Australian film - Federation of Australian Movie Makers

Australian film 

& video 

No 4 

Winter 2009 

Inside this issue: 

President’s Comment 3 

FAMM 2010 Convention 4 

Club Link 8 

Jottings By Neal Reville 10 

Tech Topics - Joe Leon 12 

Basicly Videography - IS 14 

Two Bits Worth - B King 16 

Digital Planet Technology 18 

CeBIT Report - Joe Leon 20 

Pot Shots - Ian Simpson 21 

Aussie Widescreen Assoc 22 

Flickers Man - Joan Fuller 24 

Bits & Pieces - Rob F 26 

Tasmanian Director - SH 34 

Kino Review - Ralf Jorg 37 

Ringwood Movie Makers 38 

Auckland Movie Makers 39 

Time Line Talk - P Smith 40 

Ubuntu Review - R Jorg 41 

Make Up Demo - Fay F 44 

DVD Jitters - B Schrapel 45 

Mail Bag 46 

Otago Cine Video Club 47 

1907 Ford S Restoration 48 

The Amateur - D Fuller 50 

Successful Movie Making 52 

From The Editor’s Desk 

Welcome to the Winter edition of Australian Film & Video E-Magazine, I must 

apologise for the late release of this issue. Briefly the reason for the delay was due partly to 

my recent visit to Noosa Queensland to inspect the venue for the 2010 FAMM Convention 

and mainly to an intense effort by myself over a ten month period searching for a home to 

buy. After visiting 114 homes, inspecting 33 houses, looking at umpteen houses on the internet 

I finally chose house number 107 which I hope to settle at the end of July, then things 

should get back to some form of normality. 

AF&V is going ahead in leaps and bounds and I thank you for your continued support for 

our own magazine. I was also the editor of NHVCS newsletter, but due to the increase work 

load of AF&V I have had to relinquish the editorship of the NHVCS newsletter so as to concentrate 

fully on AF&V. Rob Farquharson has taken over as the new NHVCS newsletter 

editor and all recipients of that newsletter will continue to receive it. 

In this issue we have some great reading for you. There is the up and coming 2010 Convention 

in Queensland, Ian Simpson’s ongoing series, and speaking of series there will be four 

cartoons by guest cartoonist Barry Pusey leading up to the Convention. 

This issue we have a feature article by Rob Farquharson on Multicamera Editing with Sony 

Vegas. Then there are the regular columns from Barry King, Joe Leon and Neal Reville. 

There are numerous reports from Australian, New Zealand and South African Clubs. Plus 

regular contributors John Lawrie, John Hussell, John Sirett and David Fuller from Canada. 

AF&V are pleased to announce that David Tran of Digital Planet Technologies will become a 

regular contributor to its pages. You can read David’s first report commencing on page 18. 

On page 37 you will find a first for AF&V and possibly any FAMM Movie Club’s newsletter 

and that is a video clip which has been embedded into this issue. To view the clip just 

click your mouse over the black square & follow the prompts. Please enjoy. 

If you the reader have any suggestions for the improvement of AF&V we would like to hear 

from you and you are most welcome to contribute articles on any topics that may interest our 

readers. Stay in Focus. 

Gary. 

Telecine Transfer - JS 53 

Steam Train Reviews 56 

Beware Scammers - GP 58 

FAMM Ltd Club List 61 

17th to 21st May 2010 

NOOSA 

SUNSHINE COAST 

QUEENSLAND 

Under the Auspices of the 

Federation of Australian 

Movie Makers Limited 

We’re on the FAMM website 

http://www.famm.org.au/ 

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 

Jim Dunn AFAMM SSFAMM DSFSMM - Cronulla Video Makers 

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 

Barry Schrapel - South Australian Division 

Sub Editors 

John Hussell - NSW Southern Division 

Neal Reville - Queensland Division 

John Lawrie - South Australian Division 

Foreign Correspondents 

Peter Smith - Cape Town - South Africa 

Martin Coles - Auckland - New Zealand 

David Fuller - Nanaimo - Canada 

Guest Contributors 

John Sirett - South West Video Club 

Ralf Jorg - Newcastle Video Moviemakers 

David Tran - Digital Planet Technologies 

Joan Fuller - Nanaimo - Canada 

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 

tunningley@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

The Autumn issue was another great read, all 44 pages, there must have been an article that informed 

all of us how to solve the problems that we constantly meet. 

You would have noticed that there are two new FAMM Directors. I welcome aboard Mark Tunningley from the 

Southern N.S.W. Division & Barry Schrapel from the S.A. Division & look forward to working with them over the 

next twelve months. 

"To survive we must adapt to change" with the appropriate sub heading "We need younger people" ---- these are 

words from the last edition of AF&V that ring very true and if we fail to heed these words it is at our club's peril. 

FAMM can assist clubs to encourage new strategies to increase membership BUT at the end of the day it is the clubs 

who MUST accept change.... OR.... decline. So many people have put forward so many good ideas to revitalise our 

clubs that we must take some of these ideas on board & persevere until some measure of success is reached. 

All clubs have now received Convention Newsletter 092 notifying the change in dates to the 17th May 2010 for the 

Australis Noosa Lakes Resort Convention. A great program is in the process of being put together, it is a great venue 

& Editor Gary will enthuse you all with his report after his visit recently. 

The highlight of the Convention will be the presentation of the Federation Shield to the club with the highest aggregate 

score for their three top movies. Newcastle Video Makers are the present custodians of the shield....now ... is 

your club the next custodian for the period from 2010 until the following Convention in 2012? Rules & conditions 

are contained in By-Law #2 (all clubs have a copy), entry forms will be available very shortly. 

As usual the light-hearted start to the Convention will be the screening of the One Minute movies and a new competition 

for a thirty second promo which can be in any genre. 

It is MOST IMPORTANT that members give thought to the election of a President at the Convention as I will be 

retiring as your President, after eight years it is time for a fresh face at the helm. Preferably the new President should 

come from a Division other than Queensland. The "job" has many challenges but is very rewarding, the friendships 

made through contact with all the clubs is an added bonus. 

As stated at a previous Convention the positions of Secretary & Treasurer should/must come from the same Division 

as the President of the day, this also means that a new Secretary & Treasurer must be appointed, other office bearers 

need not necessarily change. A period of adequate assistance will be given to any nominee prior to the Convention if 

necessary. 

Let's meet again in 2010... to make movies, rekindle old friendships and make new friends. 

Ron Gregson. 

President. 

President Ron Gregson’s Comment 

Federation of Australian Movie Makers Ltd 


Page 3

17th to 21st May 2010 

NOOSA - SUNSHINE COAST 

QUEENSLAND 

The Convention Sub-Committee has great pleasure in announcing some details of the NATIONAL CON- 

VENTION 2010 to be held in Queensland from 17th to 21st May, 2010. 

Queensland, have you ever enjoyed a congenial holiday in Queensland? Does the idea of spending your 

next holiday there sound gratifying? Now here’s your chance. Plan a holiday to Queensland in autumn 

2010 and attend the next FAMM convention during the second week of May, 2010 at the Sunshine Coast. 

Meet people with a like interest in movie making. Join in the many activities being planned , attend workshops 

and participate with other movie makers. There will be informative speakers and movie nights, a 

banquet to enjoy with friends in pleasant surroundings and mild weather. 

You may wish to arrive earlier or stay a little longer and take pleasure in some more Queensland hospitality 

– the Sunshine Coast area is a diverse region of spectacular coastal scenery, interesting local history, diverse 

cultural flavours, calm rivers and lakes and picturesque hinterland places. It is a photographer’s paradise. 

Australis Noosa Lakes Convention and Exhibition Centre has been chosen as the venue. It offers comfortable 

conference rooms with high quality service, amenities and equipment. 

The venue is the ideal affordable Sunshine Coast holiday. Noosa is one and a half hours from Brisbane by 

road and just thirty minutes from the 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 - Noosa River Caravan Park, Russell Street, 

Noosa Tewantin Caravan Park, Moorindil Street, Tewantin and 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. Catch 

the Noosa River Ferry just 150 metres away and the trip to Noosa’s Hastings Street takes a leisurely 

35mins. 

Note: FIVE BEST Entries will close on 10 February 2010, the results then determine the placings for the 

FEDERATION SHIELD. 

Australis Noosa Lakes 

Convention & Exhibition 

Centre 

Main Entrance 

Page 4 

Cooroibah Conference 

Room 


One of Three 

Swimming Pools

Experience the Noosa May Fiesta when you come to the 

FAMM NATIONAL CONVENTION 2010 

to be held in Queensland from 17th to 21st May, 2010. 

Australis 

Noosa 

Lakes 

Convention 

and 

Exhibition 

Centre has 

been chosen as 

the venue which allows the visitor to discover 

the beautiful and diverse natural wonders of 

this stunning region. 

Noosa River 

Everglades If you 

want to explore 

further the 

options include 

trips along the 

Noosa River to the 

Noosa Everglades 

or walking the 

trails of Noosa 

National Park. 

Local Attractions 

If it’s fun you’re looking for, get up close and 

personal with the sea creatures at Underwater 

World in Mooloolaba. Australia 

Zoo at Beerwah is the ultimate wildlife adventure. 

Forest Glen Sanctuary allows 

visitors to hand feed the deer. Tempt your 

taste buds with tropical flavours at the Ginger 

Factory or enjoy mouth-watering ice-cream at 

the Big Pineapple. 

Hinterland - The 

Markets - Wed & 

Saturday attract 

thousands to a mix 

of local art & craft, 

quirky manufactured 

Items, fresh fruit & 

vegs & delicious 

food to eat or take 

away. 

Majestic Theatre - Pomona 

Built in 1921 the theatre was originally known as the 

Majestic Hall and catered for all types of community 

events. The “travelling picture show man” was an 

early 

visitor, then in 1923 a cinema licence was obtained 

and films have been screened regularly ever since. 

Then in 1973, Ron and Mandy West came to town, 

they bought the theatre the following year. In 1987, the 

Wests reverted to screening only silent films, with Ron 

accompanying on the organ. The Majestic has gained 

recognition as the world’s only authentic silent picture 

house still in full operation. 

The convention program is being developed and some features will be outlined in the next 

FAMM Convention Newsletter in a few weeks. 

More photographs and information on the Convention venue and surrounding area appear on 

the next page. 


Page 5

Noosa boasts pristine 

beaches and 

expansive hinterland, 

creating a 

beautiful and diverse 

landscape 

from the Glasshouse Mountains to Fraser Island. Australis 

Noosa Lakes is the ideal place for the 2010 

FAMM Convention. 

The weather was a perfect 24 degrees and that was in 

early June, the Convention will be earlier in mid May, 

the weather will be just as great so bring your shorts 

and swimmers. 

Australis Noosa Lakes is set on seven acres on the 

shores of Lake Doonella and is within a stones throw 

of the marina 

where you can 

catch a short 

picturesque 

ferry ride to famous Hastings Street 

with its many boutique shops and 

eateries. Or there is a choice of eateries 

at the marina and if that doesn’t 

satisfy your appetite then a short fifteen 

minute stroll up a slight rise will 

bring you to the quaint shopping village 

of 

Upper level suite kitchen facilities 

Tewantin 

Lower level suite 

Kitchenette facilities 

The Sunshine Coast airport is a 30 minute drive from the resort, and the 

Shuttle bus connection from the airport costs about $23 per person. 

The Australis Noosa Lakes has 126 rooms with balconies and views 

over the pool, lake or river. Each unit has a TV, direct dial telephone 

(IDD/STD) and bedside radio alarm clock. 

Studio rooms have microwave, fridge, tea & coffee making facilities. 

One and two bedroom apartments have full kitchen facilities. Plus 

ironing board, washer and dryer, hair dryers and guest amenities. Disabled 

rooms are also available. All units are 

air conditioned. 

The units are either ground floor or first 

floor accommodation. There are two suites 

A view from a suite balcony 

to each unit, an upper level reached by a 

flight of stairs or a lower level. The lower suite has a fridge, microwave and tea 

making facilities. The upper suite has full kitchen facilities with a dish washer. 

Page 6 

Shower Unit 

There are 3 lagoon style pools including a heated pool, off street parking, bottle 

shop facilities, Internet kiosk and all major Credit Cards are accepted. There is a 

laundry & dry cleaning service available. 

Access lifts are available in the main complex. 


Various types of accommodation at the Bougainvilla Holiday Park five minutes drive from the Convention 

Centre. There are power van sites also available. 

Contact Details: 141 Cooroy-Noosa Road Tewantin. 

07 5447 1712 

www.noosaeguide.com.au 

An eatery at the Marina. 

The beach is a short stroll from Hastings Street 


Page 7

Newcastle & Hunter Valley Cine Society, Newcastle New South Wales. 

NHVCS have had a most enjoyable year to date with many members participating in our 

Club Competitions. The Members Half Hour has become a very informative section which 

Club members eagerly look forward to each meeting. 

Our trip to the IMAX theatre at Darling Harbour, Sydney proved a great success for those 

members who participated. With a two & a half hour trip by double decked interurban train 

from Newcastle to Sydney, then by Tram from Central to Darling Harbour. On the huge screen we viewed 

Antarctica followed by the latest Star Trek movie production which was a fantastic experience for Trekkies. 

Although it did emphasise “unsteady-cam’, but ignoring that small distraction it was a great outing to 

IMAX. 

Protea Video Club, Cape Town South Africa. 

Mike Reynolds of the Protea Video Club, Cape Town South Africa is shooting a film on the 

story of the “Noon Gun”, I’m just helping out. The cannon has been sounding off over Cape 

Town at precisely 12 noon every day for the past two hundred years. It started in the late 

18th, early 19th century so that ships visiting the Cape could set their chronometers to the 

exact time for their journey back to the UK. The gun was originally fired from the Imhoff battery stationed 

just out side the Castle. The problem was that unsuspecting riders would be unceremoniously thrown from 

their mounts as the gun went off, this led to the gun being moved to Signal Hill by Table mountain where it 

has operated ever since. 

Not many people realize, the modern day practice of observing the two minute silence in respect to those 

fallen in battle originated with the Noon Gun. 

The following are three photographs showing Mike filming on the bridge of the Navigator watching for the 

cloud of smoke from the gun so as to get the correct time, a lady on a horse in 19th century costume again 

being filmed by Mike, and the Noon Gun firing on Signal Hill. 

Peter Smith. PVC 

Noon Gun firing on Signal Hill 

Lady being filmed in 19th Century costume 

Mike Reynolds filming on the bridge of the Navigator 

Page 8 


Christchurch Video Camera Club supply the following snippets of information to consider. 

Pioneer has announced that they will no longer make PLASMA TV. Samsung and LG have also confirmed 

their cessation of Plasma. 

LCD have now over 80% of the market and soon to be seen/released OLED screens that will challenge the 

LCD over the next 3 - 4 years. 3-4mm in thickness, 1,000,000:1 contrast ratio, refresh speeds infinitely 

faster than Plasma or LCD. Longevity was a little short, but this issue is now being addressed. Sony had 4 

x OLED units at their expo in Christchurch last year, the picture quality was out of this world nothing you 

have seen compares. Check out http://www.oled-info.com/oled-tv 

Panning Tips: essential in Videography. 

When panning with or without a tripod start and stand in the position your pan will finish. Now swing back 

to the position to start your pan. You are now returning to a “natural” position and you pan will be 

smoother and more controlled. 

Start you shot and end your shot with no panning movement. This is essential for editing. 

On the lighter side from CVCC. 

The English language is strange; skating on thin ice can get you into hot water. 

What do you call the cabs lined up at Dallas airport? The yellow rows of taxis. 

Stable relationships are for horses. 

Intaxication: Euphoria at getting a tax refund, which lasts until you realise that is was your money to start 

with. 

What were the sports teacher’s last words? “All javelins to me please.” 

The chorus did everything to perfection, except sing. (George Bernard Shaw, in an 1889 review) 

A printer consists of three main parts; the case, the jammed paper tray and the blinking red light. 

Depend on the rabbit’s foot if you will, but remember it didn’t work for the rabbit. 

Movie Makers Wollongong Camera Club 

A snippet from their July newsletter. 

A quote from George Burns. 

The secret of a good sermon is to have a good beginning and a good ending; 

and to have the two as close together as possible. 

(Maybe an excellent quote to keep in the back of you mind for when you make that next epic. Editor.) 

Jim Dunn - BRAINTEASER No 1 

“This is an unusual paragraph. It looks so plain you would think nothing is wrong with it! 

How quickly can you find out what is so unusual about this paragraph?” 

In fact, nothing is wrong with it! It is very unusual though, Study it, think about it, but you 

still may not find anything odd about it. 

Jim Dunn - BRAINTEASER No 2 

A man sitting in a pub feeling rather poor. He sees the man next to him pull a wad of 

$50 notes out of his wallet. 

