copy” is written almost completely in “indirect speech” (reported word), with only brief hints about
“stage movements” and emotional responses, reading INTO the words of the play makes a difference. An
imaginative reading INTO the given “script” determines what kind of treatment the script might receive.
Who are these characters Can we make a movie that an audience will “go along with” It’s a “fresh”
treatment of what you dig up that count most.
Will it become a farce with a spontaneous laugh from the audience following the amusing conclusion or
will he generate from the same script something that inspires an audience to do some more thinking about
what it has seen Is there a subtlety
So the Writer meets with a group of Club members for discussion. From this meeting, in a realistic assessment,
members make a measured commitment to make the story into a Club movie.
Now, the writer’s story has to be transformed into a Screenplay. This secondary “writing” process possesses
some characteristics different from a purely prose version. In the “re-write” version, the Screenplay,
the prose is transformed into scenes, some with spoken dialogue and some without, with visible actions indicated,
with “frames”, with sequences and something else more elusive.
A hundred readers of the prose version will visualize the story, its characters, its plot and setting in a hundred
different ways, but with many commonalities. Viewers of the Club’s finished movie will be offered a
more limited vision, as created by the Screen-writer and the Director.
How many times have you heard the cry, “I liked the book better than the movie.” How many times have
you heard about a writer who claimed that the Director “had got it all wrong”
Back to the drawing board. Members may contribute, but ultimately the Director’s vision, partly his or his
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Australian film & video

only, must prevail. The Director’s Screenplay version is written with as much detail as possible, not only
with its dialogue, but with directions for body movements, camera positions (point-of-view), for “cut-ins”,
etc .
Assume the Club has acquired actors and location/s. Next step is to “play-read” the Director’s Master
Copy, pencil in changes and estimate how long the final movie will run. Nice to have the camera-person
and editor present at this play-reading.
Remember, before the Club made that commitment to the Narrative Recall how members knew that they
had to have actors and a “workable” location
They made sure that they had a location that could be easily lit, where the décor of the room wasn’t distracting,
and where the “room acoustics” could be managed by using “close-in” on-camera mikes or better,
with a shot-gun boom mike. Keep things simple as possible and “focus” more on the artistic elements of
production.
For the editing dimension, I’ve already outlined how to use Time Code as a substitute for “slating”. Again,
keep it simple.
Take a drink-break here and there, but don’t linger very long, sipping away time and losing “momentum.”
Order lunch in and get on with the Shoot promptly - while everyone’s “hot to trot.” By 4:00 PM, nearly
everyone gets an attack of the “fidgets.”
Nice to have a member with sufficient knowledge to take on the duties of Producer. But for the amateur
club, so much responsibility seems to inevitably fall on the Director’s shoulders.
He deserves his lofty title, not only for his single-minded initiative, but for his ability to get the Screenplay
written and the movie Shoot completed - expeditiously. And without upsetting club members or actors. He
has to assume control for everything that happens on the set. Tact and diplomacy, a sense of humour, engendering
good collegial relationships, timely praise and other (ostensibly “unassuming”) leadership skills.
He’s in charge, and as many people know, managing artistic talent with finesse can be most challenging.
However well the Club movie is received at its “premiere” showing, what matters at least as much, is the
“Club glue” that was generated through the experience, particularly by participants, but by all members
basking in the warmth of belonging to an active video club.
David Fuller
Clipped from “Time Line Talk”
Newsletter of the Protea Club of South Africa
If you haven’t tried to “ZOLLY” then you haven’t got a Dolly!
Mike came across this novel idea in one of the many tutorials in the on-line e-news Videomaker magazine.
Keeping a couple in frame while the background moves in!
One of the examples they showed was two people chatting across a table in a café and through the window
showed a street scene. The camera was set up so the two characters filled the frame. The camera was then
pulled back on a dolly very slowly while at the same time zooming in! This kept the two characters in full
frame talking across the table, but the street scene began to get closer.
In the teapot demo the camera dolly is moving closer while zooming out
making the teapot stand out against the background.
Very effective, but quite tricky to zoom at the same pace as the dolly is
moving, try it!
Australian film & video
Page 35

Summary of the 10 th Combined Clubs Meeting &
4 th Meeting of the Southern Division of FAMM
By Ian Simpson
26 attendees settled down to a mixed programme of two presentations, a “boys’ toys” session and a mini-video
festival of “Australian Story” type videos.
Titles & Graphics
The first presentation was by WCCMM member, Bob Kennedy; his topic was the correct use of
Titles and Graphics in our videos. The full presentation follows this meeting report, however,
in summary Bob emphasised a few simple rules:
White text on a black background is both simple to do and easy to read.
Don’t use different fonts in the one title, if you want to make part of the title different then use
bold and normal
or different colours.
A title’s “lifespan” is about 3 seconds so make it legible.
On the use of graphics on your DVD cover, Bob again went for simple designs. The example he showed had a
key photo on the front cover with a title and on the back cover there were some comments on the video, video
credits and format.
A break for coffee was also an opportunity for the “boys” to play with their “toys”. A feature of this Combined
Club meeting was the display of various “aids” to videography. Of special note was the Jib200 of Bob Kennedy
and John Devenish design and the dolly and the lighting of the Milton-Ulladulla group. To introduce the Jib200
a short video was shown of it in use.
Audio-Visuals from Still Photography Traditions
The second speaker was Bruce Shaw who has been a member of the Wollongong Camera Club
since 1982 and interested in still photography since 1976. Bruce’s topic was Audio-Visuals (A/
V) and he gave a modified version of the presentation he had previously given to the Movie
Makers group. Bruce stressed the similarities in the production of an A/V and the production of
a video. Both were an expression of personal interests and involved personal preferences. Important
for both types of production were; to know your audience, know your message and
above all don’t bore. Bruce then proceeded to take the audience through his process for making an A/V; from
selecting images, creating sequences and developing a soundtrack. The process was remarkably similar to what
the audience already knew as video editing only the software was different and the scenes had become still images.
Over lunch three of Bruce’s A/Vs were shown. The A/V The Corridors of Power sparked considerable
interest in the audience.
4 th Meeting of the Southern Division of FAMM
After lunch it was time for the 4 th meeting of the Southern Division of FAMM. An apology was accepted from
Mark Tunningley, Southern NSW Division Director. A DVD was shown that advertised the forthcoming
FAMM Convention, 17 th to 21 st May 2010, at Australis Noosa Lakes, 3 Hilton Terrace, Noosaville, QLD. This
video explored the highlights of the area.
What then followed was a brain storming session to select a topic for video production for the next Combined
Clubs’ meeting in April 2010. Topics suggested were:
advertising local tourism,
introducing club members with a short 1 to 2 minute video per person
a sporting event
presenting a person’s hobby
how to do something
20 / 20 – 20 pictures each displayed for no more than 20 seconds
make a comedy
make a drama
make a scripted video
re-enact a cartoon or comic strip storyboard
After much discussion it was decided that for:
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Australian film & video