He turns to the rich man and says to him, 

“I have an amazing talent. I know almost every song that has ever existed.” 

The rich man laughs. 

The poor man says, “I am willing to bet you all the money you have in your wallet that I can sing a genuine song 

with a lady’s name of your choice in it.” 

The rich man laughs again and says, “OK how about my daughter’s name, Joanna Armstrong-Miller.” 

What song did the poor man sing? 

Answers on Page 49 


Page 9

Jottings From Neal Reville 

How are we going to store our precious material into the future? 

Neal Reville looks at some possible answers 

We are beginning to gather quite a few High-definition files on our edit computer. After all, it’s 

around two years since we got the camera (!!).There has been just one problem – we had no way of looking 

at them in HD. That problem was solved about six months ago when, at a clearout sale, we acquired a modest 

HD projector. So, that’s it! Not quite. 

The limitation now was that we had to play them off tape in the camera. While the picture quality was outstanding, 

it was not much use for practical editing and display. Everything we did had to be burned to a 

standard-definition disc or re-recorded to tape for viewing. This was not the original idea at all. We had 

expected that, by the time we had edited our first item, Blu-ray players would have fallen to affordable levels 

(which they have) and blank discs would cost about fifty cents (which they certainly do not). 

Some time ago, I had decided that the answer had to be a jukebox like the ones that Queensland Movie 

Makers and the Gold Coast club have been happily using for some time. The “juke-box” is a hard-drive 

with some conversion circuitry to allow output to a “display device”. They work fine. They cost over $500 

at my last pricing. For quite a while, I have had over 500 reasons not to buy one! 

Then, the other day, I came across a new gadget. It was half a “juke-box”. In fact, a “juke-box” without the 

hard drive. This was no problem – I had accumulated a couple of drives over the years. The temptation was 

too great, so off I went to investigate. It’s called the “WD TV HD Media Player” (I kid you not), it’s made 

by Western Digital and it appears to be just what I have wanted. One edits a video and renders it to an 

MPEG2 (VOB) file, among many others, then saves the file to an external hard drive (USB2). One then 

plugs this drive into the little black box and hooks it to one’s projector or TV via HDMI. Voila! A HD picture. 

The same applies to stills, or even music. And it costs under $200. 

To cut what is becoming a rather long story short, after first obtaining ministerial permission, I am now the 

owner of such a gadget. It looks very promising. Does it work? Well, I don’t know – I’ve only just got the 

thing, but it looks fine sitting on the bench, so I am full of hope. If it doesn’t work, be sure you will hear 

about it! 

Back to the future … 

Have you ever wondered how you will store your video masterpieces for the next ten, twenty, fifty or hundred 

years? And, what are your masterpieces? For many, it is family movies – home movies, if you like. 

Mum and Dad, where we lived, the children when young. Everything. Four generations from now, how 

valuable such records will be to our great, great, great grandchildren. But, how to store them. 

What are our options? With a bit of quick thought, I came up with – 

Tape 

DVD 

Hard discs 

Various solid-state memory devices (flash-cards. Etc.) 

Page 10 


One thing we can be pretty sure of, is that probably none of these media will be around in even twenty or 

thirty years. Even if they were, would they be sufficiently reliable to trust with our memories? DVDs 

should be, but with them now being churned out like sausages, who can be sure? Hard discs fail, more often 

than many of us appreciate. I must have been extremely lucky; as I have never had a disc failure in any 

machine I have ever owned or had association with. But I have seen a report from Google that in a survey 

of 100,000 drives in their organisation world wide, there was a failure rate of 8% over three years. 

Solid-state memory is a mess. While it is going to be a cool thing for the foreseeable future, there are so 

many competing styles, formats and hype from so many incompatible manufacturers that it is going to require 

a major shakedown to come up with a format for the long term. Are these cards reliable long term? 

Who knows, there has been no long term, yet, to try them. Hard discs, after all, gradually lose their magnetic 

impulses over time if they are not frequently refreshed. 

The only medium that has any sort of a track record is tape. Thirty year old VHS tape can often still be 

played without problems and digital tapes should be better. But, tape is on the way out. An answer is possibly 

to re-record the material to the current technology as it advances into the future. That should keep 

someone busy! So, what is the answer? I don’t know. We all need some good ideas. 

The rise and rise of High Def … 

A feature movie has recently been completed in Hollywood. So what, you may ask. Well, this one has a 

small difference. It’s called “Crank 2: High Voltage” and was shot with five Canon XH-A1 cameras. 

That’s right, the same little camera that a number of independent movie-makers around town use. Many of 

us chose the camera on price, but our big-time crew chose it because of it’s compact size and the quality of 

the lens. 

The “style” of the movie lent itself to compact, lightweight cameras. The Canons could be mounted on 

such things as skate boards and handheld poles (shades of Hermann’s pole-cam!) and because of their virtually 

unlimited configuration capabilities, they could all be precisely matched picture and colour wise. 

[Any one who imagines that two cameras of the same model from the same manufacturer should produce 

pictures that look the same should have seen the results from Alan Scott’s two Sony VX- 5000’s a few 

years ago.] 

The point of this little story is not that “Canon rules”, but that high definition cameras of quite modest cost 

and complexity have come so far in such a short time. It is only two or three years since professional cameramen 

were openly scoffing that video would never see the light of day commercially. What will the next 

two or three years bring? 

Neal Reville 

WD TV HD Media Player 

Reprinted from BVMA May 2009 Scanlines with permission from Neal Reville. 


Page 11

TECH TOPICS - Winter 2009 

With Joe Leon © 

SMPTE 2009 Expo - Widescreen Monitors 

SMPTE Bi-Annual EXPO 2009 ... 

(Society of Motion Picture Technical Engineers) 

Venue: Darling Harbour Sydney NSW 

Dates: 21-24 July (Tuesday - Friday) 

Tuesday - Thursday: 10.00 AM - 6:00 PM 

Friday: 10.00 AM - 3.00 PM 

Registration for Free Entry and Information: 

Go to: http://www.smpte.com.au/, select Visitor Information, 

Visitor Registration, fill in personal details and your 

interest in visiting SMPTE. You’ll receive an Email confirming 

your Registration which includes a Barcode which 

you print out and take to the Expo and is your quick access 

to the SMPTE Bi-Annual EXPO 2009 . 

What can you expect to see at SMPTE … 

If it’s anything like previous Expos there will be plenty to 

see and touch for the Video Movie Maker with demonstrations 

of the latest Hardware and Software from companies 

like Adobe, Canon Australia, Lako Pacific, JVC, Panasonic 

and Sony Australia just to name a few. 

Adobe will most likely will be demonstrating its Adobe 

CS4 (Creative Suite 4) while Sony Australia will probably 

show off its Vegas Video and Sound Forge Audio Editing 

applications. Other items of interest will be Digital Media, 

Display and Projection, Editing, Graphics and Animations 

SFX, Lighting, Motion Picture & Film, Multimedia, 

Video Production, etc, etc. 

Although SMPTE is aimed at the High End Professional 

market like TV and Motion Picture Studios, there will be 

plenty for the Video Movie Maker to see, touch and enquire 

about. So make sure you bring your questions along. 

16:9 WIDESCREEN LCD MONITORS & TVs … 

There is a very good reason to update to a Widescreen 

Monitor or TV which has to do with most Video Cameras 

or TVs being sold today from the cheapest to the 

dearest having Widescreen as the default Format. 

Therefore it stands to reason that a Widescreen Monitor 

and TV is preferable to Edit and display Widescreen 

movies in its Native Widescreen Resolution. 

Before updating your Monitor from 4:3 to 16:9 Ratio 

Widescreen there are several things you should be 

aware of which have to do with Response Time, Contrast 

Ratio, Size and Resolution. I’ll be using my Samsung 

19” (48 cm) 4:3 LCD Monitor and LG 22” (56 

cm) 16:9 LCD Monitors as reference for the article. 

Samsung 19” (48 cm) 4:3 LCD Monitor … 

Display Area: 38 cm Wide x 30 cm High 

Response Time: 8 ms 

Contrast Ratio: 700:1 

Resolution Max: 1280 x 1024 Pixels 

Total Pixels: 1,310,720 Pixels 

Viewing Angle: 160 degrees Horizontal/Vertical 

Screen Rotation: Landscape or Portrait 

LG 22” (56 cm) 16:9 Widescreen LCD Monitor ... 

Display Area: 47.5 cm Wide x 30 cm High 

Response Time: 2 ms 

Contrast Ratio: 10,000:1 Digital Fine Contrast 

Resolution Max: 1680 x 1050 Pixels 

Total Pixels: 1,764,000 Pixels 

Viewing Angle: 160 degrees Horizontal/Vertical 

19” (48 cm) 16:9 Widescreen LCD Monitor … 

Display Area: 41 cm Wide x 25 cm High 

A friend’s 19” WS Monitor was 8 cm narrower and 

5 cm lower in height than my 22” WS Monitor and 

that is why I chose the bigger size monitor as I did not 

want to lose the height I was used to. 

Before proceeding much further having the latest and 

Fastest LCD Monitor is no good unless you have a 

Video Card that can match or surpass its performance. 

If your Video Card’s maximum resolution is 1024 x 

768 Pixels then it can’t display 1680 x 1050 Pixels or 

higher resolutions. 

Response Time … 

ms = Millisecond = 1/1000 Second. 

Basically it means the time it takes a Pixel to turn On 

from an Off state. The lower the ms number the better. 

A high response time could cause blurring on fast 

moving objects and produce ghosting which most of us 

have seen on older LCD Monitors and TVs. 

Contrast Ratio … 

This is a measurement of the difference between the 

darkest and brightest areas on the screen. The higher 

the Contrast Ratio, the deeper the blacks and whites 

will be displayed on the Monitor or TV. So it goes 

without saying that a higher Contrast Ratio is better. 

Page 12 


TECH TOPICS - Winter 2009 

With Joe Leon © 

Widescreen Monitors Continued ... 

Viewing Angle: 

Older LCD Screens had a narrow viewing angle and 

the more you viewed from either side the more washed 

out the display appeared. The higher the Viewing Angle 

the better is the viewing from the sides. 

Size … 

I recently retired my 17” CRT Monitor and moved 

my 19” 4:3 LCD Monitor to my backup PC and connected 

my new 22” Widescreen LCD Monitor to my 

main PC where WS video fills the whole screen. 

Increasing Screen Resolution… 

The more you increase the screen resolution, the 

greater the working area and the smaller everything 

appears on the screen including the writing which I 

found hard to read regardless whether you’re Editing 

or Browsing the net. There are two options available. 

Increasing Font Size … 

This is the more obvious one and it’s easily done. In 

Windows XP go to Start / Settings / Control Panel / 

Display / Appearance. 

Three options 

are available 

in the Pop-up 

Font size 

menu. 

19” 4:3 Monitor 22” 16:9 WS Monitor 

As both Monitors are approximately 30cm high I did 

not lose any height and gained an extra 9.5 cm in width 

which is ideal for Editing and Displaying HD Widescreen 

footage. The 16:9 image shows a horizontally 

expanded 4:3 image which is not flattering for the figure 

but as a side effect makes my grin even wider. 

Native Resolution … 

Increasing DPI (Dots per Inch) … 

Normal, 

Large fonts 

and Extra 

large fonts. 

Chose the one 

that meets 

your needs. 

Go to Start / Settings / Control Panel / Display / Settings 

/ Advanced. 

The three options 

are: 

1280 x 1024 Pixels 1440 x 900 Pixels 

The left image shows an incorrect Aspect Ratio and 

was rectified by finding the Monitor’s Native Resolution 

which normally is the highest Resolution. In my 

case I can use two, 1440 x 900 Pixels and 1680 x 1050 

Pixels which is the highest resolution on my Monitor. 

After setting the Monitor to its Native Resolution, a 

circle is a circle once again One drawback of changing 

to a 16:9 Monitor from a 4:3 Monitor is that practically 

every program I ran had to be adjusted to full screen 

mode which is my preferred working option. 

Normal size 

(96 DPI) ... 

Large size 

(120 DPI) ... 

Custom setting 

... 

Using Native 

Resolution 

and 120 DPI 

gives me the 

highest screen 

resolution and 

is ideal for WS Video Editing and Screen Capturing. 

Some programs required adjusting the Font size. 


Page 13

BASICLY 

VIDEOGRAPHY 

by Ian Simpson 

Composing for the Widescreen 

As many of us, amateur videographers, make the transition from 

capturing video in the 4x3 format to capturing in the widescreen 

format of 16x9, we are going to go through the same learning 

experience as did the cinematographers of old when they started 

making widescreen films in the 1950s. So it’s official, we are 

about 50 years behind the professional cinema! However, what 

can we learn from the professional cinematographers that will 

shorten our learning curve to widescreen video excellence? 

A Must to Avoid 

When making your first widescreen video you may be motivated 

to fill the frame with as much detail as possible. This 

4 x 3 

16 x 9 

might mean placing as many people in the frame as 

possible or it might be having a busy foreground, middle 

ground and background. In both instances the images 

will confuse the audience with no clear point 

gaining the audience’s attention. Alternatively those 

videographers new to the 16x9 format may instinctively 

compose their images like they did for the 4x3 

format. They may centralise the main point of interest 

or persons in the frame and pay no attention to what is 

happening at the edges of the frame. In this instance 

the result is either a poor composition (a failure to apply 

the Rule of Thirds effectively) or there may be distracting activities at the edge of the frame. 

Enhanced View 

So the new 16x9 videographers have to look at 

this wider frame with new eyes and recognise its 

new potential. An off centre object or person can 

be balanced by a small area of colour or highlight 

on the opposite side of the frame (again remembering 

the Rule of Thirds for more powerful 

placement of the person or object and the area of 

colour). A consequence of this type of composition 

is the placement of two related events in the 

one frame. By being able to show both activities 

occurring within the one frame, the widescreen 

directors found they did not have to cut from 

scene to scene as often as they did in the 4x3 

The Rule of Thirds states that the most dramatic placement of 

key objects is where the yellow lines intersect. 

format. Karel Reisz and Gavin Millar expressed this point in their classic book, The Technique of Film. 

Another compositional technique that is stronger in the 16x9 frame is the diagonal feature that starts at 

one corner of the frame. None of these compositional ploys are unique to the widescreen format, but the 

extra width of the 16x9 frame emphasises the effect. 

An aspect of composition that is unique to the moving image is the allowance of a moving or looking 

room in front of the main subject. Here again the wider horizontal of the 16x9 frame allows more creativity 

in how that space is filled. 

Page 14 


Editing: 

The more detail you can clearly and naturally include 

in a shot, the less need will there be for you to draw 

attention to any of its parts in separate, closer shots. 

This should mean 16x9 format shots are longer in duration. 

However, is this necessarily so in the modern 

cinema? 

Walking room right of frame needs to be maintained if the 

shot includes a pan. 

Cutting out the Cut 

In the early years of widescreen cinema there developed 

the view that the editing styles of the 4x3 format 

were now obsolete. Such an example comes from 

Henry Koster, director of the first Cinemascope film, The Robe, when he asserted that a cut into a close up 

was now unnecessary, since virtually every detail in the shot was magnified and hence easy to see. This 

impulsive response forgot that cutting to a close up was more than showing detail it was also used to emphasise, 

to create context and to enhance or suggest significance. Nevertheless the film theorists and the 

writers to the magazine, Cahiers du cinema, hailed the widescreen format as making editing less important. 

Or expressed another way they saw “cutting” in widescreen films moving from the editor to the director. 

This reduced dependence on the post production of the editing bench was heralded as producing more 

“natural” films, films with greater authenticity and objectivity. Another spin off of course was the greater 

use of the mobile camera, longer takes and compositional depth. The first two are forever with us now on 

widescreen TV, whilst the latter seems to fallen out of favour. 

Scene Length – How Long? 

In the early years of widescreen cinema the accepted view was that longer scene lengths were needed because 

it took time for the audience to become accustomed with each new scene. Or as the film theorists 

such as Barr would express it, the wider frame encouraged “greater physical involvement” and so encouraged 

the audience to “interpret” and / or “read the shot.” All of which took time and hence the widescreen 

shots had to be longer. 

Scene Length (seconds) 

25 

20 

15 

10 

5 

0 

1953-55 

1959 Current 1953-55 

Widescreen 

Time period 

4x3 Format 

However, as the graph indicates, as 

the audiences became more acquainted 

with the widescreen format 

and as directors learned to better employ 

the widescreen format, then shot 

lengths decreased until now there is 

no significant difference in shot 

lengths between widescreen films and 

pre-widescreen films. 

What can We learn from the Last 50 

Years of Widescreen Films? 

So what can we, new 16x9 videographers, 

gauge from all of the experience 

of the last 50 years? In brief not 

a lot changes when you move from 4x3 to 16x9. Editing techniques learned in the 4x3 format can still be 

applied to the 16x9 format. Shot lengths don’t have to be longer, unless that is the mood or rhythm you 

wish to achieve. The Rule of Thirds still applies to the wider frame. Horizontal and diagonal compositions 

do look better in 16x9. Be aware of what is happening in the foreground of the 16x9 frame lest it overpowers 

action in the rest of the frame. However, on the other hand you can take advantage of the wider frame 

to capture two related actions; (say) a foreground action of a child on a swing and a background of a parent 

carefully watching. Be cautious in the use of big close-ups and rapid scene changes in the widescreen format 

as they have a more dramatic effect on the audience. In short enjoy your new found frame area and 

creatively use it! 

Max 

Min 


Page 15

So You Want To Edit Your Video? 

ften during my term as president of Newcastle Video 

O Moviemakers I would receive a phone call telling me the 

caller had just purchased a video camera and asking if I could 

recommend an editing program for them to buy. 

Video editing can be a great hobby/pastime/business. 

However it does require a lot of time and patience and quite 

frankly, it doesn’t suit everybody - as does fishing, bowling, 

hang-gliding etc. 

For this reason I don’t like seeing would-be editors spend a 

significant amount of money on an untried hobby. Nor do I 

like discouraging their aspirations. 

Buying the best editing program won’t make you a good editor 

or produce a great film! 

The second question asked is, “Well, what program do you 

use?” 

In 1996 when real-time editing was almost a dream, our company 

was contracted to produce a set of over 20 training videos 

for a major state training provider. For speed, it was decided 

to update the editing program and computer. Back then 

the cost was about half of the cost of a recently purchased 

four-wheel-drive vehicle. It is unlikely that a purchase such as 

this would be good advice for someone starting up. 

I might add that these days the same quality editing can be 

carried out for about the cost of four tyres on the same fourwheel-drive. 

A sensible recommendation for anyone wanting to try editing 

is to use Windows Movie Maker. This comes bundled free 

and is usually installed with Windows XP. It is also available 

as a free download from the Microsoft website: 

www.microsoft.com/windowsxp/downloads/updates/ 

moviemaker2.mspx 

Vista users (Home Premium and Ultimate Versions) have the 

added advantage of a High Definition version of the same 

program. Unfortunately the Vista version doesn’t appear to 

run under XP! 

When it comes to using Movie Maker the hardest part is finding 

where it is hidden! See diagram below. 

Once the program is started, four panes, shown here as 

broken blue lines, are presented. Each of these panes is 

re-sizeable. 

The left top pane contains the tasks or things you might 

wish to do. By expanding the buttons and sliding the 

side bar down, a comprehensive set of instructions can 

be accessed on how to achieve these tasks. 

The centre top pane contains your choice of either: a 

selection of the clips, slides or music that you have imported; 

a set of effects that can be applied to your video, 

such as old movie, sepia, slow motion, fade in/out; or a 

group of transitions. Transitions are a way of joining 

two scenes together and should be used as a tool and for 

a reason, more so than an attempt to embellish a video. 

The right top pane contains a preview of the project. 

The lower pane is where the creativity takes place. Five 

tracks are available: video; transition; audio (from the 

video); audio (music or commentary) and a title overlay. 

While the program is limited to one line of video and 

one line of audio; this will be enough for starting out. 

Page 16 

Click: Start > All Programs > Accessories > Windows 

MovieMaker 


To expand capabilities Microsoft have free ‘Funpack’ 

downloads of theme titles and music: 

http://www.microsoft.com/windowsxp/downloads/powertoys/ 

mmcreate.mspx 

These are normally downloaded to: ‘My Documents > 

My Videos’.

So You Want To Edit Your Video? (continued) 

A word of warning before starting and this applies to a 

lot of programs: set the options (sometimes called preferences). 

From the Tools Menu (at the top) select Options. The 

General tab and Browse button allow you to create a 

new folder and select where YOU want to store the temporary 

files. It’s probably a good idea to store the project 

file here as well. 

Click onto the Advanced tab. The Picture duration refers 

to how long a still image will be shown for during a 

slide show. Five seconds is good but if a two second 

transition is used between slides then seven seconds 

would be a better choice, giving the original five seconds 

of display time. 

If, when the program starts, the lower pane looks like the 

next diagram; click the ‘Show Timeline’ button to return 

to the traditional timeline format of editing shown on the 

previous page. 

For general use of the program, the Help files offer a 

terrific guide and are more than adequate. A couple of 

hints that were shown to me might also assist. 

Saving a still from a video clip can be useful if a background 

for a DVD Menu is required. 

Position the cursor from where the still 

will be captured and click the ‘camera’ 

button on the bottom of the preview 

screen. Save the image in your working 

folder. 

Audio volume can be balanced between the video audio 

and the narration/music by clicking the button to the left 

of the microphone button in the lower pane, top left. 

This will open the Audio Levels window. The balance is 

applied to the entire length of the tracks. 

By right clicking on the Audio track several options are 

available: Mute; Fade-in; Fade-out or Volume. The Volume 

is applied to the entire clip. If different volume levels 

are required during the video, cut the required clip 

(audio or video) into sections. Individual volume can 

then be applied to the respective sections of the clip. 

The next choice offered is PAL/NTSC Video format 

and Aspect ratio. PAL would be the selection for Australia. 

If selecting 16:9 imported video will be stretched 

but not stills. 

If you are in the habit of sending video via email then 

selecting a low Mb setting will ensure maintaining 

friendships! 

Select the clip to be cut and click the button next to the 

camera button at the bottom of the preview screen. 

When the project is completed go to File > Save Movie 

File. A ‘wizard’ type dialogue box will open asking 

where (and how) you want the movie saved. Selecting 

Computer and Next allows a name to be given to the 

movie and a place to store it. Pressing Next again opens 

the Movie Setting dialogue box. If Show more choices 

is showing click this and select Other settings. Since the 

movie will probably be destined for DVD, from the 

drop-down box, either DV-AVI (PAL) or High quality 

video (PAL) can be selected. Next will start the save 

process. 

The resulting saved formats: .avi or .wmv are accepted 

into most DVD authoring programs. Enjoy your editing! 


Page 17

Groovy Music City for Everyone from Pinnacle – 

(to be released in next few weeks) 

Groovy Music City for Consumer is an exciting Mac & Windows 

software program for kids and Adult, ages 7 and up to 80 !!!, to 

learn and create music. Fun to use, Groovy Music City puts in action 

the basics of sound, rhythm, pitch and composition using pictures 

and animation - progressing to the study of simple notation as 

well as major and minor scales. It guides users with a simple interface 

and voice-overs, and it lets them create their own music with 

plenty of room for creativity. 

With Groovy Music City, users can create their own music in a 

futuristic city theme and use a library of sounds that include patterns 

as well as individual sounds. The MIDI record keyboard is available and a physical keyboard can be 

connected to the computer to record notes and melodies. Once their creations are finalized, users can share 

them on the web using the secure groovymusic.com web site. 

New Product 

BlackMagic Design Intensity Pro for under $400.00 

Go Beyond HDV Video Quality 

HDV Editing now is more affordable. 

HDV video compression suffers from not being full 1920 HD resolution, and the extra processing required 

makes editing difficult. With Intensity, you can now capture and play back full resolution HDTV uncompressed 

video for true broadcast and feature film quality editing. 

Totally eliminate HDV & DV compression quality problems, and render much cleaner graphics while retaining 

deeper colour and image detail. If you need lower data rate editing, you can also select from a range 

of professional compressed video capture modes. 

Intensity includes the same BlackMagic Design video technology used on Hollywood feature films, so 

quality won’t limit your creativity. 

Page 18 


Computer Related NEWS…Watch Out…Everyone… 

Thousands of Web sites stung by mass hacking attack 

According to Jeremy Kirk from IDG News Services: 

Up to 40,000 Web sites have been hacked to redirect unwitting victims to another Web site that 

tries to infect PCs with malicious software, according to security vendor Websense. 

The affected sites have been hacked to host JavaScript code that directs people to a fake Google 

Analytics Web site, which provides data for Web site owners on a site's usage, then to another bad 

site, said Carl Leonard, threat research manager for Websense. 

The latest campaign underscores the success hackers have at hosting dangerous code on poorly secured Web sites. 

Once a user has been directed to the bogus Google analytics site, it redirects again to another malicious domain. 

That site tests to see if the PC has software vulnerabilities in either Microsoft's Internet 

Explorer browser or Firefox that can be exploited in order to deliver malware, Leonard 

said. 

If it doesn't find a problem there, it will launch a fake warning saying the computer is 

infected with malware and tries to get the user to willingly download a program that 

purports to be security software but is actually a Trojan downloader, Leonard said. 

Those fake security programs are often called "scareware" and don't work as advertised. 

As of last Friday, only four of 39 security software programs could detect that Trojan, 

although that's now likely changed as vendors such as Websense swap malware samples 

with other companies in order to improve overall Internet security. 

The malicious domain serving up the malware is hosted in the Ukraine, the same region 

where notorious Russian Business Network (RBN) operated. 

RBN is a gang of cyber criminals involved in phishing campaigns and other malicious activity, Leonard said. That 

Web site appeared to be down as of Tuesday afternoon. The RBN is thought to be inactive now. 

PMA Australia 2009 Imaging Technology Show 

PXL Soft and Digital Planet Technologies will be exhibited in the Photo Imaging World Exhibition in 

Darling Harbour at the end of this month (June 25-28, 2009). 

We will be at Stand 524 to show case the popular Album Making Software DG Foto Art and a whole 

range of Digital Album. Please check out the details and register yourself in the following web site , 

there will be plenty of give-aways gifts, new photographic equipment and accessories… 

http://www.pmaaustralia.com.au 

Last but not least, we are rebuilding our web site at Digital Planet Technologies at the 

moment for more contents, video training with the latest technologies from Google and 

the new site hopefully will be uploaded sometime next week, we will send an email to 

let everyone know to check it out. www.dpt.net.au 

David Tran. Digital Planet technologies. 


Page 19

CeBIT EXPO 2009 

REPORT By Joe Leon 

CeBIT EXPO 2009 Report … 

The show was interesting as it took us 4 hours to go 

through hall 5, 5 minutes through Hall 4 and about an 

hour through Hall 3. Unfortunately practically nothing for 

the Video Maker. As you can see by the photos we still 

managed to have fun. 

As you can see that’s a huge price difference. Most 

common use for SSD is in Laptop computers which can 

range in capacity from 32 GB to 128 GB. Toshiba recently 

announced a 512 GB SSD for one of its Laptop 

computers, price unknown. 

Take Me to your Leader … 

Oops, wrong turn ? 

SSD (Solid State Drives) … 

Follow Me … 

Mike O’Leary & Creevey 

Specifications according to the brochure for the Corsair 

P256 SSD: Up to 20x average Read/Write speeds over 

HDD. Up to 220 MB/s Sequential Read. Up to 200 MB/ 

s Sequential Write. Corsair SSD use specially selected 

ICs to enable a Life Expectancy over 100 Years and Impact 

Resistance up to 1500 Gs (Gravities). That’s quite 

impressive. 

SSD have no moving parts, require less power to operate 

and for all intents and purposes looks similar to a 

2.5” SATA Laptop HDD. 

While at CeBIT I was able to talk to one of the experts 

there and what I read on the Net, SSD at present suffer 

from Limited Write Cycles, approximately 10,000 

(about 10 years under normal use). It’s hard to know 

who to believe. The best idea is to find out the warranty 

period. 

SSD are similar to other SSDevices like USB Memory 

Sticks, Digital Still and Camcorder Flash Cards, SRAM, 

DRAM, etc which at present are affordable. SDD will be 

an alternative or replacement for conventional HDD. 

They are available now and are very expensive at present. 

256 GB SSD: US $ 580.00 

256 GB 2.5” HDD: US $50.00 

Expect like any new product for SSD to improve in reliability, 

increase in capacity (1 TB later this year) and 

come down in price due to advances in technology and 

market demand. 

On the plus side. The better SSD can boot an operating 

System in seconds instead of minutes and run most applications 

faster than HDD. 

11th September 

A DATE TO REMEMBER By Jim Dunn AFAMM SSFAMM DSFSMM 

The date of the attack on the World Trade Centre Twin Towers in New York was September 11th. 

9th month 11th Day, so 9+1+1 = 11. 

September 11th is the 254th day of the year, 2+5+4 = 11. 

After September 11th there are 111 days left to the end of the year. 

119 is the Area Code to Iraq/Iran. 1+1+9 = 11. 

Twin Towers - Standing side by side looks like the number 11. 

The first plane to hit the towers was Flight 11. 

But.....There’s more....... 

State of New York was the 11th State added to the Union. 

New York City - 11 letters. 

Afghanistan - 11 letters. 

The Pentagon - 11 letters. 

Ramzi Yousef - 11 letters. (Convicted of orchestrating the attack on the WTC in 1993) 

Flight 11, 92 on board 9+2 =11. 

Flight 77, 65 on board, 6+5 = 11. 

Crazy huh?? 

My daughter, Rosanne and her husband, Frank did not know until after they became engaged that they both have their 

Birthdays on the same date, September 11th. 

Page 20 


Camcorder Missing Links Discovered! 

The National Association of Broadcasters’ convention in Las Vegas was 

the site of the first discovery of the missing link in the camcorder tree. The 

link between the small, relatively inexpensive, high definition, solid-state, 

consumer camcorders and the large, very expensive, high definition, tapeless 

professional camcorders. Weighing in at only 1 Kg this black species 

from the Panasonic branch is identifiable by its large 12x zoom lens at one 

end of its body and a large viewfinder at the other end. The lens feeds images 

to its three 1 / 4.1 inch CMOS sensors. A 32GB SDHC card is claimed 

to hold 3 hours of HD recording at the maximum 24Mbps rate. It has professional 

features such as dynamic range control, cinema gamma mode, waveform monitor, focus assist, zebra patterns 

and synchro-shutter. But it also has consumer features like a (claimed) 10.6 megapixel still image capability, 

face detection and a menu accessed by the touch screen LCD. To match its missing link status the AG-HMC40 has 

an optional handle that converts the consumer type audio connections into the pro XLR inputs. Although the discovery 

of this missing link is priceless, this one is estimated to cost $3195US and will be released into the wild in August. 

The only question mark is how good is the optical system and the 1 / 4.1 inch sized sensors for seeing in the 

dark? 

Often in a search, when one example of the missing link is found, another 

appears soon after. And so it was when a branch of the JVC tree was found 

to contain a species that has been classified as GY-HM100. This species is 

nearly half as much again heavier than the Panasonic missing link. Much 

of this additional weight, however, is in the head gear which includes two 

XLR inputs and a detachable shotgun microphone. The JVC missing link 

is not as powerful as the Panasonic species as it only has a 10x optical 

zoom lens. It uses an older viewing sensor design with its three progressive 

scan CCDs of 1/4 inch size. Image storage, like the Panasonic species, is 

on SDHC cards which are more plentiful and cheaper than the professional 

camcorders’ SxS or P2 cards. A clear example of its missing link status is 

the two file formats offered by the JVC species. A MOV file format maintains compatibility with the professional 

editing suite, Final Cut Pro, whilst the MP4 file format is more in tune with cheaper consumer editing stations. The 

codec used to digest all these images is, however, different to that used by the Panasonic species. Here an MPEG-2 

MP@HL codec is used which will process bit rates up to 35Mbps. At this maximum bit rate a 16GB SDHC card will 

hold 50 minutes. In addition to the XLR inputs, other professional features are; adjustments for gain, gamma, gamma 

level, dynamic range, colour gain and the GY-HM100 is compatible with third party accessories. Whilst its consumer 

features are its 3.5mm microphone jack, mini headphone jack, joystick menu control on the small LCD 

screen. Its missing link status was further established by the lack of professional outputs such as GEN-LOCK or uncompressed 

video; rather the images and sound are sent via the consumer USB and HDMI connections. 

Fragmentary sightings have been reported of a new Panasonic species. This species 

seems to be a break away from the D-SLR branch. It has camcorder features 

such as the attached microphone whilst still retaining the form of a D-SLR. This 

species has been temporally classified as DMC-GH1. It has been sighted with a 

10x zoom lens (f4 to f5.6), which clearly distinguishes it from the other D-SLRs. 

Its super quiet auto inner focus mechanism and step less aperture control also 

distinguish it from other D-SLR species. The DMC-GH1 seems to have a highly 

developed 12.1 megapixel, 13.5mm by 16mm CMOS sensor. This sensor is intermediate 

in size between those used in the professional D-SLRs and the smaller 

ones used in the camcorders. Is this another missing link in formation, or is it a 

branch that will initially grow vigorously only to finally wither and die? 


Page 21

THE AUSTRALIAN WIDESCREEN ASSOCIATION 

The Australian Widescreen Association has been meeting since December 1972, and today, there are a few 

of us founding members still making movies in Widescreen. 