The April 2010 hosted by Shoalhaven Movie & Multimedia Group at Nowra
At this meeting each Club will present short videos of club members and their hobbies OTHER than moviemaking.
Each Club will have an allocation of 10 minutes so that they could present ten 1 minute videos of their
members or one 10 minute long video of a member or anything in between.
The September 2010 meeting will be hosted by Milton-Ulladulla at the Mollymook Golf Club.
For that meeting each Club will produce a scripted video of no more than 10 minutes. Each Club will also
bring to the meeting a copy of the script they used to make the movie.
Mini Video Festival
The afternoon session became a mini video festival as each Club showed its entries based on the “Australian
Story” format. The videos were shown in random order. The process adopted was for the maker/s to introduce
their video, followed by the viewing and then there were some discussion of the video.
Nicole’s Story from the Shoalhaven Movie & Multimedia Group. This video was a Club effort involving 4
members and told the story of Nicole and her love of animals and her teaching of animal behaviour and
helping owners train their pets. Discussion on the video centred around editing with synchronised sound
and how to avoid visual jumps in interview scenes when editing cuts are made to remove the mmhs and
arrhs. The use of cutaways or a two camera setup were suggested as possible solutions.
The Story of Ivo Bunker by Tom Hunt and Brian Harvey of WCCMM. This video told the life story of a
local identity seen through the eyes of his daughter, work mate and friends. It is the story of a truly
unique person, a person who not only repaired bikes and cars, often made his own parts for them when
none were available but also built his own garage at the foot of Bulli Pass from bricks he fired himself
from clay cut out of the hill where the garage was located.
Chooks on a Hot Tin Roof by the Milton-Ulladulla Video Group told of the formation of a group of 12
women singing and playing ukuleles. This video used their signature song as means of tying together
the introductions of each of the group’s members.
A Boat, A Woman and A Dream by Max Davies of the WCCMM told the story of one man’s dream to sail
around the world. Using interviews from both the “Man” and the “Woman” the “Dream” was revealed
in all its practical details.
Hungary to Australia by ACT Video Camera Club told the story of one family’s struggle to escape Nazi
occupied Hungary and find new hope in a new country. During the discussion on this video it was mentioned
that it was a pity there were not more old photographs available so they could be used to mask
the jump cuts in the interview scenes.
A look Behind the Scenes – Escape ArtFest 2009 by Milton-Ulladulla Video Group did take a look behind
the scenes. It detailed all the preparation needed to run an ArtFest.
Cutting a Shape by ACT Video Camera Club was an examination of the work and life of a true craftsman
in the art of wood caving.
A Family Obsession by Bob Kennedy put the human face to drag racing. The story concentrated on a father
and son team who have won two major awards. This video showed the sport of organised drag racing as
distinct from the unorganised back street variety.
Also on display at the Meeting
Dolly Jib Lighting
Photos By Ian Simpson
Australian film & video
Page 37

ANOTHER SCAM TO BE AWARE OF
The following was received as an email. Normally I send them via the trash bin, but
this one I thought I would pass it on via AF&V to our readers ...take it as you will.
Editor.
Just last weekend on Friday night we parked on the foreshore at St. Kilda (Victoria) and as I drove away I
noticed a sticker on the rear window of the car, (when I took it off after I got home) it was a receipt for petrol,
luckily my husband said don't stop as it could be someone waiting for me to get out of the car.
Then we received the email below the next day which had been doing the rounds.
BEWARE OF PAPER IN THE BACK WINDOW OF YOUR VEHICLE
NEW WAY TO CARRY OUT CAR JACKINGS
You walk across the parking lot, unlock your car and get inside. You start the engine and shift into Reverse.
When you look into the rear-view mirror to back out of your parking space, you notice a piece of
paper stuck to the middle of the rear window. So, you shift into Park, unlock your doors, and jump out of
your car to remove that paper (or whatever it is) that is obstructing your view.
When you reach the back of your car, that is when the car jacker appears out of nowhere, jumps into your
car and takes off.
They practically mow you down as they speed off in your car.
And guess what, ladies
I bet your purse is still in the car.
So now the carjacker has your car, your home address, your money, and your keys.
Your home and your whole identity are now compromised!
BEWARE OF THIS NEW SCHEME THAT IS NOW BEING USED....
If you see a piece of paper stuck to your back window, just drive away. Remove the paper later and be
thankful that you read this e-mail.
STOKES JOKES - UK
Father Murphy walked into a pub in Donegal, and asked the first man he met, “Do you want to go to heaven” The
man said, “I do, Father.” The priest said, “Then stand over there against the wall.” Then the priest asked the second
man, “Do you want to go to heaven”
“Certainly, Father,” the man replied. “Then stand over there against the wall,” said the priest. Then Father Murphy
walked up to O’Toole and asked, “Do you want to go to heaven” O’Toole said, “No, I don't Father.”
The priest said, “I don’t believe this. You mean to tell me that when you die you don’t want to go to heaven”
O'Toole said, “Oh, when I die! Yes, I thought you were getting a group together to go right now.”
A new pastor was visiting the homes of his parishioners.
At one house it seemed obvious that someone was at home, but no answer came to his repeated knocks at the door.
Therefore, he took out a card and wrote “Revelation 3:20” on the back of it and stuck it in the door.
When the offering was processed the following Sunday, he found that his card had been returned. Added to it was
this cryptic message, “Genesis 3:10”.
Reaching for his Bible to check out the citation, he broke up in gales of laughter.
Revelation 3:20 begins “Behold, I stand at the door and knock.”
Genesis 3:10 reads, “I heard your voice in the garden and I was afraid, for I was naked.”
A police officer stops a blonde for speeding and asks her very nicely if he could see her licence. She replied in a
huff, “I wish you guys could get your act together. Just yesterday you take away my licence and now today you expect
me to show it to you.”
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Australian film & video

Looking Back with John Hussell
Sub Editor
NSW Southern Division
THE EDIT CONTROLLER
Yes, you could make good videos “in the camera,” without ever going forward into the area of Editing or
(post-production). But if you want to take your videos to the next level of quality and professionalism, you
have to edit. This may sound like a simple over generalization, but try to imagine what movies would be
like if Professional moviemakers left their films unedited. Or just remember the last time you tried to get
your family to sit still while you fast-forwarded through the boring parts of your latest epic.
Because many of us have moved away from VHS cameras and into digital there are some who still use
them as well as 8mm film. I remember the days of using 8mm film, each spool gave 3 minutes of screen
time! To the best use of the reel; PLANNING became extremely important, a script yes; but it is more than
that; a shot list
Is that enough
No! It is more than that, the cameraman/editor needs to be producer/director just look at the credits of any
TV show or movie in a cinema. And see about fitting in with what you want as well please Plan, Plan and
PLAN.
So if you're ready to move up from two-VCR editing, what can you do Easy, get an editing controller. an
edit controller :is simple device that allows you to easily cut out the bad parts and combine footage from
more than one master tape. Reading this article you'll learn what features to look for in an edit controller;
then use the internet to check out the models currently available.
An editing controller gets you back to the creative part of editing by getting you further away from the mechanical
part of it. Instead of wearing out your fingers pressing buttons, many controllers have shuttle dials
that make finding edit points much simpler. Just turn the dial to the left or right and the tape shuttles backwards
or forwards, respectively. How much you turn the dial determines how quickly the tape shuttles.
Sound easier to use It is.
A controller also handles all of the pre-roll, so there's no more backing tapes up by hand to make an edit. It
even lets you preview an edit before you make it, so you can decide if it looks right, and then only record it
once.
If you haven't added an editing controller to your video setup yet, it might be time to look into doing it. A
controller won't make editing seem like a walk in the park, but it can make creating better videos much easier.
Camlink Vision 500 Video
John Hussell.
The Editor has
this unit for sale.
$100 ONO
See page 43
Panasonic VW-EC300E
Edit Controller
Click on the below link to read about the Camlink Vision 500 Video
http://www.comparestoreprices.co.uk/camcorder-accessories/camlinkvision-500-video.asp
Australian film & video
Page 39

Titles and Graphics
by Bob Kennedy
Titles relate to Opening, closing and subtitles used in movies.
Page 40
Australian film & video

DVD cover for Bob’s latest video
showing the front, spine and reverse
as an example of Titles &
Graphics.
Reprinted with permission of the Author Bob Kennedy & Wollongong Movie Makers Newsletter November 2009
Australian film & video
Page 41