Over the years our members have made movies using Anamorphic lenses to give 2:1; 2.33:1; and 2.66:1 

Cinemascope type movies. Cameras, and films used were with Standard-8; Super-8; Fuji Single-8; and 

16mm equipment. One of the notable achievements was the Super-8 Cinerama system made by members 

Wade Hatton and Harvey Hutchison in 1987. I believe a digital version of Cinerama is being developed at 

the moment. Cinerama is a 3-camera/ 3 projector system which takes in an “Ultra-Wide” image of about 

120 degrees, and shown on a deep-curved screen to give the audience a “you-are-there” feeling. 

My own specialty has been taking Panoramic slides with the Widelux 140 degree camera, and since 1983 

taking Stereoscopic Widelux Panoramas, and projecting them onto a curved screen in 3D. 

I have also taken a few Cinemascope movies with Chinon Pocket-8, and a Kodak Super-8 cameras with the 

French Hypergonar lens made by the inventor of the Cinemascope lens Henri Chretien. I bought the Kodak 

Super-8 camera years ago in a bargain box for $5 only! It took some very good Cinemascope movies. 

Each year we have a Widescreen Festival in October, with entries from not only Australian movie/still 

makers but also overseas entries as well. In past Festivals entries have been from Europe, UK, NZ , South 

America and USA. Our members have gained prizes in overseas Festivals and Competitions in the UK. 

USA. 

These days our members take movies with camcorders 

with the 16:9 format, and are shown via DVD 

player with my Luxeon digital projector. 

The AWA meets each month throughout the year 

excepting December, January, and July. Meetings 

are 4 th Monday of the month at 8.00PM Feb. to 

April, and 7.30PM May to Sept. then revert to 

8.00PM Oct. and November. 

Some of the coming meetings are: 

July: No meeting [mid winter break]. 

August : TBA 

Sept: Equipment Demonstration. 

October: Annual Widescreen Movie & Slide Festival. 

November: Christmas Break-up. 

Meetings are at the: 

Bennettswood Guide Hall, 

21 Station Street, 

Burwood. [Melway 61 C7] 

Visitors, and new members are always welcome. 

Contact: 

Brian Beatty [President AWA] 

(03) 9878 8804 

Attendees at a 3D Widelux Stereoscopic screening of 

Hokkaido and Hong Kong. 

A portable 35mm 

movie projector 

which a member 

had repaired in 

Melbourne. 

Page 22 


* * * 42nd Melbourne International Movie Festival * * * 

* * * Entries Close: 1st September 2009 * * * 

We refer to your interest in the Melbourne International Movie Festival and advise that entries for the 2009 

festival are closing on the 1st September 2009. The gala screening will again be held at the Waverley Masonic 

Complex, Mount Waverley, Victoria, Australia on Saturday the 10th October 2009 at 2:30pm and 

8pm. A further screening will be held on the 22nd October 2009 at 8:00pm at the Oakleigh Library Theatrette, 

148 Drummond Street, Oakleigh. 

Entering your movie into this prestigious festival is made possible by using the on-line entry form which 

can be found at the web site. The Melbourne International Movie Festival is only accepting entries which 

are deemed to be non-professional (refer to the website for details). 

There is an entry fee of $AUD5.00 per movie (which must be received prior to the 1st September 2009). 

Australian entrants are required to meet transient and/or return tape costs. In this regard an amount of 

$AUD5.00 per tape together with the entry fee is required (this must also be received prior to the 1st September 

2009). 

Overseas entrants requesting return of their movie are required to forward a bank draft covering both the 

entry fee plus an amount of $AUD20.00 per tape to meet return postage (both fees must be received prior 

to the 1st September 2009). Please note that coins other than Australian will not be accepted as a form of 

payment. 

Movies will be retained by the Festival Committee unless return postage is provided. 

We look forward to your participation in the 42nd Melbourne International Movie Festival and thank you 

for your continuing interest. Judging results and details will be posted on the web site in due course. 

**** www.mimf.oakleighmovieclub.org.au **** 

Harvey Hutchison 

Festival Director 

June 2009 

iMovie Audio Fix 

By John Lawrie 

For anyone using Apple’s iMovie2 through to iMovie6 there has been an audio problem 

which none of Apple’s updates succeeded in fixing. 

The problem occurs when a clip with loud sound, particularly sounds like traffic or wind noise, is followed 

by a clip with little or no sound or with a still clip which has no sound. Even with the loud clips sound level 

reduced or faded to zero there sometimes is a burst of noise at the transition between the two clips. On occasions 

this can be fixed by moving the transition point in the noisy clip a little one way or the other, but 

this is hit or miss and rarely works. 

The solution is, after the clips are trimmed, overlay a blank Title (no words) over the quiet clip. Just make 

sure it is the same number of frames. Takes a few seconds to do, but works every time. 

Wild sound can then be added to the audio time lines to cover up the silence. 


Page 23

MY HUSBAND, THE “FLICKERS-MAN” 

By Joan (Flickers) Fuller 

I suppose, after some 47 years of marriage to David, I should be used to seeing pieces of perforated celluloid or cassettes 

of video tape lying around the house. Perhaps, as a baby, his soother was a discarded camera lens, in disguise. 

David occasionally reminds me that he could never control his craving for “movies”. Apparently, as a kid in elementary 

school, some local NUT gave him an old Pathe 35mm silent theatre projector along with a bunch of small reels 

of movies, cleaned out of the projection room when sound movies arrived. I can imagine it - at that tender age, the 

“flickers boy” in his home town. 

When our paths crossed, and destiny had us married off in 1957, I knew nothing about his “other “ passion. Soon 

enough, it surfaced when he arrived home with a Nizo 8mm camera and a Bolex M8 projector. 

In a way, this passion was a good thing, provided I could tear him away from it, as needed. We raised two kids. A 

record of our children’s growing-up grew quite large by the time we decided to emigrate from Australia to British 

Columbia Canada in 1967. 

But think of it - how many long hours we must have sat through these home movie shows. Pity the poor, innocent 

victims - the visitors! You know, along with the disorganized maze of “opportunist shots”, a kind of organization 

had begun to emerge. David & I had our kids act out short skits; he’d scratch away with his “frame-line” splicer 

again and again and I could see shape emerging from chaos. There was hope! 

Oh yes, then adding “sound” raised its ugly head. David brought home his new toy, a reel-to-reel tape recorder. 

Friends, if you thought that the silent movies were pretty much “hard-tack-full-of-weevils” to most hapless friends, 

now with the tape-recorder, their ears and eyes were assaulted unceremoniously! Weevils and maggots! 

I know, that’s harsh. To be fair, at least I always knew he wasn’t in the pub or betting shop or - worse. I could hear 

him diddling and doodling around in his hobby room. 

Our movie-making fortunes took a new course when my husband began to “diddle around” with a sync-box that 

loosely married the tape machine to the Bolex projector. Incidentally, I noted at the time, more and more pieces of 

rejected “bootlace” pieces in the trash can. A good thing! One day, in good faith, I swept his room and thought I’d 

done a great service by throwing away some of these short “pieces of bootlace” lying on his desk. Never did that 

again! 

As our fortunes improved in our newly adopted country, David realized that this bootlace film could never win 

many prizes. Home he trotted one day, with a much-used Beaulieu 16mm camera, complete with an Agenieau zoom 

lens poking out like a huge, long snout . A few weeks later, he saw an ad. in a magazine for a discontinued Bolex 

321, brand new. New York . A heavy, but durable monster. (A widow-maker, I feared. A hernia generator, at least.) 

Magnetic sound-on-film. It didn’t end there. Oh. No. A Vancouver film studio was upgrading its editing gear. Yep, 

home came a 4-gang sync. block plus an audio cassette recorder that would read sprocket holes and lip-sync sound . 

Sounds of car-doors slamming, rifle shots - piece of cake for him. “Add a sound-proofing, lead-lined blimp around 

the camera .. …Hmmmm ,” he continued musing (aloud), And built one for the Beaulieu. And on to recording and 

syncing live dialogue Edison’s reincarnation dwelt at our place. 

Well, that was his “thing”, I guess. To my surprise, all this diddling around began to pay off as David was winning 

awards in amateur contents. At last, I didn’t have to lock the doors shut when we had visitors over to “watch our 

movies.” 

Simultaneously, David developed TV Production classes at his Secondary school. Both of our kids enrolled in Dad’s 

classes. Two B/W video cameras, a switcher, audio mixers and a couple of Panasonic “flying heads” reel-to-reel 

VTR’s. He says to mention that this was in the early 1970’s! Mean anything to you ? 

Video was well and truly “in” by the early 1990’s. David reckoned that when Hi-8 and S-VHS arrived, the image 

quality, though nowhere near as good as 16mm Kodachrome, was “good enough”. 

History repeats. Videonics analogue surfaced. Continued interest in winning awards in amateur contests, too. And 

making “baby movies” of our grandchildren. 

Page 24 


And now, “NLE”, as he calls it. Gobbledegook, again , but he’s happy “diddling” away in his hobby room and his 

“stuff” is much easier on the eye and ear, too. As a dutiful, supportive wife (of long patience, I add), I’ve “acted” for 

him and I’ve written storyboards. We’ve both had heaps of fun directing our short scenarios, featuring our grandchildren 

who are just born to be the most natural actors . 

You know, come to think of it, I haven’t noticed in our wills any mention of 

what’s to happen with his legacy of recorded memories and how his paraphernalia 

is to be “disposed of” --- - I wonder: as heirlooms or in a dumpster. 

But, David is still crankin’ em out; he’s as active as ever in Moviemaking Clubs 

and helps out with sundry Contests. I suppose, one day, when he can no longer 

lift his Sony 2000, he’ll hang it up gracefully and be content to watch the young 

cats doing the same thing as he’s done since childhood. 

Joan Fuller 

Canada 

Movie Maker David Fuller 

PILLCAM 

By Michael Maros - Adelaide Filmo Club 

Experiencing a rapid and unusual heart rate. I arrived at Emergency in the early hours of the morning. 

After a series of high tech tests I was sent home to prepare for an examination of my innards. 

The intestines can be divided into an upper part (the oesophagus, and stomach), the middle part (small intestine) and 

the lower part, the large bowel (which is subdivided into ascending, transverse and descending colon). By far the 

longest is the small intestine. 

The upper part can be examined by an endoscope down the throat and the lower part can be examined by an endoscope 

from the other end. But there is no way to see the small intestine in the middle using this method. There are too 

many twists and turns. 

The gastro-enterologist ordered a new test for a few days later. Preparation involved living on clear liquids for 24 

hours prior to the test. I drank water and my wife added variety to the diet by saving the water from boiled vegetables. 

At 7.00 am in the morning of the great event I had electrodes strapped to my lower part of the body, with leads connecting 

to what appeared to be a small external hard drive recorder attached to a harness. I was presented with a Pillcam 

about the size of a large, very fat jelly bean to swallow. (the photo shows the Pillcam compared to the size of a 

35 mm slide) 

A firewire was connected to the data recorder and hey presto, the interior of my stomach appeared on the screen of a 

small laptop. 

The data recorder had two small lights, one blue and flashing at about 120 blinks per minute and the other remained 

orange. The orange light monitored the battery status, and the blinking blue light signified that the pill was on its 

journey. 

I was told to go home, go about my usual duties and keep an eye on the blinking light. If it stopped blinking, it meant 

that it had met with an obstruction on the way and to report back to the hospital. 

If all went according to plan, I would return to have the harness and data recorder removed in about 8 hours. I was 

warned to stay 25 paces away from anybody else wearing a similar harness otherwise there would be a cross pollination 

of data and the results would be ruined, and we would have to start all over again. 

The second warning was to stay away from any MRI machines as the strong magnetic currents could be disastrous. 

The Pillcam camera had its own light source and took 2 photographs per second for 8 hours as it passed through the 

small intestine giving a total of about fifty seven thousand frames, all in focus and in high definition colour. The 

depth of focus varied from zero to thirty five millimetres. 

A more advanced version of the Pillcam has a small camera at both ends of the pill and takes 14 frames per second. 

A total of about four hundred thousand frames ). 

The Pillcam is valued at $900, is used only once, and is excreted normally within 24 hours and ends up 

in the sewer system. The results take 2 weeks to be analysed. 

I’m told that this is an Israeli invention. For those who want to learn and see more, go to website 

www.givenimaging.com. 

Pillcam 


Page 25

Bits & Pieces with Rob Farquharson 

Multicamera Editing With Sony Vegas 

Recently I was asked to record an end of year public show staged by an amateur circus group 

and I decided that a multicamera shoot was necessary. The cameras were set up as shown 

below: 

Camera one was positioned well above the 

heads of the audience and was used to capture 

long to medium shots. Camera two was placed 

on the floor and was above head level. It was 

used to capture medium close-ups to close-ups. 

Camera three was in a similar position on the 

other side of the hall and was used to cover 

mostly medium to medium close-ups. A fourth 

camera was used in VCR mode to capture 

sound directly from the sound mixing desk via 

a stereo line out. 

There was no chance to see the show in advance 

as no full dress rehearsal was held. The 

positioning of the cameras and lighting were 

out of my control and I had to make the best of the situation as it unfolded. Camera one (an HDV camera fitted with 

a directional shotgun microphone) was not manned and the extra resolution of HDV was to be used to zoom the picture 

in as necessary in Vegas (the new Pro 9 version in this case). I manned camera two and the President of the 

Newcastle and Hunter Valley Cine Society, Frank Embleton, manned camera three. There was no electronic synchronisation 

system used. The show consisted of a first half of 45 minutes duration and a second half of 25 minutes duration. 

A separate mini DV tape was used for each half in each camera, giving a total of six tapes with video and audio 

and two tapes with audio only. All cameras were allowed to run continuously throughout the performances to enable 

speedier synchronisation of the various tracks when loaded into Vegas. The shoot was done in widescreen mode. 

After capturing the video from each tape, the video files were imported into Vegas, with the video/audio material 

from each tape being placed on a separate track as shown below. 

Page 26 


The Editing Process 

Step 1– Drag the tracks so that the audio waveforms line up. 

The waveforms (tracks) 

should now be roughly 

aligned as shown to the 

left. If you study the 

waveform carefully, you 

will see how the wave 

peaks and troughs line 

up. You can test the accuracy 

of the synchronisation 

by listening to playback. 

All the tracks 

should sound as one. You 

can see the advantage of 

having the camera running 

continuously. Once 

one section of the tracks 

are aligned, all of the 

tracks are fully aligned 

from start to finish. 

You should now zoom in 

to the time line and make 

fine alignment adjustments 

as shown on the 

next page. 


Page 27

After zooming in to the timeline you can see any misalignment of tracks more clearly (see the first diagram above). 

By moving the first and third tracks to the right, virtually perfect synchronisation has been achieved (as shown in the 

second diagram above). 

Step 2– Delete audio 

tracks that are not required, 

in this case all 

the tracks except the 

audio track recorded 

from the mixing console 

and the audio 

track from camera 1 

(with the shot gun 

mike, to add Ambience 

and audience reactions), 

see diagram at 

right. 

I found that in this 

situation it was better 

to make a copy of the 

camera 1 audio track, 

and add it to a new 

track. This means that 

it is not part of the 

camera 1 take and will 

not be chopped up as 

different camera takes 

are selected. The original 

audio track from 

camera 1 can then be 

deleted (see diagram 

the on the next page). 

Page 28 


Once the original camera 1 

audio track is deleted, you will 

have three video tracks (from 

cameras 1, 2 and 3) and two 

audio tracks (one from the 

mixing console and one from 

camera 1 that is unattached 

from the camera 1 video 

track). This means that the 

multicamera editing, when 

selected, will only be applied 

to the three video tracks, since 

all of their attached audio 

tracks have been deleted. The 

remaining two audio tracks 

can then be mixed as desired 

to produce smoother and more 

coherent audio (see the diagram 

to the right). 

Step 3- Select multicamera 

editing mode by selecting the 

tracks you wish to be included 

(or press CTRL A to select all 

tracks), then click on Tools on 

the Menu Bar, select Multicamera 

from the drop down 

list and select Create Multicamera 

Track from the secondary 

drop down list (shown 

in the diagram below). 

The track layout 

will now change, 

i.e. the video tracks 

will be combined 

into one multicamera 

track, with camera 

1 as the default 

‘take’, with the two 

audio tracks below 

them. (see the first 

diagram on the next 

page). 


Page 29

To the right you can see the 

combined multicamera track 

and the two audio tracks 

(which will not be affected by 

multicamera editing as set up 

in this example). 

Note* track effects on any 

tracks included in the multicamera 

track will be cancelled. 

Such effects should be applied 

after multicamera editing is 

complete, or you can apply the 

effects and pre-render the 

tracks before multicamera editing. 

To complete the set-up for 

multicamera editing, select 

Tools on the Menu Bar, then 

select Multicamera from the 

dropdown list and select Enable 

Multicamera Editing 

from the secondary drop down 

list. You will then be in multicamera 

mode and the display 

window will show the images 

on all tracks simultaneously as 

shown in the diagram below 

right.. 

Note that the camera take being 

added to the multicamera 

track at the cursor position is 

highlighted with a blue box. 

If you wish to change 

takes, for example, to 

camera 2 for a close-up, 

you simply click on the 

take that you want to add 

as you progress along 

the timeline. You can 

also use the number keys 

1,2 and 3 to switch 

takes. The process is 

shown in the diagram on 

the next page. 

Page 30 


Notice that the active 

take is now camera 2 

(close-ups) and this 

image is inserted into 

the multicamera 

track. This is shown 

in the multicamera 

track in the above 

diagram. To check 

the results, get out of 

multicamera mode by 

selecting Tools on 

the Menu Bar, then 

Multicamera on the 

drop down list and 

Enable Multicamera 

Editing on the secondary 

drop down list. 

This item toggles between 

standard playback 

(single image) 

and multicamera 

playback (three, or 

even more images 

simultaneously). 

You can go back to multicamera mode by selecting Tools, Multicamera and Enable Multicamera Editing as 

above. 

In summary, the process may seem complicated, but it’s not and the results are amazing. I started editing in Adobe 

Premiere Elements and then the full Adobe Premiere Suite at the school at which I teach and compared to that software, 

Sony Vegas multicamera editing is a snap! I’m so grateful that I was introduced to Sony Vegas at the FAMM 

Convention in Newcastle during 2006. I found it to be a revelation compared to Adobe Premiere. My enthusiasm has 

no bounds! 


Page 31

TECHNOLOGY NEWS 

LED Projectors 

The projectors utilising LED based light sources that I mentioned in my last article have been slowly increasing in 

number but at this stage seem to be aimed at the portable presentation market. I will provide more information on 

this subject as home theatre models become available. 

Sony Vegas Pro 9 Released 

New Features in Version 9.0 

Video 

• Support for frame sizes up to 4096 x 4096 (see the Video tab in Project Properties). 

• Support for capturing directly to XDCAM-compatible MXF files from supported SDI sources. 

• Vegas can now automatically adjust the video preview size and quality to optimise frame rate during preview. 

Right-click the Video Preview window and select Adjust Size and Quality for Optimal Playback if you 

want to emphasize frame rate during preview. When the command is not selected, video quality is emphasized, 

and the frame rate will be reduced if necessary. 

• Select the Adjust source media to better match project or render settings check box on the Video tab of 

the Project Properties dialog to enable Vegas to make minor changes to your source media properties — including 

cropping/padding frame size or adjusting interlacing — to allow media files to work better with your 

project. 

• Improved 32-bit, floating-point (video levels) processing mode ensures colour level and contrast compatibility 

with 8-bit mode (see the Video tab in Project Properties). 

• Gradient Wipe transition. 

• New Glint, Rays, Defocus, Starburst, Soft Contrast, and Fill Light video effects. 

Audio 

• Audio-only edits (such as event moves, trims, and ASR times) are no longer quantised to frame boundaries 

by default when Quantise to Frames is enabled. If you want to quantise audio-only edits, clear the Do not 

quantise to frames for audio-only edits check box on the Preferences > Editing tab. 

• Audio-waveform drawing during recording has been improved: 

Recorded waveforms are now updated at a faster rate. 

16-bit peak files are used for increased resolution. 

The entire waveform is now visible during recording. 

Peaks no longer need to be built when recording is completed. 

• A Use all Streams and Channels command has been added to the Trimmer window shortcut menu to allow 

you to choose how streams and channels are handled when adding media to the timeline. 

Workflow 

• The Vegas interface uses a new, darker colour palette that's easy on your eyes when working in a darkened 

editing booth. 

• Vegas includes new default window layouts. 

• The Device Explorer window allows you to import video from AVCHD and XDCAM EX cameras. 

• In the Save As dialog, the Copy media with project radio button now copies only media files that are saved 

outside of the project folder; media files in folders below the project folder are no longer copied. 

• In the Video Media Generators dialog, you can now click the Match Event Length button to set the length 

of the generated media to match the length of the event. 

• Hold Alt+Shift while dragging inside an event to slip-trim the right edge of an event. 

• Hold Ctrl+Alt+Shift while clicking an event to split it. You can then drag from that point to trim the event in 

the direction you drag (eraser mode). 

• You can now slip all of an event's takes when slipping an event (choose Slip All Takes from the Options 

menu). 

• You can hold Ctrl (or hold the right mouse button) for fine control while adjusting the sustain portion of 

event envelopes. 

• Time selection envelope editing (adjusts multiple envelope points within a time selection for quick audio 

ducking). 

• Muted events on muted tracks are now darkened on the timeline to indicate their muted state. 

• You can now set default fade and key frame types on the External Control & Automation tab in the Preferences 

dialog. 

• You can now choose to automatically crop still images to match your project's output aspect ratio. 

Page 32 


• In the Render As dialog, templates that match your project settings (frame size, pixel aspect ratio, 

and frame rate) are displayed with an = symbol in the Template drop-down list. 

• Holding the Shift key while dragging now enables snapping if Enable Snapping is turned off. 

• When you drag a group of selected events, the first and last event now snap to other snap points on the timeline. 

• Pressing ` (grave accent) no longer restores track height for tracks that were previously minimized. 

Formats 

• Native XDCAM EX reading and import. 

• Improved support for still-image formats: 

Added support for gigapixel-resolution images. 

Improved performance when working with high-resolution still formats. 

You can now create still-image sequences from the Render As dialog. 

Added support for reading and saving DPX, OpenEXR, and MS HD Photo formats. 

• Support for opening and editing RED ONE (.r3d) files on the timeline. 

• Updated Sony AVC rendering templates for Internet distribution. 

I have upgraded my Vegas Pro 8 to Vegas Pro 9 and have found it to be marginally faster and quite stable. 

Studios to allow “Managed Copy” of Blu-ray discs beginning in 2010 

The AACS licensing agreement was finalised on the 5th of June, and studios and other content owners will be required 

to allow consumers to make one copy of a purchased Blu-ray disc. That does not mean that the copying will 

be necessarily free, as the studios may require a fee to be paid in order to make the copy. It is felt that some studios 

may even offer cheap backup copies of discs already purchased. In any event, present hardware is not compatible 

with the copying system and new hardware must be purchased to enable successful copying. It will be interesting to 

see how this evolves. 

New Blu-ray players from Panasonic 

Panasonic are about to release two new Blu-ray players to the Australian market. 

DMP-BD80 This player features: 

PHL Reference Chroma Processor Plus allows users to enjoy crisp, vivid colours that are extremely close to the 

original 

P4HD (Pixel Precision Progressive Processing) for HD. Recreates images with the original film quality to further 

enhance cinema enjoyment. 

BD-Live and VIErA Cast: Enjoy Additional Content via Internet. 

VIErA Link: Operate with Your VIErA Remote Control. 

SD Memory Card Slot: Enjoy Precious Memories (AVCHD and JPEG data) in HD. 

DMP-BD60 This payer’s features are the same as the model above except that it lacks the ability to play back DivX 

discs and lacks 7.1 analogue audio out. 

No RRP is quoted for either model on the Panasonic Website as at 21/06/09. 

New Sony Camcorder Released 

HYBRID 16GB Full HD Handycam® Camcorder 

Ultra-light and compact with stylish titanium body, perfect for travel and everyday recording. 

Full HD recording on internal memory with GPS, Smile Shutter, Face Detection and Steady- 

Shot image stabilization. 

• Pure titanium body with scratch-resistant Premium Hard Coating 

• 1920×1080i Full HD video recording 

• "Exmor" CMOS Sensor 

• BIONZ Image Processor 

• Geotagging with built-in GPS receiver RRP is $1799.00 

I’ll leave you with the following quotation: 

"We are the measure of all things and the beauty of our creation, of our art, is proportional to the beauty of ourselves, 

of our souls." Jonas Mekas. I wish you happy and creative video making! 

For further information, suggestions or requests, contact me at the following email address: 

mrf@exemail.com.au 


Page 33

Stewart Hobson 

Director 

Tasmanian Division 

Here, about one year ago now, we were all congratulating ourselves on the success of the Convention at 

Bridport - where has that year gone and what have we done video-wise, since then? Not much and disappointingly 

little, I’m sorry to say. 

But I can report that Tas Movie Makers are developing some plans and are looking at scripts so that we 

will have some videos for the Queensland Convention in 2010. 

One of the activities that some club members were involved with has been concluded very successfully – 

the filming of Clive Brook’s demo of his gothic gore script “A Psychotic Bit of Gore”. His friend, Ken 

Prescott with Broadway credits as a dancer, choreographer, singer and actor, directed local and mainland 

talent to successfully complete twenty mins of song and dance and action. The “master” has gone to Ken 

in LA and we can now only wait for someone, somewhere, perhaps to provide some financial backing and 

take things to the next stage. Oh, how we would love to see, and be involved in, some real production taking 

place in Hobart again! 

A shot from the all singing, all dancing, all gore demo 

Our current Club activity, although probably done before, is the production of a TMM “ This is Tasmania”, 

DVD. At this stage it will be simply a collection of some of the existing footage taken by members 

over the years. The instigator and now coordinator of the project, Barrie Balfe, sees it as a promo for the 

Club and as a wonderful “exchange” item with other clubs here and overseas. Perhaps there will even be a 

place for it “on the net”. It is not seen as a commercial venture at this stage. 

We have been lucky to find a prospective new member with loads of experience in audio production and he 

has offered to run a session on “producing good audio for video”. We have him lined up for the very next 

meeting! 

So as winter approaches and this reporter starts to plan the “escape to the Sunshine Coast” things in Hobart 

are really quite upbeat. 

Stuart Hobson. Tasmanian Director 

Page 34 


Further Beginner Experiences with Toon Boom Studio. 

Stuart Hobson, TMM 

In the last issue I summarised my early experiences in trying to create 2D cartoon animation in TB Studio. 

After much effort, a sharp learning curve and several threats of divorce because of long, long hours in 

my back room, I have finished that project – all one minute of it! I can say, with some satisfaction, that 

most people who view it, leave it with a smile or chuckle. 

Cara and Conzo discuss our departure 

As it happened the completion was delayed by another project which took over, as it were. My friend , 

Clive, producing an eight minute demo of his script, “A Psychotic Bit of Gore” with the help of a Hollywood 

friend, asked if I thought I could do a little animated logo for the end of the production – and, egotistic 

and optimistic as ever, I said I would try. 

Ken Prescott is a very experienced Hollywood dancer, choreographer, singer and actor and arrived here to 

direct the production for Clive. His nickname is Hoofer and the Production company is Hoofer Productions. 

My task was to animate two dancing shoes as the company logo. 

My vision was for two dancing shoes to enter stage right and tap across the stage followed by an unruly 

flock of jumbled letters. When the shoes stop the horizontal dancing movements the letters would bump 

and jiggle to a stop as well. Then the shoes face to the front and do an authoritative, emphatic few steps and 

stop – at which the unruly letters, awed by the display and submissive, snap to attention in a smart line 

forming the words “Hoofer Productions”. Yep, sounds good … 

After several attempts to sketch dancing shoes resulted in something more like drunken football boots I decided 

to video Ken dancing so that I would at least have the rhythm and timing of the steps. I thought it 

would make an interesting workshop for our Feb meeting. My idea was to shoot against a black background 

with Ken wearing black trousers and socks, with white or part coloured shoes. As on stage or in 

puppetry, only the shoes would be visible on camera … 

So it was all set up and I painted up some floppy board black on one side, and as an afterthought. bright 

green on the other. I sent the message “please wear black socks and trousers…” 

On the night we were all set up using our split level lounge room with one of my newly painted boards for 

Ken to tap on and the camera on the lower level aligned at the shoe level. I thought only a relatively soft 


Page 35

light on the shoes would be necessary. Ken arrived and Oh, No….! His dancing shoes are black and white, 

and his socks were red. Obviously the black part of the shoes would disappear in the video…So it was decided 

to try with green screen – not my first option because of the problems with lighting the green evenly 

and not casting shadows in the confined space. 

So Ken danced, and danced and I videoed HDV tape. We changed the angle and I shot from the step ladder 

trying to avoid those pesky shadows. So we had quite a fun night with me quite unaware of problems to 

follow. 

Even as we did the green screen shoot I knew the chances of a clean “key” were nil so my plan was to load 

the video into TB Studio and rotoscope the outline of the shoes. Sounds simple. I soon found out the TB 

Studio doesn’t like HDV and after a couple of queries on the Support Forum I reduced the quality to SD 

and converted the video to an Image Sequence – each frame becomes an image. Oh yes, lots of them. 

With the video images loaded as a background layer I tackled the task of tracing the outline of each shoe 

on each frame on a new layer. I soon realised I needed another layer so that the left shoe and the right shoe 

could be treated separately…double trouble. 

Page 36 

Not very nice, eh? and this was plan B … 

A major problem soon became apparent – HDV at 25 frames a second is not enough to “stop” the motion 

and considerable distortion to the shape of the shoes occurred. When I had enough shoes traced in TB and 

“played” to check the motion - 

It was horrible! I then had no option but to make new, better shaped drawings and refine the range of 

movements. I simplified as much as possible. I made as much use as possible of TB’s ability to stretch, 

squeeze, rotate and move each drawing so that “tweening” can take place – a huge timesaver in that one 

drawing can be used many times in different shapes, positions and places and TB fills in between frames 

mathematically and sort of magically. I did the left shoe and right shoes in the side view and then from the 

front view and then had to “create” the change of position from side to front for both shoes – that didn’t 

work too well but as it happens in real time so quickly I think I get away with it. And there is the problem 

of one shoe being hidden by the other for parts of the movement. 

So that’s where lots of time goes – drawing, repositioning, redrawing for each frame. 

I knew that the laces would need to flop around and getting that right was a major chore - although they are 

barely visible they had to be constantly in motion or it would have looked very wooden. That needed two 

more layers and lots of changes, frame to frame. 

With the original sound locked to the background greenscreen image at least my timing problems were 

simplified and I only had to “foley” a few extra taps for the change of view and at the end where the music 

wasn’t quite long enough. Getting a good single “tap” sound is another story for another day!. 


I worked on it for weeks and produced two versions – the second merely a coloured example. Eventually I 

ran out of time and simplified the movements of the trailing letters. 

To view Stuart’s “little animated logo” for the end of 

the production which he wrote about on the previous 

pages. Please just click your mouse over the above 

square to view the short video clip. 

I think that my instinct that TB Studio would do the job effectively was correct. This was my first attempt 

at Roto scoping and in the event neither the black or green screens were necessary for that, but a clean 

background is certainly a big help. This project reinforced for me how important careful planning is. I 

didn’t tell Ken exactly what I wanted and his routine was far too long causing me design headaches later – 

music too long and the changes in the wrong places or not existing at all. 

Clive and Ken were happy with the result so I did feel a great surge of relief when it was finally on the 

memory stick and on its way to complete the final credits. My final product is 10 seconds long - can I justify 

weeks and weeks of work on it? I don’t know - just have put it down to experience I guess ! 

Kino (http://www.kinodv.org/) is the video editor that comes with Ubuntu and looks to be their favourite video editing 

system. I have found Kino a little hard to configure. I had to search lots of forums and web pages to eventually 

get Kino to record off my Sony Camcorder. Kino accepts Raw DV, DV AVI and Quicktime DV file formats. 

The program itself is very similar to Windows Movie Maker and if you are familiar with this program you shouldn't 

have any trouble using it. 

Kdenlive (http://www.kdenlive.org/) is another video editing system made for the Linux systems. It 

loaded very easily onto my Ubuntu system (reviewed on Pg 42) although I couldn't get it to stay 

stable long enough for what I wanted to do. I downloaded some fixes and now it seems to be working 

fine. The program itself looks very similar to Sony Vegas but doesn't seem to have all the same 

features. The home page for Kdenlive says that it can edit HD and has a video to watch to help you 

configure your system to make HD productions. 

Other formats are RAW, AVI DV, Mpeg2 and Mpeg4 plus HDV, the list goes on. Have a read. Multitrack editing 

with timeline and no limit of video or audio tracks. I must admit I haven't tried everything on this system and I am 

sure I will be surprised to find things that I have overlooked but at first glance it reminds me of Vegas and it could 

well be as powerful as Vegas. 

I couldn't get Kdenlive to record off my camcorder but I think with a little help from the net and some solid reading I 

will eventually get Kdenlive to record. 

The summary of these two free systems is that if you would like to try something different and haven't the extra cash 

to fork out for a video editing system, then try either of these editing programs. My favourite out of these two is 

Kdenlive only because I am used to Vegas and Kdenlive looks very promising. 