Rainer is a member of the ACT Video Camera Club who sometimes likes to use special effects in his
videos. He has become particularly enthusiastic about the capability of Blender. You can see an example
of how he has used Blender at http://www.vimeo.com/4042447. Download your own copy of
Blender from www.blender.org.
Video compositing, as summarized by the author in a slightly circular definition, is “reformatting images
and video, adjusting and correcting images and video, assembling and animating elements, compositing
and processing images and elements and sequencing video strips and audio”. Say you want a “Star Wars”
type scrolling title in your video, or say you have always wanted to produce a sci-fi blockbuster culminating
in an end-of the world event, or you might just want to change a road sign or billboard in your video to
read something different, these effects can be achieved digitally by means of compositing.
Most compositing is done with high cost software like After Effects, Nuke, or Shake. But what if you don't
have, don't want, or can't afford these programs Enter Blender. No, in this case it’s not some type of food
processor. Blender is free, open source software which runs on Windows, Mac or Linux. Blender started
out as and has always been a good 3D animation program. Then, a few years ago, largely to demonstrate
Blender’s movie making capacity, some of the developers decided to make a complete animated movie
(The Elephants Dream). This was followed by a subsequent movie (Big Buck Bunny). Throughout the
process they added and enhanced features and substantially boosted Blender's capabilities as a video compositing
tool. As a result you now can achieve just about any special effect you might want in your video.
The catch is that Blender is complex and, like the other powerful high level compositing programs, requires
an investment of time to understand and use successfully. You cannot expect just to start using Blender
without help in some form. Fortunately there are a whole lot of guides to Blender available, either in the
form of books or on-line tutorials and help. Of all this material, I would regard Foundation Blender Compositing
as the supreme introductory, yet very comprehensive guide, to Blender and to integrating Blender
into a digital video compositing process.
Roger Wickes is a Blender expert who knows the program intimately (he also wrote much of the official
on-line Blender manual). In his introduction, he says that the book “is intended to serve compositors and
post-production professionals who want to use Blender in their pipelines, who just need to know the tools
available in Blender, or who possibly need a few examples to get them started”. It achieves this aim admirably.
The book is also highly suited to advanced amateur video makers who would like to take their videos
to the next level by adding professional special effects. The author's love of the topic comes through. He
says that the book took him six months to write. I would venture that it took much longer. Obviously deep
thought has gone into the content and structure of this book.
If there is one criticism of the author’s approach, it is that he is maybe too dedicated to his topic. Although
Blender is capable of doing everything, you won't want to use it for regular editing. Most dedicated commercial
editing programs do this better. Blender's audio features are also quite weak. You just can't beat it
for effects. This book shows you how. At around 470 pages, in full colour with a DVD containing Blender
plus all the examples you will need, for about $A50 delivered from Amazon, if you want extra effects in
your video or just want to be inspired, this book is a bargain.
Rainer Listing
Book Review:
Wickes, RD Foundation Blender Compositing,
Published by Friends of Ed, NY, 2009
Book Review - BLENDER
By Rainer Listing
Page 42
Australian film & video

Sony VX2000E 3 CCD fully automatic or fully manual 12x Optical Zoom,
optical image stabilizer, Viewfinder & LCD screen, 2 ND filters built in,
lanc connection, in original carton with all original accessories, backlighting,
index mark.
Plus 1X Canon WD-58 0.7x58 wide converter, 1x Hoya UV filter, 1x
VBF-950 battery (up to 9hrs) and 5 blank tapes camera in VGC
Original accessories include AC Power Adaptor - Shoulder Strap
Rechargeable Battery Pack - A/V Cables - Memory Stick
Wireless Remote - Large Eye Cap - Software
Also included a full copy of Liquid Edition & user manual & tutorials
Asking $2,275 ONO
SONY VX2000E
Phone Ron (07) 4129 5842 or kaosvid@netspace.net.au
For Sale an ELMO 16mm Sound Film Projector
Contact John Hussell
Email bwombatsprint@yahoo.com
Phone: 02 4422 8196
Mobile: 0419 603 823
Price Australian Dollars $A90.00
Postage & Handling: Additional Cost
There are also spare projector globes
If you have anything to sell please send your
details to the Editor and they will be advertised
for FREE in our CLASSIFIEDS. Please make
use of this free service.
Editor.
Panasonic
NV-MS4
Price: $200 ONO
Canon 1014 XL-S
Price: $200 ONO
Chinon Pacific
200/8XL Super 8
Price: $150 ONO
Panasonic
VW-EC300E Controller
Panasonic
WJ-MX10 Mixer.
Price: $200 ONO
Arista Mixer
MM4 Stereo Mixer.
Price: $250 ONO
Kalimar Tripod
Price: $75 ONO
LPL Enlarger
B&W Model 3301D
Price: $120.00 ONO
Ricoh
35 mm TLS 401 SLR
Price: $200 ONO
CONTACT: Gary Peterson
gazzapet48@yahoo.com.au or Mobile 0402 681 157
*** All deliveries at the expense of the buyer. ***
Make An
Offer
Apollo Mountain Bike
Price: $100 ONO
Australian film & video
Page 43

The Perfect Public Show is on 16:9 by Dave Watterson
At some point most of us will be asked to put on a show of films for a wider audience than our families or
the video club. It may be a public event or a large competition/festival screening. The present mix of video
formats and picture sizes can cause chaos. One non-commercial film festival in 2009 had 40% of the entries
in "widescreen". That proportion will grow rapidly as we move to HD video which is all 16:9. But it's
not quite that simple …
What shape is that
We are used to videos made and shown in the 4:3 aspect ratio. Videos made in the 16:9 aspect ratio are
starting to arrive. Unless you can change your projector's output shape and change your screen masking
you will have to choose one shape or the other:
4:3 on a 4:3 screen
Celeste
Letterboxed 16:9 on a 4:3 screen
Life's Little Gaps
Pillarboxed 4:3 on a 16:9 screen
Company's Coming
If a widescreen video is in anamorphic (squeezed) 16:9 it will look wrong shown 4:3 - all the people will
be taller and thinner than in life. The answer is to show it 16:9 ... but a widescreen anamorphic video need
not be 16:9. Some film makers are imitating the commercial cinema format of 2.35:1.
With a 16:9 original the image is either
wrong at 4:3 or right at 16:9
but
a video made 2.35:1 needs special
treatment and has to be shown 16:9 but
letterboxed
Anamorphic 16:9 shown 4:3
Will Ye Go To Flanders
Anamorphic 16:9 shown 16:9
Will Ye Go To Flanders
Anamorphic 2.35:1 shown 4:3
Dentophobia
Anamorphic 2.35:1 shown 16:9
Dentophobia
Anamorphic 2.35:1 shown 16:9
Dentophobia
For the Ideal Show
• Use a video projector designed for 16:9
• Use a 16:9 screen
• Digitally copy all films onto tape in 16:9 video (“pillarboxing” 4:3 movies and “letterboxing” 2.35:1
movies)
Page 44
Australian film & video

16:9 Projector
16:9 makes more demand on the light output, so choose one optimised for that aspect ratio.
[Only ever use the 16:9 or 4:3 projector menu options. Ignore all other sizes. Those options distort an image to fill the
screen. Don't do that to someone's precious movie. Never trust an “automatic” setting.]
16:9 Screen
Use one as wide as you can, bearing in mind the light-output of the projector. If the audience is not on raked seating, put
the screen as high as possible so everyone can see. Set the equipment up so that the 16:9 projected image fills the screen.
When a 4:3 image appears it will be the same height but there will be black bands at the sides (known as pillarboxing.)
Copying
In analogue days copying reduced image quality. Digital copying is near-perfect. Whenever possible get the films in advance,
copy them all onto one or more projection-master-tape/s. That allows you to resolve any problems in private and
simplifies the public show.
Start a widescreen project in your video editor. Load all the films into it, carefully maintaining their original format. That
may mean selecting each one on the timeline and using a menu option. Some editing systems try to resize images to fit the
frame - stop them! You may have to adjust image sizes manually. Load tapes in the usual way via Firewire through a tapedeck
or camcorder.
For films on DVD - copy the large files marked nnn.VOB onto your editor’s hard drive. A few edit systems can handle
VOB files directly in the timeline. Others require you to change the file name to nnn.MPG and then import them and render
them before use. If all else fails record from a separate DVD player using S-Video and stereo sound cables.
Some film makers use commercial movie shapes like 2.35:1. Ideally they will have supplied them in a 16:9 form with thin
black bars top and bottom. If such works have been copied previously by people who did not recognise the format, you
may have to do some manual resizing of such films in your editor. (That was the case for the film illustrated above, Dentophobia,
when it reached the British BIAFF Festival.)
Take the opportunity of assembling the programme on the timeline, removing any menus, countdowns and other unwanted
sections. Between each film leave 3 seconds of black, three black frames with a white dot near the top right and three more
seconds of black. During projection that allows plenty of time for the operator to pause between films if necessary. You
may also choose to add titles announcing the award the next film has received.
Less than ideal conditions
Tapes and DVDs are cheap and easy to make, so in most situations you can ask for movies in advance. If you really must
deal with films handed to you at the show:
• Try to set up two projectors - one for 4:3 and the other for 16:9. Projectors are cheaper and more common now so this
is not impossible to organize. Each will need a dedicated tape player and DVD player.
• Ask the maker how they think it should be projected. If they say “widescreen” or “16:9” ask if they have letterboxed
it. Assume everything will be 4:3 aspect ratio unless it is “unletterboxed 16:9” … often called “anamorphic” or “full widescreen”.
• While a film is running try to preview the next one to check its aspect ratio.
• Avoid on-screen menus if possible. Study your projector's manual to see how to switch between 4:3 and 16:9 projection
- some let you save “pre-sets” which you can change with one button push. Use the remote control - point it at the
screen and the signal bounces back to the projector. Do NOT trust any "automatic” setting.
If your screen is 16:9, a 16:9 film that someone has “helpfully” letterboxed onto 4:3 video, should be projected 4:3. The
picture will appear as an oblong with black bars on all four sides. You can use the projector's zoom lens to expand the picture
so that it fills the screen - but that makes the image dimmer and may require re-focusing.
Before the zoom
The Trap
After the zoom
The Trap
Australian film & video
Page 45

Gadget No 3
Page 46
Australian film & video

Australian film & video
Page 47

Reprinted with permission of the Author Andrew Ward & BVMA Scanlines Newsletter October 2009
IAC British International Film Competition
I know that a number of FAMM members like to take part in the IAC British International Film Competition
but until now that has meant problems paying the entry fee.
Now we have made it easy.
Visit www.theiac.org.uk/central/biaff2010/biaff-2010-contest.html and you will find all the information
including links to the online entry forms. Film makers can register their films this way and - if they choose
- go on to pay by credit card or PayPal. Of course the cassette or DVD still has to be sent by mail!
The Closing Date is 31st January. The contest allows any subject and any length of movie. All entrants
get written comments from the judging panels.
Make us send some of our prizes to Oz!
Best wishes for the holiday season
Dave Watterson (Assistant Webmaster www.theiac.org.uk)
Page 48
Australian film & video

FIVE BEST COMPETITION
CONDITIONS OF ENTRY
Note to Entrants: This Competition is conducted under the conditions of FAMM Limited
By-Law 2
1. Each entry must be a non-professional production and not made for profit.
2. The entrant shall be responsible for copyright.
3. Each movie maker must read and understand the rules and sign the Entry Form.
4. Maximum length of movies shall be fifteen minutes.
5. No movie shall carry a title showing success in another competition.
6. Entries are to be made in digital format either on tape or optical disc.
7. Sound tracks must not be made in professional studios by professionals.
8. The decision of the Executive of the Federation shall be final in regards to appeals,
disputes and the interpretation of these rules and conditions.
9. The Competition entries close on the nominated date. Entry Forms are to be sent to
The Competition Secretary, Movies to be sent to the Convention Committee as stated.
10. The entrant grants the right to the Federation to duplicate the entry as per By-Law 2.
11. Movies made by a Group or as a Club Production must be named accordingly.
12. The Club may enter five movies and must preferentially rate each (refer to By-Law 2
Clauses 48 and 49).
13. I declare that I hold the necessary licenses or permissions to use in this context all
copyright material, if any, included in this entry or adapted for this entry or on which this
entry may be based whether wholly or in part and hereby indemnify the event organizers
and the Federation against all or any claims arising from such use.
Entry forms must reach the Competition Secretary on or before February 10th 2010.
Please mail to:-
FAMM COMPETITION SECRETARY
ALAN BEALE
103 DELAVAN STREET
WISHART QLD 4122
Movie entries must reach the Convention Committee on or before February 10th 2010.
Please mail to:- FAMM LTD.
74 BEVERLEY HILL STREET
MOOROOKA QLD 4105
Acknowledgment of receipt of movies will be given ONLY if a stamped, addressed envelope is included with the media.
RETURN OF ENTRIES
Club to tick one of the boxes for return of entries to club.
☐ Return before 2010 Convention ☐ Return at the 2010 Convention
Australian film & video
Page 49

Bits & Pieces with Rob Farquharson
Creating a Menu Driven DVD using Sony
DVD Architect Pro 5.0.
In the last issue of AF&V, I indicated that I would take a look at a noise reduction
plug in for Sony Vegas called Neat Video. This article has proven to be quite a challenge due to the extensive
level of manual control and tweaking possible with this excellent program. I can assure you that the
results produced by this plug in are great and the article will be ready for the Winter edition.
In the meantime, Some fellow club members have had some difficulties using DVD Architect to produce a
menu driven DVD, so this is the subject of this month’s article.
It is assumed that at this stage your project has been rendered to a file such as avi or mpg or to separate
DVD Architect video and audio streams.
You will be shown how to make a single movie DVD with a simple menu that has a still from the movie as
a background, a menu with a background still and music from the movie,
and a menu with a video clip as the background in the menu. In the Autumn edition of AF&V, I’ll show
you how to make a multi movie DVD and associated menu.
To make this process simpler, it is wise to capture the stills that you need from your movie before you begin
to make the menu. You can do this in Vegas or use stills taken with a still camera. To have sound and/
or video in the background, you should prepare a clip in Vegas (running time 30 –45 seconds is good) and
render it in the same format as your main movie then render the sound only as a wave file (or AC3 if you
prefer). You’re now ready to make your DVD!
Creating a single movie DVD
Creating a menu with a background still
Open DVD Architect. The opening screen should appear as shown in diagram on the next page. The opening
screen is divided up into various sections as shown in the diagram. It is useful to familiarise yourself
with each of these sections and their names.
The Project Overview Window Shows you all of the files and menus in your project and how they
relate to each other.
The Workspace (Preview Window) Where you edit menus and pages and preview the DVD.
The Properties Window
Where you edit the properties of the media, buttons etc in your
project.
Window Docking Area
Where you find media on your computer, themes, buttons and
backgrounds, and perform timeline editing on playlists, compilations,
scripts and titles in your project (see the various tabs such
as “Explorer”, “Themes” etc at the bottom of the area).
Text Editing Bar
Where you find various buttons to help you edit the text on your
menus (when the text is selected).
Timeline
Where you can edit the video and audio tracks if necessary.
You also have the usual Menu Bar and Tool Bar at the top of the screen as is usual for most Windows
programs.
Some time ago I made a short movie called “New Life” that puts images to a particular piece of music. The
movie was shot in HDV format and the edited movie was rendered to a PAL DV file for burning to a DVD.
I also edited a 45 second segment from the movie to act as background video in the DVD menu and rendered
it to a PAL DV file. I then rendered the sound from this segment as a sound only WAV file to use as
background sound to the menu in the event that I decided to use stills in the menu instead of the video
background. On this occasion I ended up with stills and music as my backgrounds for the DVD but on
Page 50
Australian film & video