Reprinted with permission from NVM Editor Ralf Jorg 


Page 37

Ringwood Movie Makers Inc 

Ringwood Movie Makers is an award winning group of amateur enthusiasts who enjoy and help each other to make 

and screen movies. It is situated in the east of Melbourne near the foothills of the Dandenong Ranges. Established 

over 50 years ago, the club has progressed through the technologies of film, video, and has now entered the digital 

era, where computers are an essential part of the editing process. The club meets on the 1st and 3rd Friday of each 

month in the Ringwood East Senior Citizens Centre at 8pm. People, outside the club, who are interested in making 

movies are most welcome to attend a meeting. 

Competitions 

Members are assisted with regular technical talks as well as the production of group movies and regular quarterly 

competitions. The club also competes in the Victoria Competition. 

Below you can see Club President Ron Fry presenting June Furness with a Victoria Competition award for popular 

vote winner and second prize for her movie of Camargue in the South of France. This movie has a brilliant sound 

track with music by Colin Prohasky and spectacular shots showing flamingos slowly marching on their long spindly 

legs in perfect time to the beat of the music. 

June's award follows previous Victoria Competition awards won by Norm Tillack for his intriguing movie “The 

Amish of Lancaster County” and a year earlier by Ron Fry for “The Eden Project”. Individual members often enter 

other competitions – both local and international, and have had pleasing results over the years. 

Services to the Community 

As a community service, Club members now have 220 movies on DVD, (ever increasing), prepared by Stuart and 

Shirley Walker which they screen free of charge to community groups and aged care facilities. Maroondah City 

Council at their Australia Day celebrations awarded the club “Community Event of the Year” in recognition of 

these long term community contributions. 

Club members co-operated with Monkami (a centre for intellectually handicapped people), filming and editing two 

highly enjoyable productions of “Titanic”. 

Other Points 

In addition to regular meetings dealing with technical topics 

Vice President Tony King has kept us up to date with “Tony's 

Ten Minute Tech Talks”. His development of the Club website 

www.ringwoodvideo.org.au has enabled a number of prospective 

members and other Clubs to contact us. One result of those 

contacts has been an exchange of movies between us and Edinburgh 

Cine and Video Society, Adelaide Film Club, and Long 

Island Movie Makers of New York. 

A historic film made by Fred Haering "Hugo's Gold" has been 

screened several times on TV Channel 31. It is an intriguing 

story of the rediscovery of gold coins hidden in a cellar wall in 

Israel during WW2. The coins were returned to the now 100 

year old owner who lives in Melbourne. 

Club President Ron Fry presenting June Furness with a 

Victoria Competition award 

Our informative quarterly magazine “Take One” is produced by John Millard. 

Page 38 


Hi all from Auckland. 

We’ve had a pretty full-on three months, although the windup of the Angela Fox Project as described in 

our last report has taken much of our time. 

However, for our March meeting we were delighted to welcome Margot Francis, a renowned New Zealand 

film editor. Her latest full-length work, “A Piece of my Heart” was to be screened on national television the 

following Sunday. 

Margot worked as an editor in New York for 18 years, then back in New Zealand for the last 8. With a love 

of documentary and drama she says all film is effectively related to documentary or drama - even home 

movies. The more she edits the more she learns. Each segment she edits has to tell a story, even a 30 second 

commercial. She observed, “If it has an idea but no story what is the point?” 

To a layman the job of the editor is to ‘bond bits together’ although he is actually influencing the success or 

otherwise of the end result. Margot suggests that when editing you put the shots together quickly as it is 

essential to become familiar with your material. Spend time looking for those moments that you really like 

adding markers so you can find these bits easily later. You may not know just yet how you’re going to use 

them, but when you’ve selected your cuts, look at them again. Take the time to sit and watch to make the 

connection. 

Once the film is shot – throw the script away. The material will tell you what is needed – it will tell you 

what is too long or boring. You can’t plan everything. Sometimes it works, sometimes it doesn’t. When it’s 

edited and you have looked at the beginning, middle and end you will soon know if it works. If you are interested 

in what you’ve made the film is well edited. 

Transitions are important but make sure each is natural and not noticed, and music can completely change 

the mood of the film controlling the pace of more than 50% of the story. Then, a film has got to be fun to 

watch. If people are squirming in their seats it’s uninteresting and the movie has no power. If your audience 

isn’t hooked ask yourself why you have lost them. Maybe the film is not developing, or too much of the 

same material is being shown. 

Finally, a film must stand on its own – it alone should tell the story. 

Thanks Margot - a wonderful evening. While we are probably all aware of the pointers she made, the manner 

in which we adopt and use them will soon show up in the level of acclaim our own movies receive. 

Martin Coles. 

FREE MEMBERSHIP PROMOTION 2009 

I would like to thank the seven Clubs who participated in the Free Membership Voucher promotion. Unfortunately 

due to their Club’s efforts in participating in this promotion there were no takers for the free offer 

of club membership. 

Editor. 


Page 39

The Protea Video Club Newsletter 

Brought to you from the Cape 

It was a pleasant surprise to receive four early entries from two members of the newly formed Johannesburg 

Video Club. Although their names are familiar to us from way back it was good to have them on board 

again entering our competition. Let’s hope we will receive a few more entries from the Club as we all know 

from the past they can produce some top quality work. A gentle reminder to the others, including our own 

PVC members!!! The deadline is the end of July. 

Chroma Keying 

Not ‘Flying down to Rio’, but flying over the waterfront in Cape Town 

The highlight of our meeting on Saturday was a demo on Blue screen, also known as green screen or 

Chroma keying. Mike showed us some very interesting tutorials, downloaded from “Videomakers” “Tips & 

Tricks”. It pointed out that Green screen is the most popular choice for video due to the imaging devices in 

today’s camcorders as they are more sensitive to green than to red or blue. The primary use for blue is film, 

says ‘Videomakers’. We only had a blue cloth, trying to get green in the right fabric was very difficult we 

tried all the fabric outlets without success. We asked a studio if they would sell us some, but they weren’t 

very keen and besides it was very expensive. 

Anyone out there who knows where to buy the right colour green in the right fabric and has used it 

successfully please let us know. 

It is also surprising how large a piece of fabric you need. Remember if you are filming someone full length 

then the fabric has to run under their feet as well, so you are looking at something in the region of 5 metres 

in length by at least double the width of your arms outstretched. 

One of our members had brought along a young lady, Carol, who may be interested in joining the PVC. 

Whether she would want to be with a load of old fogies remains to be seen, if she does then she will be the 

first lady member in the club. 

Page 40 


It was just as well she came as we wanted a volunteer to pose in front of the Blue screen. None of us were 

agile enough to hop on to the table let alone cross our legs in a yoga type position. I’m sure if any of us had 

tried we would have needed to be extricated by the fire brigade! 

The main thing with Chroma keying is to make sure your screen is pulled tight enough so you don’t get any 

creases showing, not easy unless you can rig up a special frame. Uwe would be very good at designing a 

suitable portable frame as illustrated in “Tips & Tricks”. 

Care must also be taken on lighting the screen and the subject. First light your screen as evenly as possible 

so you don’t have any hot spots, then place your subject at least a metre in front and light her separately 

making sure you don’t cast any shadows on to the screen. 

Bear in mind what your background is going to be and 

light accordingly and of course remember about perspective, 

you don’t want a giant standing in the middle of a 

busy street. 

Carol sitting on the ‘Flying’ carpet 

The group eagerly filming Carol 

Err! Mike the gun goes off at.12 

whether you are standing in front of it 

or not! 

Mike’s “Noon Gun” production is coming along well and should 

be completed in plenty of time for the Protea competition. (See the 

PVC article on Pg 8) It is surprising how much material you need to 

make an interesting short story, the majority of which has been 

taken from old drawings and paintings of the period. 

Using stills to enhance your production 

Uwe asked in V-Vibes- “any thoughts on how much material should be your own in a video and would 

such a video be accepted in the Protea competition”? The straight answer is yes we would accept anything 

providing it wasn’t indecent or felt that it could cause offence. Whether the judges accept a video made up 

from other sources would depend on them. I believe since the popularity of the ‘History’ Channel and the 

Ken Burns method for simulating movement in still photos, drawings and paintings, it has become more 

acceptable to use other sources to enhance ones production. We shall wait and see!! 

Peter Smith. 

(Editor’s Note: Please ensure you have Copyright approval if you are using other people’s material and 

don’t forget to credit your sources.) 

Reprinted with permission from the Protea Video Club of Cape Town South Africa. 


Page 41

Ubuntu vs Windows 

By Ralf Jorg 

This month's newsletter has been made with Ubuntu. Well what is Ubuntu? Ubuntu is an operating system 

like Windows or Mac. It is a 'distro' (short for distribution) in the Linux family of distros, there are already 

over a hundred distros in use at the moment. 

All of this sounds quite confusing for the normal Windows user. Windows is owned by Microsoft whereas 

Linux is made up of thousands of people and even some companies making up programs and distributing 

them on the net for people to load onto their computer free of charge. This is called 'open source'. Many 

large companies already use open source like Google and Amazon. Some of us already use open source 

programs and don't even know it, Firefox and OpenOffice.org are just two that some of us might recognise. 

Windows usually works straight away when you load it onto your computer and people are quite happy to 

pay for this privilege where as Linux being open source has kept all of this free and will continue to do so. 

As I have already stated, there are heaps of distros out there already and anyone can make their own usually 

consisting of components from other distros and using programs already in the Linux system. Each 

distro has newer versions coming out all the time bettering the use and making it easier for the user to configure 

their computer. Some large companies own distros (still at no charge to the user) whereas others are 

one-man efforts called 'Slackware'. Some are community driven distros such as Ubuntu. 

This all sounds very easy and being free even sounds better but there is always a little drawback. 

Drivers are little programs that make your peripherals work. Peripherals are things like printers and scanners 

and Linux distros don't always include all these drivers on their disks. So you have to search for these 

drivers to make them work. Many companies distribute drivers for Linux on the net and there are many forums 

to help you find what you are looking for. 

This months magazine usually is put together with 'Microsoft Publisher'. This time I have used 'Scribus', is 

it the same? Well, we get used to using the same program all the time so it’s a learning curve. I attached the 

camera into the USB port and 'F-Spot' photo manager came up. Wow! What a great program, downloaded 

all the photos nicely and quickly and there a few powerful tools there to alter the photos for me, usually the 

photos are altered with 'Paint Shop Pro'. 

This page is made with 'OpenOffice. The presidents page is sent to me in 'Publisher' format and so is Joe's 

technical page, both of these pages will be converted into text and photo files and inserted into the 'Scribus’ 

document. The whole magazine will be made into a Pdf format to be sent over the internet and printed. 

How much did this new format of publishing cost me, not a cent, that's what open source means. 

Does Linux Ubuntu take over my whole computer, sorry no, not at the moment. I use a completely different 

computer for Ubuntu. Why? Because it’s a new experience and I, like most of us, am so used to Windows 

and the programs associated with it. 

Does Ubuntu or Linux systems have all the programs I need to take over my computer usage? Nearly, but 

as you are all aware most programs are aimed to be used on Windows. Even the ones I have used are available 

on Windows at no charge. 

You can download them for free. Why is this article in this month's magazine? 'Kino' is one of the video 

editing programs which Linux users can use for free. 

Reprinted with permission from NVM Editor Ralf Jorg 

Page 42 


NEWCASTLE VIDEO 

MOVIEMAKERS Inc. 

Presents the 

2009 

NEWCASTLE NATIONAL 

VIDEO FESTIVAL 

Newcastle Video Moviemakers Inc. will present a public 

screening of the selected award winning entries at the 

Lake Cinema 

62 Main Road Boolaroo 

On Wednesday 21st October 2009 at 7.30 p.m. 

CLOSING DATE 

FOR ENTRIES AND ENTRY FORMS 

WEDNESDAY 2nd SEPTEMBER 2009 

COMPETITION ADDRESS: 

The Competition Secretary 

Newcastle National Video Festival 

PO Box 759 

CHARLESTOWN NSW 2290 

AUSTRALIA 

Entry Fee (Australia): $A10.00 

Cheques payable to “Newcastle Video Moviemakers Inc.” 

Entry Fee (International): $US15.00 

For further information phone: Ralf Jorg (02) 49336931 email: ralfjorg@hotmail.com 

Jim Dunn BRAINTEASER No 3 

A man wanted to get into a members only club but because he couldn’t become a member, the man hid and watched 

as the guard at the door of the club house said a number to each member as they approached. The member would 

respond with a number of their own. If the member responded with the correct number they were let in. If they responded 

incorrectly they were thrown out. 

One member came up to the guard, the guard said, “Twelve” and the member responded with “Six” and was let in. 

Another member came to the door. The guard said “Six” and the member responded with “Three” and was let in. 

Believing he had heard enough, the reject went up to the guard, the guard said “Ten” and the reject said “Five”, but 

was not let in. What should the reject have said? 

Answer on Page 49 


Page 43

On Monday, 20 th April, 2009 Queensland Movie Makers - Northside and Southside Branches, were 

treated to a practical lecture and demonstration on the Art of Make-up for Film and Television by 

Kelly Dower at the Southside Club room. 

Kelly is a graduate from the Peter Frampton Institute on Queensland's Gold Coast and not only showed 

how Make-up is important to the success of movies but also told anecdotes on films she's been associated 

with and methods used by the big studios and known actors. 

Amanda was the model for the night and was transformed from an ordinary QMM Member to a girl 

who was frightened on her way back to her car and who started running in a panic. Perspiration 

formed on her brow. She fell and bruised the side of her face and, finally, had a large wound appear on 

the other side of her face. It was all very realistic! 

Kelly made mention of the fact that it was necessary to always follow the script as the state of a bruise 

on an actor needed to change in just the right way for continuity in the movie. 

Members had many questions for Kelly and she answered them all in a most professional manner 

and gave us, not only an informative evening, but a very entertaining one as well. 

Fay Finlay. 

Queensland Movie Makers 

Southside Group 

(Photographs By John Westwood) 

Demonstration of the Art of Make-Up 

for Movies and Television 

By Kelly Dower 

Model Amanda & Artist Kelly Dower 

Amanda having make-up applied 

Editor’s Note: Unfortunately the creases could not be removed from 

the photos which were received via snail mail. 

TEACHER’S TALES 

Teacher: “Clyde, your composition on ‘My Dog’ is exactly the same as your brothers. Did you copy this?” 

Clyde; “No sir. It’s the same dog.” 

Teacher: “Harold, what do you call a person who keeps talking when people are no longer interested?” 

Harold: “A teacher.” 

Teach: “Millie give me a sentence starting with ‘I’.” 

Millie: “I is …” 

Teacher: “No, Millie...always say, ‘I am’.” 

Millie: “Alright… ‘I am the ninth letter of the alphabet’.” 

Page 44 


The Adelaide Filmo Club has a movie exchange from time to time with the Ashford Club in the UK. 

The last DVD we received had some problems. A number of the video’s had JITTER when a scene was panned or 

zoomed and JITTER on movement of the subject. 

We handed the DVD on to Barry Schrapel who fixed the movies and supplied us with a good DVD. 

First of all here is a bit of technical history. From the time that interlaced TV scanning was invented and used on our 

TV screens, the FIRST or UPPER FIELD traced down the screen from top to bottom leaving spaces for the SEC- 

OND or LOWER FIELD to also trace down from top to bottom thus filling all the spaces. At 25 frames per second 

this gives a flicker rate of 50 times per second, deceiving our eyes into seeing no flicker in the movie. 

In film projectors the rotating shutter has three or four vanes so that each frame is displayed several times before the 

film is advanced to the next frame. Here the flicker rate is 75 or 100 times per second. Some of the latest so called 

100 Hz TV screens can be set to give a flicker rate of 100 times per second to give a smoother display. The picture is 

still at 25 frames per second however. In our faulty DVD the field order had been reversed when it was compiled 

from the original sources, so that it caused a moving image to jitter by displaying the lower field and then displaying 

the upper field to show where the image had been 20 milliseconds before, and so on. Still images showed with no 

jitter. 

John Lawrie 

Barry explains further. 

The problem was “FIELD ORDER” 

This was easily corrected when extracted from the DVD brought into Edius and the field order reversed and another 

DVD made. 

The problem arises from the DV format that has a field order of “LOWER FIELD First”, the only video format that 

has this and harks back to a mistake made when the format was formulated. 

Most people are confused by this when exporting to MPEG for placing on a DVD and set the MPEG encoder to 

“LOWER FIELD FIRST” to keep the order the same, BUT the problem with this is the DVD player expects 

“UPPER FIELD FIRST” and so plays the incorrect field order with the consequence of JITTER. The Edit program 

has already taken into account the difference in DV and DVD field order. Why they allow you to change it is beyond 

me. 