Menu Bar
Tool Bar
Project Over-
view Window
Properties
Time-
Work-
Text Editing Bar
(when text is selected)
Window
Docking area
Step 1 Click on the “File” menu and select
“New” from the drop down list. A dialogue
box will appear (see right) in which
you can set the properties of your project.
This step isn’t always necessary since you
can set your most frequently used parameters
as the default setting, but since I use a
variety of settings, PAL, NTSC, MPEG4
etc, I prefer to do this each time to make
sure of the parameters that I am using.
Since my project was a PAL DVD, I set the
project parameters as shown to the right
(circled in red). The Disc format was set to
DVD, The Project video format to MPEG-
2 720x576-50i, 16:9 (PAL) and the Project
audio format to PCM Stereo (for best possible
sound quality). Note that by clicking
in the checkbox (Start all new projects with
these settings) you can set these parameters
as the default settings. Click the “OK” button
when your parameters have been set.
You should now click on “File” and “Save
As” and give your project a title (in this example
“New Life”) before saving it.
Australian film & video
Page 51

Step 2 The next step is to find the video file that you want in your DVD. Make sure that the “Explorer”
tab is highlighted in the “Window Docking area” and use this area, just like you would use “Windows
Explorer” or “My Computer” to find the file you want. In this case, the file I want to use is called “New
Life Full Length Comp Version.mpg” which is in the “New Life” folder as shown below.
Click this
Button to
Stop playback
Note** When you click on the required file, it will automatically begin to play, with the image appearing
in the workspace (preview window). This is useful to ensure that you have the correct file. When you
wish to stop playback, click the stop button as shown above.
Step 3 Now you need to get the selected file into your project. There are two simple ways to do this,
depending on your preference. The first is to simply double click the file name. The other method is to
drag the file with your mouse from the” Window Docking area” up to the “Project Overview window”
until “Menu 1 (Page 1)” is highlighted and release the mouse button. Two things will happen as a result
of the above. A button will appear in the “Workspace (Preview Window)” and the file that you imported
will appear in the “Project Overview window” as a branch from “Menu 1 (Page 1)” . The button that appeared
will start the selected file playing when a DVD is created. The diagrams on the next page show
you what will happen when the selected file is added to the project.
Page 52
Australian film & video

The “Project Overview window” will change as shown in the two diagrams below.
The workspace now shows the button that was
automatically inserted when the video file is
added to the project (see right).
Step 4 Now the appearance of the menu needs
to be personalised, so we’ll adjust the menu
name, change the button appearance and add a
background image to the menu.
Click the “Menu Label” textbox (with Menu
written in it) and the textbox will become highlighted
and the “Text Editing Toolbar” will become
visible as shown below. Next, click on the
“Edit Text” button on the toolbar and you will
see a flashing cursor in the text box. Change the
menu title to whatever you wish. In my case, the
menu title will be “New Life” (see next page).
New Button Added.
Clicking here
highlights the menu
name text box.
The Edit
Text toolbar now
appears.
Click here to
Edit the text in the
menu
name text box above.
Australian film & video
Page 53

The menu name has
now been changed to
the name of the movie
i.e. “New Life”. The
font size has been increased,
the font colour
changed to red,
font shading increased
and the text
bolded. Notice that
the font size was not
increased by using the
The text can be
drop down lists on the
modified using any of the controls
Edit Text toolbar. It
below. Experiment with them until the
was increased by in-
text has the appearance that
creasing the vertical
height of the text box
using the “Properties
Window”, as shown
in the diagram below.
As you increase the
vertical height of the
text box, the size of
Font size is set to
the font also increases because the font size
auto.
is set to Auto in the “Edit Text” toolbar.
Next, the button will be altered into a more
appropriate form (for me at least). First, click
on the button. It will become highlighted and
the “Properties Window” will change to
show “Button Properties” (see diagram below).
My personal preference is to have a
text only button with “Play” on it when there
is only one movie on the DVD. I also prefer
the button highlight to be an underline. I
think that this is the neatest and most unclut-
In the “Properties
tered arrangement.
Window”, click on Y
(vertical)
The “Properties
size and type in a value di-
Window” has changed
to show button
Click on the
button to highlight
it and change the
“Properties
Page 54
Australian film & video

To alter the button appearance, do the following.
1 2
Click on the
“Media” box in the
“Properties Window”.
Select “Text only”
from the drop down
list box.
3 4
Click on “Edit
Text” and
change
Format the font
etc using these
controls.
Click on the
“Transformations” box
in the “Properties Win-
dow”.
5 6
The “Play”
Button is now a
better size.
Click on “Y size” (Vertical)
and type in a value greater than 70 or
use the up or down arrows to increase
or decrease the value.
Australian film & video
Page 55

The next procedure will change the button highlight to an underline (I think this looks better).
7 8
Click on the
“Highlight” box in the
“Properties Window”.
Click on “Style”
and select “Underline”
from the drop down
box.
Next we’ll improve the menu by setting a control that reduces interlace flicker (the shimmering effect
that you get on some still and video images when viewing interlaced video). This works on the menu
9
10
only.
Click on the“General”
box in the “Properties Win-
Click on “Reduce interlace flicker”
and select “On” from the drop down box.
11
12
Click on the“Background Me-
dia”
Click on the“Video” and select
“Replace” from the drop down
Page 56
Australian film & video

13
This dialogue box will
appear allowing you to select the image file
that you want to use as the menu background. In
this example, the file is called “Menu Image 2.jpg”.
Click on this file to select it and click the “Open”
button or just double click the file name to
open it.
The menu now
has a new background
image
(the one selected
above). It is also
clear that the
menu name and
the play button
are not in the
most appropriate
place so the next
job is to move
them to a better
location. This
can be done by
simply selecting
each and dragging
them to a
better location
(see the image on
the next page).
14
Australian film & video
Page 57

15
The new locations are much
more sympathetic to the
menu image. Next we’ll see
how the menu looks and operates
by looking at a preview
of the menu.
Click on “Preview” on the
toolbar at the top of the
“Workspace” and you will
see a view of the menu exactly
as it would appear on
the DVD. Beside it is a virtual
remote control so you
can see how the menu will
actually operate (see the diagram
on the next page). Notice
that the “Play” button is
underlined. This is because it
is the selected button (since
it’s the only button on the
menu).
Click on the “Play” button on
16
the menu, or click the “Play” button or “Enter” button on the remote to see how the menu behaves. The
main movie should start to play. When you’ve seen enough, press the “Stop” button on the remote and
click the “Close” button on the toolbar above the remote.
You may also have noticed that the underline under the “Play” button on the menu was too wide. This simply
means that the button itself is too wide. This can be corrected, once you have closed the preview, by clicking on
the “Play” button in the “Workspace”, clicking the “Transformations” box in the “Properties Window”, clicking
on “X size” and adjusting the size by typing in a smaller value or using the down arrow to reduce the size. You
should reduce the size of the button so it is only slightly bigger that the text on the button i.e “Play”. The result of
this change is shown on the following page.
Page 58
Australian film & video

17
Click the “Close”
button to return to
the
Click the “Stop”
button when you
have
Notice that the
underline is too wide.
Click one of these
three buttons to see how
the menu works. The movie
The diagram at right
shows how the underline
under the “Play”
button should look after
it has been adjusted.
Creating a menu
with a background
still and
audio.
Step 5 The next task is
to add some background
audio (music) to the already
created menu. Click
on the “Workspace” (not
on the “Title” box or
“Play” button). Click on
the “Background Media”
box in the “Properties
window”. Click on
“Audio” and click on
“Replace” on the drop
down box.
18
Australian film & video
Page 59

Click on the
“Background Media” box in
the “Properties Window”.
19
Click on “Audio”
and select “Replace”
from the drop down
box.
The diagram to the right shows the process on
the previous page. An “Open Media” dialogue
box will open as shown below. Select the audio
file to add to your project and click the
“Open” button to import the file. The audio
file is the “wav” file previously prepared and
rendered in Sony Vegas.
Now that both background image and audio
files have been imported, these files are displayed
for you on the “Timeline” (see the diagram
on the next page).
20
This dialogue box will
appear allowing you to select the audio file
that you want to use as music in your menu. In
this example, the file is called “New Life Comp
Version .wav”. Click on this file to select it and click
the “Open” button or just double click the file
name to open it.
Page 60
Australian film & video

Now you should pre-
21
view your menu as
shown previously. The
only difference is that
The background
before you click the
image and audio files are
“Play” button, the au-
shown on the Timeline.
dio file begins to play
as the menu is displayed.
When you
press “Play” the audio
stops playing and the
movie begins as before.
There is one further
enhancement that I
would recommend. At
this stage, the background
audio file will
play until it finishes
and then stop. It is
more desirable to have
the audio file repeat
(loop) once it is finished i.e. start playing again and again until the “Play” button is pressed. This can be
22 23
Click on the
“End Action” box in the
“Properties Window”.
Click on “Command”
and select “Loop” from
the drop down box.
done using the following procedure. The music will
now loop. Preview it and see how it works.
24
Click on the
“Background Media”
box in the “Properties
Window”.
Australian film & video
Page 61

25
Click on “Video”
and select “Replace”
from the drop down box.
This dialogue box will
appear allowing you to select the video file
that you want to use as your menu background. In
this example, the file is called “New Life Full Length
Comp Version .mpg”. Click on this file to select it and
click the “Open” button or just double click the
File name to open it.
26
27
The video
file now appears
on the timeline.
Page 62
Australian film & video

28
29
Click on “Audio”
and select “Replace” from
the drop down box.
At this stage, only the video of the background
video clip has been added to the menu. The next
step is to add the audio from the background
video clip. Click on the “Audio” box in the
“Properties Window”,
click on
“Audio” and select
“Replace”
from the drop
down list box. On the
dialogue box, select the same video file as above
and click on the “OK” button. You’ve now added
the audio from the background video clip.
Now you will see both the video on the “Video”
track on the “Timeline” and the audio waveform
on the “Audio” track on the “Timeline”. Preview
the result. You will find that the video clip
(including its audio track) will play in the background
of the menu until it has finished, then start
again. This will continue until the “Play” button
Notice that
both the video and the
audio from the background clip
now appear on the “Timeline”.
has been pressed. The video clip “Loops” like this because you previously set the “Menu Page Properties”
“End
Action” to “Loop”.
From this point, the project is ready to burn to a DVD disc. At this stage, you have set the general properties
for your project (see page 2 of this article), but you have not set the detailed properties for your project
or the DVD that you are about to burn. To do this, click on “File” on the menu bar at the top of the
screen and click on “Properties” on the drop down list box. The “Project Properties” dialogue box will
appear, and you should work your way through all of the properties and make sure they are appropriate.
Australian film & video
Page 63

30 31
Click on “File”
and the click on
“Properties”.
Make sure all of these properties
have the correct settings. Scroll down to see
the rest. “Aspect ratio” should be set to 16:9
to make a 16:9 enhanced widescreen disc.
Click on “OK”
when the properties
are set.
32 33
To start making your
DVD, click on the “Make
DVD” button. The
screen
34
Now click on the
“Burn” button. The
screen
to the left will appear.
Make sure “Current
Project” is selected and
click on “Next”.
Page 64
Australian film & video

37
36
35
A message box will appear as
shown on the left. This is called the
“Review Message List” and it lists
comments and warnings about your
project.
The first comment refers to the fact
that when I rendered the video file,
it was a variable bit rate render with
maximum bit rate set at 9,500Mb/s.
Virtually all modern DVD players
can easily handle this high bit rate,
When the messages have
so this message can be ignored.
been read, you can either modify
The second message merely indi-
the project or ignore the messages
cates that the audio will be converted
to PCM stereo from the mpeg
track recorded on the movie.
The third message just means that
the menu name or play button might
be too close to the edge of the menu
and be a bit cut off (mainly a problem
with older CRT TV sets), but
you will find that if you place them
Set the “Speed as low
where I have indicated, this should
as possible, the click “Finish” to
not be a problem and the warning
start making the disc.
can be ignored. Click “Next” and
the “Select Burn Parameters” dialogue
box will appear as shown to
the left.
The default settings can be left unchanged
except for the “Speed”.
This should be set to the slowest
speed available. This will avoid
discs that either won’t play at all or
stutter or jump during playback. It is
advisable never to burn at maximum
speed! Click on “Finish” and
screen 37 will appear showing the
stages in the disc making process.
When the disc has been made, it will
be ejected from your DVD drive and
you’ll be asked if you want to make
another disc. Click “No” or click “Yes” and add another disc
to your DVD drive. You now have a shiny new disc ready to
view in your DVD player.
I like to make my tutorials simple and easy to follow so I
hope you don’t think that my approach is too simplistic or
long winded. I simply like to make all the steps very clear.
In my next article, I will provide a tutorial on making a multiple
movie (multiple title) DVD such as the one I made recently
containing all the entries in the Newcastle and Hunter
Valley Cine Society’s Movie of the Year competition.
If you wish to contact me to make any comments or suggestions,
please do so at the following email address
(mrf@exemail.com.au).
Until next time, best wishes and happy movie making!
Australian film & video
Page 65

If You Come to the UK Beware!
United Kingdom Correspondent
Stewart Emm
If you are out setting up your equipment to film, video or photograph a local street scene or historic building
you may get a gentle tap on the shoulder by a policeman and asked in a friendly fashion “What are you
doing” and “Why are you filming a particular scene” On the other hand you may get a totally different
sort of police response. This headline was in the Guardian newspaper on 9 th December, 2009.
This heading was followed by an article in which an architectural photographer was apprehended by police
while photographing the 300 year old spire of St Christopher Wren’s Christ Church, London. He was
stopped by a squad of seven officers, who pulled up in three cars and a riot van and searched him under
section 44 of the Terrorism Act. After his bag was searched and he explained he was a freelance photographer
taking photographs of a building, he was released and no further action taken.
This is not an isolated incident in the UK and many Film and Video clubs are reporting that their members,
while filming in public spaces, are being pulled up by the police, who tell them that they cannot shoot any
footage or they will be apprehended under the anti terrorist laws.
There have been no changes in the UK law regarding filming and taking photographs in public spaces has
not changed. There are no restrictions on taking photographs on public land and in public spaces in the UK.
However since the passing of a new anti-terrorist law in 2009 there is a new threat in the UK to all amateur
or professional film and video makers and that is a shifting attitude towards shooting film or video on public
land or in public spaces
Every week people using their cameras in public find themselves on the receiving end of warnings either
by police, who stop them under Section 44 of the Terrorism Act 2000, or from over-eager officials who
believe that photography in a public area is somehow against the law.
Although the police’s own guidance makes it clear that there's nothing in the Terrorism Act that can be
used to prohibit the taking of photos in a public place, incidents like the above still occur. I don’t know
what the situation is like in Australia; you may be experiencing a similar police response under the Anti-
Terrorist laws, when filming in a public space. I will keep you posted on the ongoing situation in the UK.
Stewart Emm
UK Correspondent.
Police stop a leading photographer outside church under Terror Laws
Page 66
Australian film & video