REMEMBER 

DV = “Lower Field First” 

DVD = “Upper Field First” 

HD All Formats (AVI, Mpeg, AVCHD, H264) 

= “Upper Field First” 

ALL MPEG = “Upper Field First” 

Barry Schrapel 

DVD Jitter 

Barry Schrapel Peter Letheby Colin Phillips 

(Barry is the new FAMM Ltd Director for South Australia. Peter allows the Adelaide Filmo Club Inc to use his theatrette 

for our work nights on the fourth Tuesday of each month and Colin is the long serving President of the Adelaide 

Filmo Club.) 


Page 45

Hi Gary, 

My good friend Peter sent AF&V to me. 

I have set up the discussion forum Video-Vibes on Yahoo. We are still trying to grow but have come to 

a point where meaningful discussions can be held. I am also a member of three clubs. We are presently trying 

to get clubs in South Africa and hopefully in other parts of the world to be in contact with each other. 

One way of doing so is the exchange of newsletters. 

I wanted to send your newsletter out on Video-Vibes and possibly include one or two articles in one of our 

club newsletters. Have become a bit “scared” though because of your copyright protection. 

Would you have any objection to us using your newsletter and/or articles for the above purpose? 

Surely after all the effort put into the newsletter you would want as many people as possible to read it. 

I am sure that nobody I send the newsletter to would use it for anything other than intended. 

I would appreciate an urgent reply as one of our newsletters is about to be compiled and sent. 

Thank you for a great jog, makes very good reading. 

Regards 

Uwe Soltau 

PVC South Africa 

(Uwe you should have already received my email granting you permission to utilise the information appearing 

in AF&V requesting that you only recognise your source. Ed.) 

Hi Gary, 

I forgot to ask, while reading some of the very interesting newsletters I also saw that they have announced 

the results of the Winners of the 2008 FAMM Five Best Competition and Trophy winners. I was wondering 

if there was any chance of obtaining a DVD disc of the winners, along with some of the other entries 

that we might be able to show to our club. 

Exchanging newsletters and seeing how other clubs operate goes along way to getting to see how active 

some clubs are. I note with envy some of the clubs have more Committee members than we have members 

(only 12 I’m afraid). 

I also strongly believe that by clubs swapping videos we stand a better chance of improving our hobby, 

even the straight forward travel video gives us a chance to see your country. We already do a swap with a 

New Zealand club and would very much like to see the work from the Australian clubs. 

Peter Smith 

PVC South Africa 

(Peter, If you were to contact Ron Gregson the FAMM President at kaosvid@netspace.net.au he should be 

able to arrange something. If there are any clubs out there who would like to exchange newsletters or DVD 

programs with the Protea Video Club in South Africa then Peter may be contacted at 

smithpjay@telkomsa.net and I am sure he would like to hear from you. Ed.) 

Page 46 


Hi Gary, 

Thanks for your great effort on the magazine – we all enjoy reading it. 

I am a bit dumb and took quite some time to find it on the web-site – at first I could have sworn I’d looked 

everywhere and it was missing. I wonder if it might be worth having a link from the home page or rethinking 

the menus so dummies like me can find it a bit quicker please. 

Regards 

Tom Hunt (Wollongong) 

(Tom, if you go to www.famm.org.au/home/index.html and then click on AFV Winter 2009 and that should 

open the latest edition up for your reading. Ed.) 

Gary 

Eagerly awaiting next edition of AF&V. Any news on when we might get it? 

Regards, 

Don Finlay 

(Don, if you are reading this then you have already received it. The delay for its release was explained in 

my Editorial. Ed.) 

Thanks a lot for the latest AF&V, very good reading indeed. 

Gerard 

NZ 

Otago Cine Video Club 

Dunedin - New Zealand 

Our March meeting was a non competition night. Members were invited to bring along one of their favourite 

five minute productions, from their archive, to show. We viewed a great variety of excellent items and 

plan to have another similar enjoyable night later in the year. 

Our April meeting had an appropriate Anzac Theme. We welcomed local Producer, Gemma Carol who 

showed her excellent documentary "Lest We Forget", featuring War Veterans from the Dunedin Montecillo 

War Veterans home. After the screening Gemma answered many questions about the making of her production. 

The most difficult task she faced was getting them to open up and talk freely about their war experience. 

Our Club Subject competition "Aquarium Visit"" saw the results of our March Club outing, with five good 

"fishy" entries. Then we had our ""Own Choice" competition, which had three entries, with a visit to the 

2008 Oamaru Heritage festival, a visit to Norfolk Island and one exploring the back country of Otago entitled 

"Tackling the Tussock Terrain"! All to a high standard. 

Recently our Club was surprised to find excerpts of one of our local copyrighted fund raising videos, is 

now on YouTube, with no reference to us....three different uploaders have used our material. At our next 

committee meeting we will have to decide if we will put in a copyright complaint to YouTube ! 

How do you stop anything being copied in this modern age..??? 

Andrew Wylie 

President 

Otago Cine Video Club - Dunedin - New Zealand 


Page 47

BACK FROM BEYOND THE GRAVE 

A Film made by the Video Club of Tauranga, New Zealand 

When a story broke in our local newspaper last November, that a local car enthusiast had faithfully restored 

a 1907 Ford “S” motor car, I thought it worth a second look. Not only was this “horseless carriage” found 

as a small heap of rusting “bits” on a Cambridge farm, - it turned out to be only one of three vehicles of its 

type known to exist in the world today - (The other two are owned by the Ford motor Corporation in the 

USA). I immediately saw the prospect of a film project here. 

I was President of our club at the time and had been over a period of two years, providing means for any 

club member who wanted to improve camera or editing technique, to take advantage of programs held at 

our club rooms throughout the year. We had done topics on storyboarding - studio lighting - camera technique 

- sound and editing … and so on, so I immediately considered that we could wrap this up and show 

all our newly found skills by making a film. 

I made immediate contact with the car’s restorer, Seaton Dredge who turned out to be a retired design engineer 

who had worked at General Motors in Australia designing the early Holden. With an agreeable nod 

from him, I went about getting our local club members informed and began plans to muster equipment and 

start storyboarding sequences I thought I wanted for the film. 

My first thought was to film in high definition and my Canon HV20 and HV30 - a matched pair-would be 

suitable, but soon realised that I wanted 4 cameras at some point, so I used 3 CCD mini DV cameras. I 

thought that my previous experience of directing a film, and being number 4 cameraman in another, would 

come to the fore and keep me in good stead. I could easily pull this one off with few problems until the 

main actor, Seaton Dredge, the restorer of the car, told me just as a matter of fact one day, that he was 

heading back to Australia in about 2 weeks for an extended 2 year stay. Sheer panic broke followed by a 

severe sweat disorder and it was time for a radical rethink. 

Then came further problems. We had days of rain and our filming location was a farm implement shed 

made from corrugated iron, that did nothing for our sound department. The farm was near the local airport 

and we had aeroplanes landing on the hour, and, when filming. we just happened to have a trainee pilot doing 

take off and landings nearby which lost me some more hair and I was wondering what I had done so 

wrong in my life to deserve this, and wondered what more could go so wrong, when Seaton announced that 

he was going to be out of town for 3 days. 

With only days to go, we abandoned any thought of storyboarding procedures and filmed “old turkey” as 

they say and we were “nearly down to the wire” with only 3 days left when Seaton announced that the car 

would not start and he was sourcing another carburettor so that we could film the car driving along the 

road. 

Now down to only two days before Seaton left for Australia and we had to film the next day, wet or fine or 

have no film at all, and the car just would not start with the recently acquired carburettor. 

So …… We filmed “as if” the car was driving under its own power and made sure we did not film the 

“pushers” at the rear. We then towed the model “S” to get more footage “on the road” and then filmed 

again from the sunshine roof of another car driving alongside, taking care not to show the tow rope attached 

to the towing vehicle. Sound was added later from a 1928 Ford with a similar sounding motor, and 

the film was “in the can”. 

Yes, 4 cameras were utilised, and yes it did take me 3 months to edit but I can tell you this, with full authority, 

that all concerned had a fast learning curve and with what turned out to be an excellent choice of 

our “front person/interviewer”. Also by chance the very professional way in which our host, Seaton 

Dredge, presented both himself and the stories of the car’s construction, and we have finished up with a 

quality DVD that any Video Camera Club would be proud of. 

Page 48 


It is a 67 minutes long of very authoritative and entertaining dialogue that would appeal to veteran car enthusiasts 

everywhere, and anyone who has a love of motor cars from those bygone years, or members of 

Video Camera Clubs everywhere. 

Would I do it again? ……… Too right mate! 

Alan Arnold 

Director. 

Copies of this video are available for (AUS) $25 each which includes postage. (In aid of club funds and 

repay costs) It is presented in a full size DVD case with a printed cover. 

Contact: The Director, Alan Arnold, 8 Azores Way, Welcome Bay, Tauranga 3112, New Zealand 

Phone: 64 7 544-9485 - (Local (07) 544-9485) 

Email: frienz49@hotmail.com 

1907 Ford S 

The Answers to Jim Dunn’s Brainteasers. 

BRAINTEASER No 1 

The letter “e” which is the most common letter in the English language, does not appear once in this long paragraph. 


“Happy Birthday.” 

This song can be sung with anyone’s name in it. 


He should have said ‘THREE’, the NUMBER of LETTERS in the number the guard said. 


Page 49

THE AMATEUR 

By David Fuller 

(Nanaimo, British Columbia - Canada) 

David Fuller, Aussie born and now residing in Nanaimo British Columbia Canada. You were introduced to David in 

the article titled “My Husband the Flickers Man” on page 24 by his wife Joan. David will become a regular contributor 

from Canada. Ed.) 

Funny thing, you know - an amateur video maker doesn’t want to be thought of as a bumbling dabbler in the art, while the 

Pro lives in fear of appearing amateurish. It’s all in “vibes.” 

Well, let the amateur call himself a “non-professional”. Yes, that clears things up. Although the term itself is unwieldy, 

some distinguishing connotations attend it. Let’s see - the amateur doesn’t make any money from his Contest productions; 

no clients are at his throat every day with deadlines and complaints. On the other hand, even if the amateur does, on occasion, 

let a few “unavoidable” flaws slip by him, the worst that can happen to his ego is handed to him from the vitriolic 

pen of a contest judge! “Little things”, anyway, eh? Damn, picky judges! 

Oh, just a passing, he is allowed to set up his shingle and solicit business - as a sideline. Perhaps a wedding or two, isn’t 

he? 

Let’s look at what we may term an Advanced Amateur. This dude’s case is worth examining . 

Long cross-fade to……One time in the glorious “sprocket era” which old retirees can reminisce over, it was easy to distinguish 

an amateur from his counterpart: an amateur simply couldn’t afford a heap of film stock, let alone Lab costs for 

printing, nor the production equipment associated with double-system sound, etc. 

Today, it’s more difficult to see how an amateur differs from a Pro, NLE so affordable and abundant; both may buy and 

enjoy the same equipment. 

Well, now that we amateurs have evened up the playing field, the next BIG Question promulgated is are Pro-made videos 

any better than those flowing from the editing suite in the amateur’s den? 

WESTCOAST VIDEO PRODUCTIONS or DAVIDEO 

I ask you, gentle reader, what images most likely spring into your mind? The suite with a receptionist and studio behind 

the curtain or David’s den - or, er, his cloak room ? 

So it’s as easy as that, hey? You could be right. But, wait a while. “Cloak-Room Productions” isn’t as “amateurish” as 

you think. I’m talking about this fella Dave who is an “advanced” amateur. Take note: advanced! Say the phrase slowly, 

too, please. If he’s newly retired, as well, Old Dave has another advantage; he’s got scads of spare time and if he has the 

production skills he claims to have, he has plenty of time to make his work the absolute best. To look professional! 

With Peter Pro, it’s always “deadlines”, “clients’ unfulfilled expectations”, incessant interruptions, “that’s the best I can 

do in the given time”, etc. Running a one-man business ain’t all that glamorous, as the newly-turned Pro finds out . 

All very fine, Dudes! 

So, it looks like Old Dave Amateur is sunning himself; Peter Pro sweats it out. But, there’s more. 

Tain’t quite that simple for Old Dave to maintain his good standing in “amateur “ Contests. You see, it’s this bothersome 

thing about “professional help.” 

When he blithely plugs in copyrighted music, or sound effects or other professionally-produced “artistic enhancements”, 

his production is no longer truly in the amateur domain. Things have got muddied up. Now, you have to know that Dave 

would never commit such a felonious act. Not our Dave. 

Mozart is well out of copyright protection, but professionally-recorded performances of his clarinet concerto aren’t! 

Shakespeare’s OK, but not an oral delivery by a living theatrical actor. That is, without written permission. And so on. 

It gets even stickier. 

Can he still use the red-hot transitions and other video effects that come with his PC editor or may be added on? Can he 

Page 50 


use the other image effects generated by his editor, e.g., “warping” and “morphing”? What’s the difference between the 

PC-generated effects and those made “professionally”, that he may buy on a DV or DVD from a store? After all, with the 

DV or DVD, Dave has full copyright advantage. He won’t be sued if he uses the stuff for his own productions, amateur or 

professional. 

By extension, today’s amateur can manipulate his PC audio application to create his own “original” music specially tailored 

to the moods in his movies. A grey line ? 

How are the judges to be sure that the music, the titles, the effects, the words in a commentary, or, for that matter, the actual 

scenario in an amateur’s movie hasn’t been at least “partly- borrowed”? Where does a “sneaky suspicion” take the 

judges and the fate of the movie under evaluation? In fact, is there anything really original in the World of Art? 

Amateur professional - a game of Hide-and-Seek . 

In this saga, the conflict may become all about maintaining appearances and winning prize/s. Let’s remember that the Pro 

often enters his productions in a market-oriented Exhibition or Festival so as to attract buyers, to be “heard”, or at least, 

just to puff up his ego. “Independent Video-Makers Festival” has a “superior” ring to it. Amateurs enter contests reserved 

for mere amateurs, don’t they? (Who’d buy Old Dave’s Visiting Anne, anyhow? Ha, Ha !) 

The plot thickens. 

You have to know that Sponsors of Amateur Video Festivals or Contests have spent many hours hashing out “Rules” to 

lock out Pro’s and aspiring Pro’s. ( You’d think that genuine, full-time Pro’s would have better things to do than entering 

amateur contests, now! Wouldn’t you ? ) 

These Rules are designed to prevent “unfair competition”. You know, the same phrases or equivalents appear consistently 

the words “professional”, “profit”, “money exchanges”, “College courses”, “access to studio equipment”, “professional 

actors”, “amateur in intent”, etc. 

Now come the “acid tests”. 

From his panel of judges, the Contest Chair receives “murmurs of doubts”. Discussion. The video-maker’s “real status” is 

questioned; he’s phoned and a decision must be made. 

After the Contest is over, more murmurings: “THAT movie? I know those actors. They’re retired professionals.” Or, 

“Peter, of Peter Pro. Huh! Really! He’s no amateur!” 

“Hey, look at that point-of-view with the camera rising from ground level to roof level. You tell me that an amateur can 

bring in a crane with a tractor? Get real!” Or, “What amateur can pull off blowing up a car!” “Remember that trucking 

shot of the client following behind the realtor in the haunted house? Obviously, professional equipment. An amateur good 

at using a Steadicam? Huh!” 

What’s the Chairperson to do ? 

Well, some Amateur Festivals try to segregate the “Real Pro’s” from the “Wannabe Pro’s” and the rank amateurs by offering 

categories, e.g., “amateur class” or “independent class” or “student class”. If such an experienced Contest Sponsor can 

attract sufficient numbers of entries, establishing categories goes a good way to having the best of all worlds. 

Even in a Contest where only 25 entries total, are received, it may look good to show off one’s certificate “Best Independent” 

(only one independent video-maker had entered). No egos are bruised, eh? 

Finally, folks, competition from amateurs across the oceans is a good thing for us all. If we attend the Festivals or Conventions, 

we’ll get to see the best that comes from the creative minds of Amateurs, world-wide. 

So, let’s invite, encourage and promote our Contests by attracting overseas entries . 

If we accept the challenge of allowing in these “battle-tested” entries from Europe, Australia and elsewhere, then let’s 

make it easy for them to find their way to the judging panel, regardless of the TV system being used. 

DVD’s - light-weight to mail, inexpensive to burn, easy for us to play, best image resolution retained - “nothing except our 

fears” to hold us back . 

David, the Amateur. 

(Editor’s Note: Readers please ensure you have Copyright approval if you are using other people’s material.) 


Page 51

SUCCESSFUL MOVIE MAKING 

By John Hussell 

SUCCESSFUL MOVIE MAKING 

The success of your movie depends almost as much on the pictorial quality of the individual shots as on 

their dramatic content. This has been said before. The language of the movie is pictures. It is therefore easy 

to understand that the better the picture shown in the film the greater its audience-appeal. 