Australian film & video
Page 67

THE FEDERATION OF AUSTRALIAN MOVIE
MAKERS Limited
NATIONAL CONVENTION - SUNSHINE COAST
17th to 21st May, 2010
AUSTRALIS NOOSA LAKES
Set on seven landscaped acres by the shores of Lake
Doonella and the Noosa River the venue is a modern
complex with attractive studio type bungalows.
Australis at Noosaville, surrounded by wilderness, is
near Tewantin and a short ferry ride along the
Noosa River from the Noosa Heads precinct which is
the centre of activity with outdoor cafes, fine dining
restaurants and stylish boutiques just metres from
Noosa Main Beach. A fifteen minute walk from Hastings
Street leads to one of the most visited national parks in
Australia, Noosa National Park. The Noosa area is a
diverse region of spectacular coastal scenery,
picturesque hinterland and the Noosa Everglades with
its calm water and mirror like reflections that is a
photographers paradise.
Traveling south down the coast from Noosa there are
many renowned surfing beaches to visit or simply
explore rock pools between Point Perry and Point
Arkwright or follow the scenic trail to Point Arkwright
lookout.
Maroochydore offers beach, riverside and shopping
experiences, Sunshine Plaza Shopping Centre has a
variety of speciality stores, cinemas, licensed cafes and
restaurants.
Spectacular views of the beach can be seen from Alex
Bluff when approaching Mooloolaba which is a thriving
dining and shopping precinct. A hundred metres or so
away explore Mooloolaba Wharf and come face to face
with the sea creatures at Underwater World.
Caloundra the southern most area has many glorious
beaches to surprise the visitor.
The Sunshine Coast hinterland is easily accessed from
all the coastal centres. Discover the charm of Montville,
Maleny and the Glass House Mountains.
Australia Zoo has recently topped the tourism award list
for best attraction in Australia. Come and get a thrill out
of watching the activities and even feed the elephants.
There is a large range of restaurants and cafes right
opposite the Australis (with delivery service available)
located just 150 metres away at the picturesque Noosa
Marina. Alternatively choose one of the 183 restaurants
in the Noosa area with some of the best situated on
Gympie Terrace which is in walking distance.
Don’t Delay - Book Today
To ensure your preferred accommodation.
The Registration Form is available for
download from the FAMM Website.
Holiday Attractions
Plan your 2010 winter holidays to include Queensland’s
Sunshine Coast and the FAMM National Convention.
The Sunshine Coast is liberally endowed with
interesting attractions. Firstly there are the many well
known beaches then destinations such as Ettamogah
Pub, The Ginger Factory, the Eumundi Markets, Noosa
Everglades, Underwater World, the Majestic Theatre at
Pomona and the very scenic hinterland which includes
Kennilworth, Flaxton, Montville, Maleny and the Glass
House Mountains.
Take advantage of the beautiful autumn weather, the
friendly natives and the companionship of like minded
movie makers. All these factors combine to provide the
perfect opportunity to “Make Movie Make Friends”, do
not let it pass.
Local Transport
Noosa is one and a half hours from Brisbane by road
and just just thirty minutes from Sunshine Coast Airport
(Maroochydore). Shuttle bus connection from the
Sunshine Coast Airport costs about $23.
There are three Caravan/Holiday Parks close to the
Australis - Munna Point Caravan Park, Russell Street,
Noosaville - Lake Cooroibah Holiday Park, Maximilian
Road, Tewantin - Big 4 Bougainvillea Holiday Park, 141
Cooroy Road, Tewantin.
Translink local bus services operate past the Australis
on a regular basis going to and returning from all the
coastal centres, Tewantin, Noosa, Maroochydore,
Alexandra Headland, Mooloolaba and Caloundra.
Page 68
Australian film & video

Australis Noosa Lakes offers a variety of first class
accommodation, including Studio, One and Two
bedroom apartment configurations.
Accommodation Rates
Studio Suite $132.00
One Bedroom Apartment $154.00
Two Bedroom Townhouse $226.00
The Studio Suite is the downstairs apartment and has
the one bedroom apartment above it upstairs. If both
lower and upper apartments are booked the cost reduces and
the combo is called the Two Bedroom Townhouse.
Convention Program
Monday, May 17th
Afternoon Registration of Conventioneers
Evening Own meal for dinner
Social Gathering, finger food, buy own drinks.
Welcome and Official Opening, Bridport Convention
Movie, One Minute Movies, 30sec Promo moves from
clubs & old FAMM movies.
Announcements and supper.
Tuesday, May 18th
Morning AGM Business Sessions
Lunch provided
Afternoon Speaker David Halliday and Keynote Speaker Steve
Gottormsen, Bond Uni, Teaching Fellow.
Evening Own meal for dinner.
Best of the Rest Movies. Announcements and Supper.
Wednesday, May 19th
Day Trip Choose - Australia Zoo (buy own food)
or Noosa Everglades (food included)
Evening Convention Dinner, Storytellers entertainment,
Presentation of Trophies, speeches and hand over to new
President
So talk to your friends and arrange to book
the double. Note that each apartment is lockable and
the lower front door also locks.
Check-in from 2.00pm / Check-out before 10.00am
TV and Austar with movie and sport channels. Air Conditioning.
Tea and coffee making facilities. Crockery and cutlery,
Microwave, Fridge, In room bar. Hairdryer, iron and ironing board.
Wireless broadband to each apartment.
For planning purposes please indicate preferred room type in
the space provided on the registration form.
Conventioneers are responsible for direct payment to Australis
Noosa Lakes for all room and service charges.
Australis Noosa Lakes Phone: (07) 5447 1400
When in contact with Australis please identify yourself as a
member of FAMM.
Thursday, May 20th
Morning Kayte New NDS Actors Stage to Screen Workshop
Lunch provided
Afternoon Kayte New NDS Actors Script to Screen Workshop
Evening Dinner provided
Five Best Movies program, Presentation of Federation
Shield. Announcements and Supper
Friday, May 21st
Morning Q & A Problem Solving
Noosa Museum Presentation
Lunch Provided
Afternoon Scenic Trip to Majestic Theatre for Movies
Afternoon Tea and Dinner provided
PLEASE ATTACH A SEPARATE PAGE IF YOU HAVE
SPECIAL DIETARY REQUIREMENTS.
Registration Forms and Monies before
April 12th 2010 Please.
Please Mail your Registrations to:-
The Convenor
74 BEVERLEY HILL St
MOOROOKA Q 4105
Australian film & video
Page 69

Dear Gary,
Thanks for another top class magazine. I can appreciate the work you have put into this production as I
have had some experience in the past. The frustration in trying to coerce articles from members, copyright
etc is certainly a challenge. I was pleased to see more photographic content and would like to see more as it
encourages the reader to take greater notice of the contents.
I wonder if anyone has thought about a photograph to depict each club. This will be a challenge of all
members to select a photograph to be used in conjunction with their club name. The old Chinese statement
that “a photograph is worth a thousand words” has great merit.
Excellent editing. My congratulations.
Michael Maros Adelaide Filmo Club
(Michael I like the idea of the photograph. Ed.)
Hello Gary,
I know you are putting a lot of work into AF & V and it just keeps getting better. You are giving the video
enthusiast what Amateur Cine World did for the film enthusiast 50 years ago. (Geez, its THAT long ago!)
Certainly better than the commercial video and computer mags which seem to be full of promos for product
few can afford.
Talking to Neal recently about the advances in video/movie technology, I commented that for all the goodies
now being made available, nobody, amateur or professional, appears to have found a way to make the
wheels on a vehicle appear to rotate in the same direction it is travelling.
Regarding the Copyright problem exercising the mind these days, apart from using the various Royalty free
music made available, there is another, if facetious, way of using any music you like without having to pay
a cent. Don’t play the music you would like to use, instead leave the soundtrack blank, but show a subtitle
suggesting the name of the piece for the audience to replay, in their collective mind, for example: “Oh what
a beautiful Morning”, or “The Blue Danube”. Just joking, but wouldn’t the music industry go nuts, if it
caught on. Laws cannot be passed to control what you are thinking…yet.
Regards,
Bruce McDonald, QMM
(Bruce thank you for comparing AF&V to ACW it’s most appreciated. Ed)
Hi Gary,
I was wondering if members who want their videos to be seen could place them (through you as Editor) on
the net for members to view. I've often thought I would like to see what other members are doing without
going to a lot of trouble. Some may some may not, some may consider copyright problems etc. What do
you think might be possible
Michael Maros Adelaide Filmo Club.
(Great suggestion, but FAMM does not have a lot of “space” for content to be placed on the web site. Also
copyright could be a problem. Maybe your club could bring it up at the next Convention in Noosa for discussion.
Also thank you for you various articles which you contribute to AF&V. Ed)
Hi Gary,
Congratulations for your efforts on this eagerly awaited publication. I wrote a book review that you might want
to include.
Best wishes, Rainer.
(Please read Rainer’s Book Review on page 34. Ed)
Page 70
Australian film & video

FEDERATION OF AUSTRALIAN MOVIE MAKERS LIMITED
NEW SOUTH WALES - CENTRAL DIVISION
Cronulla Video Makers
www.members.optusnet.com.au/~knowtech/
Sec: Glenn Townsend (02) 9525 1522
seedivers@optusnet.com.au
Meet: 1 st Monday at 8.00 pm
Newcastle & Hunter Valley Cine Society
Website Under Construction
Sec: Gordon Taylor (02) 4933 7359
Gordon.taylor@hunterlink.net.au
Meet: 2 nd Monday at 7.30 pm
Newcastle Video Moviemakers Inc
www.nvm.org.au
Sec: Kathy Prior (02)
klprior@ozemail.com.au
Meet: 1 st Wednesday at 7.30 pm
South West Video Club Inc
www.swvc.org.au
Sec: Mark Driver (02) 4294 1537
klprior@ozemail.com.au
Meet: 2 nd Wednesday at 7.00 pm
NEW SOUTH WALES - SOUTHERN DIVISION
ACT Video Camera Club
www.geocities.com/actvcc/index.html
Sec: Trish Skinner (02) 6231 8851
skinners@homemail.com.au
Meet: 1 st & 3 rd Thursday at 7.30 pm
Milton Ulladulla Video Club Inc
www.muvc.org.au
Sec: Frank McLeod (02) 4441 0923
fjmcleod@bigpond.com
Meet: 1 st Thursday of Month
Movie Makers Wollongong Camera Club
www.wollongongcc.org.au
Sec: Craig Parker (02)
secretary@wollongongcc.org.au
Meet: 1 st & 3 th Thursday at 7.30 pm except January
Shoalhaven Movie & Multimedia Group Inc
www.shoalhavenmovie.org.au
Sec: Margaret Roberts (02) 4423 2017
shoalhavenmovie@gmail.com
Meet: 2 nd & 4 th Tuesday at 7.00 pm
QUEENSLAND DIVISION
Brisbane Video Makers Association Inc
www.bvma.org.au
Sec: Rod Kay (07) 3376 3273 Mob: 0418 180 575
secretary@bvma.org.au
Meet: 4 th Wednesday at 7.30 pm
Darling Downs Movie Makers Inc
Sec: Peter Hansell (07) 4669 6940
hansellpw@yahoo.com.au
Meet: 3 rd Friday at 7.30 pm
Gold Coast Video Camera Club
www.gcvcc.com
Sec: Glenda Threlfall (07) 5534 4485
ggthrelfall@bigpond.com
Meet: 2 nd & 4 th Wednesday at 7.30 pm
Queensland Movie Makers
Sec: Merv Peake (07) 3356 5051
bjmcdonald@bigpond.com.au
Meet: Kedron 1 st & 3 rd Wednesday at 7.30 pm
Meet: Mt Gravatt 1 st & 3 rd Monday at 7.30 pm
Suncoast Video Camera Club
Pres/Sec: June Beadel (07) 5482 6141
bijou@activ8.net.au
Meet: 1 st Tuesday at 7.30 pm
VICTORIAN DIVISION
Australian Widescreen Association
www.users.bigpond.net.au/awa
Sec: Tony Andrews (03) 9793 6930
tandrews@bigpond.com
Meet: 4th Monday
Dandenong Movie Makers Inc
Sec: Terry Fenech (03) 8787 7652
terryfenech@optusnet.com.au
Meet: 2 nd & 4 th Thursday at 8.00 pm
(No Meeting in January)
Meet: 4 th Tuesday at 8.00 pm
Melbourne Movie Makers Club Inc
www.melbournemoviemakers.org
Sec: Verna Mills (03) 9499 5128
derekhampson@westnet.com.au
Meet: 1 st & 3 rd Monday at 8.00 pm
Oakleigh Movie Club Inc
www.oakleighmovieclub.org.au
Sec: John Stevenson (03) 9546 7254
jastevo40@bigpond.com
Meet: 2 nd & 4 th Thursday at 8.00 pm
Ringwood Movie Makers Inc
www.ringwoodvideo.org.au
Sec: Norm Tillack (03) 9874 2993
ntillack@gmail.com
Meet: 1 st & 3 rd Friday at 8.00 pm
(No Meeting in January)
TASMANIAN DIVISION
Bridport Movie Makers Group
Sec: Wendy McLennan
bridportwendy@bigpond.com
Alternate Contact:
Sheila Hagendorfer
hagen@microtech.com.au
Meet: 3 rd Wednesday at 7.30 pm
Tasmanian Movie Makers
Sec: Jon Grey (03) 6228 5595
j.n.grey@bigpond.net.au
Meet: 1 st Thursday at 7.30 pm
(No Meeting in January)
SOUTH AUSTRALIAN DIVISION
The Adelaide Filmo Club
Sec: John Lawrie (08) 8338 8492
johnandglenda@internode.on.net
Meet: 2 nd Tuesday at 7.30 pm
Winter May – August at 7.30 pm
Summer Sept – April at 8.00 pm
(No Meeting in December)
WESTERN AUSTRALIAN DIVISION
Western Australia Film & Video Club Inc
www.wavideoclub.com
Sec: Brian Brown (08) 9344 2746
xxxxbbrown@iinet.net.au
Meet: 2 nd Tuesday at 8.00 pm
Videomakers WA Inc
www.vmwa.org.au
Sec: Tricia Van Nus (08) 9478 5881
traus@westnet.com.au
Meet: 2 nd Wednesday at 7.30 pm
Australian film & video
Page 71

BACK PAGE
PERKS OF BEING 50 AND OVER
1. Kidnappers are not very interested in you.
2. In a hostage situation you are likely to be released first.
3. No one expects you to run--anywhere.
4. People call at 9 pm and ask, Did I wake you
5. People no longer view you as a hypochondriac.
6. There is nothing left to learn the hard way.
7. Things you buy now won't wear out.
8. You can eat supper at 4 pm
9. You can live without sex but not your glasses.
10. You get into heated arguments about pension plans.
11. You no longer think of speed limits as a challenge.
12. You quit trying to hold your stomach in no matter who walks
into the room.
13. You sing along with elevator music.
14. Your eyes won't get much worse.
15. Your joints are more accurate meteorologists than the national
weather service.
16. Your secrets are safe with your friends because they can't
remember them either.
17. Your supply of brain cells is finally down to manageable size.
And you notice these are all in Big Print for your convenience.
Here are some things to think upon:
• If a deaf person goes before a tribunal is it still called a hearing
• How is it possible to have a civil war
• Atheism is a non-prophet organisation.
• Would a fly without wings be called a walk
• If a parsley farmer is sued, can they garnish his wages
• If you spin an oriental man in a circle three times does he become disoriented
• If you try to fail, and succeed, which have you done
Noted in NHVCS recent Newsletter:
Did you know that diarrhoea is hereditary It’s in the “jeans”!
From Christchurch NZ Video Maker:
You know that you have been on a computer too long when you are
reading a book and look for the space bar to get to the next page.
Aussie Printed
DEADLINE
The Deadline
for the Autumn
Edition is the
28 February
2010
Page 72
Australian film & video