Use only the very best vision for your scenes. This requires some care. First of all, you must learn how to 

arrange your shot most effectively in the frame of the viewfinder, using the rule of two thirds. In every 

scene the audience's attention must immediately be drawn to the significant object or person The scene 

must be arranged that the person or object is brought into prominence and that disturbing elements are suppressed. 

MOVEMENT IS IMPORTANT IN MOVIES 

Only movement can hold your audience's eye and make an action easy to follow even without the spoken 

word, there are three kinds of movement to be considered, 

Movement into the scene, 

Movement out of the scene, 

Movement within the scene. 

MOVEMENT WITHIN THE SCENE. 

This arises in actions involving hardly any change of place e.g. tea parties, conversations, card games, 

dancers. Children playing etc. you only need to bring the significant object or person into the middle of the 

picture 

MOVEMENT INTO OR OUT OF THE SCENE 

There must always be room for the moving object or person to move into; the speed of the movement, its 

direction with relation to the camera, and the distance of the moving object or person from the camera are 

all important. 

A ladybird crawling past the lens of the camera one foot away may go in and out of the picture more 

quickly than an express train rushing along two miles away, because the train is moving very slowly to the 

eye. Slow movement has become apparently fast and fast movement very slow. The position of the camera 

relative to the direction of movement determines how long the moving object will remain within the field 

of view. Sometimes the object remains in the picture for so long that it seems to lose its speed altogether, a 

train in the middle distance traveling almost directly towards the camera. Takes a long time for it to reach 

us and rush past. 

Similarly if you film a skier or board rider at an acute angle to his direction of movement, you can keep 

him in the picture for longer than if you film him at right angles. In the latter case he would simply flash 

past the camera. 

THREE FACTORS ARE VERY IMPORTANT IN ARRANGING A SCENE, ESPECIALLY IF 

THERE IS MOVEMENT 

• Range. 

• Angle of view of the lenses. 

• Direction of view. 

Page 52 


TELECINE TRANSFER 

By John Sirett 

SOME BACKGROUND TO TELECINE 

There are, loosely speaking, three classes of Telecine Transfer which I will 

describe, for the want of better names, as follows:- 

(1) Fully Professional: 

Top of the range, involving very expensive specialised equipment like the “Rank Transfer”, computerised 

“Flying Spot Scanning” of individual film frames, “Wet Gate” techniques to disguise film scratching, extensive electronic 

picture corrections and etc. 

Video laboratories having this equipment offer their services to the public at a hefty hourly rate. 

( Typical firms have the ‘Rank Cintel 3’ machine. Their charge rate is, or was, from about $250 per hour lab working 

time, -- not film running time) 

(2) Semi-Professional methods: 

(a) Involving direct optical viewing of the film frame with special and/or supplementary lenses attached to a 

camcorder focussed directly on the film in the projector's gate. (This method requires re-working of the projector's 

lamp installation) Can be done as a DIY project, but not easily. I tried, but could not make it work with the close-up 

lenses I have. 

(b) Dedicated “Telecine” machines operating on the same principle as in (2a) and made specifically for the 

purpose. I have not used one of these, but I have seen the resulting video which can be very good indeed. 

(For anyone interested, models I see mentioned on the internet are : PanasonicWV-J20N, Goko TC-20, 

Elmo TRV-S8, Fumeo 9131, Sony BM2100. Ballpark prices range from $US500 to $US1500 on E-Bay.) 

(3) The D.I.Y. methods: 

(a) Using a small box called a “TELECINE CONVERTER” having a lens, a front-silvered mirror and a 

ground glass screen. You play the projector into the lens of the box and focus the picture on the small ground glass 

screen. Then record with your camcorder focussed on this screen. 

I tried one of these some years ago and found it quite useless. The small ground glass screen is too refractive, 

making it impossible to obtain a clear, sharp image. (They cost about $50 to $80 as I recall) 

(b) THE “OPTICAL SCREEN” METHOD, which anyone can do, and being a DIY enthusiast myself, 

the method I adopted. 

The basic principle involves simply playing your projector picture on to a suitable screen and at the right 

speed, then recording it off that screen with your video camcorder, for future showing or for subsequent video editing. 

Simple, isn’t it! 

TELECINE TRANSFER THEORY 

(For Super 8 silent film) (PAL System) 

MEETING THE SYSTEMS SPECIFICATIONS 

There are two major requirements that must be considered: 

(1) One involves elimination of the objectionable pulsating ‘flicker’ that is so often seen to accompany a 

telecine transfer. This is of paramount importance. 

(2) The other is how to manage the difference of frame rates (frames per second) between the original film and 

the television system. 

ELIMINATION OF FLICKER 

In the PAL system, video operates at 25 frames (50 fields) per second, while super 8 silent film is shot at 

18 frames per second. Immediately, we can see that there is conflict between the two systems. 

Because the 240V power supply alternations (Hz) sets the timing of the TV fields and frames and cannot be 

altered, every other operation of telecine transfer has to comply with this. 


Page 53

The pulsating “flicker” I refer to, is caused by a variation in the exposure times of successive video frames 

recorded by the video camera. This occurs because the projector is not synchronized, is “out of phase” with the 

TV system. 

This is what is happening : 

Using a film projector with a 3-bladed shutter (the most common), each film frame is projected on to the screen at 

three equal intervals of time (I call them ‘flicks’) before the film advances. 

In the case of Super 8 film, recorded at 18 frames per second, each of these exposures (flicks) is about 1/108th 

sec each in duration. (Total exposure time then, is: 3 x 1/108 = 1/36th second for each film frame). 

Between each individual ‘flick’ exposure (1/108th sec) there is an equal amount of time where the shutter is 

covering the film gate and light cannot pass to the camcorder. Once again, 3 x 1/108 = 1/36 sec. 

So, in total, 3 ‘flicks’ + 3 ‘blanks’ = 6 x 1/108th sec = 1/18th second = one film frame's time in the gate. 

Now, if a projector is “out of phase” with the camcorder, it will happen that every so often (and repeatedly), 

that the camera will be unable to receive the ‘total exposure time’ of each film frame, (1/36th sec from the projector), 

due to projector shutter action not synchronizing with the change of video frame . 

Notice in the timeline diagram below that the change of film frame does not coincide with the change of video frame. 

The amount of light received by the camcorder therefore is continually varying on a regular basis. 

These exposure variations occur too rapidly for the camcorder's auto-exposure to adjust and so a visible, pulsating 

“flicker” becomes noticeable. 

TWO POINTS OF IMPORTANCE EMERGE AT THIS TIME : 

(1) Firstly, it is the projector frame rate that has to change to get “into phase” with the camcorder. 

(2) Secondly, a manual adjustment of the camcorder exposure will not overcome ‘flicker’ because it cannot 

correct the out of phase condition. Flicker will still occur even when a different exposure time is set on the 

camcorder. (I use my camcorder exposure simply set to Auto.) 

THE “PHASING” FORMULA 

To achieve correct phasing, the total number of projector exposures (flicks) per second, must be wholly divisible 

into the number of TV frames per second, or a multiple of those TV frames per second. 

This is usually referred to as “the number of blades on the shutter times the number of frames per second, 

Page 54 


must divide evenly into the TV frames per second, or a multiple thereof”. 

(Multiples of PAL TV being 25, 50, 75, 100, etc) 

HOW TO GET “INTO PHASE” 

TRANSFERRING 18 fps FILM (Super 8 silent) to PAL VIDEO. 

To get ‘into phase’, according to the formula, it is necessary to slow the projector speed down to 

16 2/3 frames per second. 

Therefore, a projector with variable speed control is essential 

With a 3 bladed shutter (the most common):---from the formula: 

3 x 16 2/3 fps = 50 ‘flicks’ per sec, which is wholly divisible by 25. So there will be no flicker resulting. 

Notice that exactly two film frames fills three video frames consistently along the time line. In this way there will be 

no exposure variations caused in the camcorder. 

ABOUT REALTIME SPEED 

Now,18 fps reduced to 16 2/3 fps is a real time speed reduction of 7.2%, a fairly considerable amount. Will it be noticeable? 

Probably Yes. Motion appears jerky – like the “old time flicks”. Smooth continuity of movement can be 

restored at the video editing stage by applying ‘Fast Motion’ at 8% to speed up the movement back to real time. 

You may be surprised to find what a difference this makes. 

The theory outlined here is for the PAL system, and the examples shown are for Super 8 silent film. 

Films shot at 24 fps, and 16 fps can have the projector speed calculated on the same principle. 

ABOUT THE DIFFERENCE IN NUMBER of FRAMES PER SECOND 

Because the ratio of 16 2/3 to 25 is exactly 2 film frames to 3 video frames, every third video frame will carry 

an image mixing two film frames. This is unavoidable. It looks dreadful when you inspect your video, a frame at a 

time, but when it is being played on the TV screen the “dual image” just behaves the same way as adjoining frames 

do normally. 

UNFORTUNATELY FOR NTSC USERS 

They have a different set of problems brought about by their TV system operating on 30 frame per sec. 

They need a 5 bladed projector shutter to produce 24 x 5 = 120 ‘flicks’ per second in order to be wholly divisible 

by 30, (that gives four flicks per TV frame). 

Additionally, they have a discrepancy of six picture frames per second to contend with. (24 film frames 

to 30 video frames, (a 25% increase in perceived speed) 

This is overcome by repeating every fourth film frame per second, so that the TV frames will record the 

film frames in the following order : 1, 2, 3, 4, 4, 5, 6, 7, 8, 8, 9, 10, 11, 12, 12, 13, 14, 15, 16, 16, 17, 18, 19, 

20, 20, 21, 22, 23, 24, 24, every second. The duplicated frames are not visually detectable. 

And that’s for film shot at 24 fps. Super 8 film at 18 fps is another problem again! 

Not really a job for the DIY enthusiast. Aren’t we lucky to have PAL. 


Page 55

3801 - A tribute to our most famous preserved locomotive 

This DVD was compiled from archival footage in 2008 and it is pure 

steam train sound - no commentary. Non-streamlined and streamlined 38 

class in both black with red trim and green with yellow trim haul Mansard 

roofed to the Tuscan air-conditioned and later stainless steel carriages 

in locations throughout the state. 

There are double-headers rolling through gentle hills and up steep inclines, 

by the water and over bridges. Where ever the 38 class travelled, it’s all 

there in this DVD. 

Interspersed titles outline the history of the 38 Class locos. There’s the 

speed record - Sydney to Newcastle in 2 hours 1½ minutes and that 

can’t be beaten even today by so called fast electric Interurban trains! 

Included are scenes of the last steam-hauled Southern Highlands Express - 

Double-header tour train to Melbourne - Its rebuild at the Hunter Valley 

Workshops. You will see the 38 at work in the country - under the wires- 

- in push/pull mode with a ‘Nanny’ 3526 - working with a water gin - on single and double track - racing 

a twin-winged aeroplane in the Hunter Valley - with American clerestory-roofed cars - dramatic night 

scenes and alongside electric Tangaras and Inter City trains. There is even a rare shot of 3801 headed by a 

dwarf-like tank loco. The closing credits are superimposed on magnificent still shots of 3801. This is definitely 

a “must” for all rail buffs. 

Reprinted with permission from Dress Circle Magazine 

The Savannahlander 

For all train and movie buffs ‘The Savannahlander - The Home 

Movie’ DVD was produced and photographed 

by Anthony Buckley. 

Written and Narrated by Bill Peach. 

Editing & Sound Designs by Wayne DeClos. 

Available now from: 

DRESS CIRCLE MAGAZINE 

PO Box 478 

Lithgow NSW 2790 

Tel: 02 6353 1897 

Email: lawsonco@vic.chariot.net.au 

PRICE INCLUDING POSTAGE 

$26.00 

(Normally $25.00 + $8.00 postage) 


Page 56 


Days of STEAM Vol 1 & 2 

Next up are “DAYS OF STEAM” 

Volume 1 - Authentic Workings on NSW Railways 1949 - 1970 

Volume 2 - The Final Years of Steam on the NSW Railways 

The year was 1949 when artist Phil Belbin and his wife Cecily dedicated 

themselves to preserving on film some of the workings of the NSW Government 

Railways. His young sons, Bruce and Graeme were to inherit 

their fathers love of trains and frequently went along to assist. Their early 

films were on 8mm and later on upgraded to 16mm using Kodachrome 

film. 

Volume 1 is a compilation of archival footage and covers such areas as 

the Hawkesbury (Cowan Bank), Tumulla Bank in the Central West, 

Hawkemount and the unique Camden line with its “Pansy Tram” ( a tank 

loco with one end-platform carriage, sometimes with a milk or goods van 

attached. Phil and sons even captured, in 1954, some of the mileage of the 

Royal Tour Train for Queen Elizabeth II. This volume is narrated by 

Paul Ricketts and produced by Graeme Belbin. 

Volume 2 faithfully records the last years of steam in NSW and features 

the “Short North” section of the main Northern Line. (“Short North” refers 

to the Sydney to Newcastle section.) In 1970, the heavily graded section 

north of Gosford saw the end of steam working on NSW Government 

Railways. 

In this volume the viewer is again treated to the 38 Class hauled Newcastle 

Flyers and giant double-headed Garratt locos. As an artist and writer, 

Phil Belbin was able to transfer his artistic talent to film. Several books 

contain his paintings of steam across the Blue Mountains and are essential 

reading for train and art buffs. 

Volume 2 is narrated by well-known personality David Capewell and 

produced by Graeme Belbin. Both are digitally remastered and feature 

attractive case covers. 


3801 and Days of Steam Vol 1 & 2 are available from Belbin Video - See contact details below. 

[Each DVD - $40 plus postage] 

Further information from 

BELBIN VIDEO 

PO Box 3284 

ASQUITH NSW 2077 

Email: belvid@tpg.com.au 

Web: www.belbinvideo.com 

AVAILABLE FROM: 

BELBIN VIDEO - Website: www.belbinvideo.com 

ARHS BOOKSHOP - Central Railway Station Concourse. Mail Order Service: www.arhsnsw.com.au 

Phone: 02 9379 6633 - Fax: 02 9379 4745 


Page 57

BEWARE of SCAMMERS 

I saw the above advert on the Gumtree/Brisbane 

website and I thought advertiser had left a zero out 

of the $7,000 price tag. So I shoots off an email 

querying the price and the below email comes 

back from Fabrizio Virone. 

You may have all ready 

received a similar email if 

you followed up this advert. 

Page 58 


After reading the email warning bells and lights began to sound and flash so I Googled ‘DAS Freight Department’ 

and Google came up with; 

DAS Freight Department - 8,500 results 

DAS Freight Australia - 17,600 results 

DAS Freight Department Australia - 8,000 results 

It’s frightening isn’t it, I hope there were not that many people taken in by the Scammer. 

By now the warning bells were screaming caution. 

DAS Worldwide Freight is located in Kathmandu Nepal. 

The next Google contact was ‘Scribulator’ which is a website about, you guessed it, “Scammers". It list our 

Scammer and the reply email he sends out (see example at left). On the site there were umpteen people 

who had received this blokes scam email response to their legit enquiry. One person reported him to ‘WA 

Scamnet’. 

It appears this bloke has been doing it for years. The latest was for a 2007 Landcruiser for $7,800 this time 

as Emilio Narsete, but the same ad, same ‘escrow’ company and same DAS Freight Department. So BE 

WARNED if it is too good to be true then it is too good to be true. Do not give away any of your personal 

details and be SUPER cautious about buying from these types of websites. 

To their credit Gumtree offer the following Safety Tip. 

Stay Safe! Gumtree does not offer Live Chat Support, Buyer Protection, Verified Sellers or Money Back 

Guarantee programs. Be wary of sellers who are unable to exchange the vehicle in person. Never send or 

wire money to people you do not know or trust. 

Plus: 

Important Safety Warning. 

Avoid fraud by meeting all sellers in person to pay for items. Gumtree does not offer any transaction or 

payment services. 

BUYER BEWARE 

The following article was posted on the Gumtree/Brisbane website at 10.00am on the 23 June 2009. 

Address: Gumtree/Brisbane, QLD 

Date Listed: 23/06/2009 

There seems to be a few cheap late model motorhomes and caravans on this site .... DO NOT and I repeat 

DO NOT send anyone any money to anybody claiming to have anything overseas for sale as they are not 

selling any motorhomes or vans, they are just after your money.... 

THERE IS NO WAY YOU CAN BUY A LATE MODEL MOTORHOME FOR $8000.00. 

Late model motorhomes fetch in excess of $80,000.00 dollars. Very large motorhomes fetch over 

$200,000… 

DON'T GET SUCKED IN WITH THE $8,000 ONES YOU SEE ON THIS SITE .... 

THEY ARE SCAMMERS AT WORK. 

If it sounds too good to be true, it will most likely be a scam. 

If you cant look at it. 

Do not pay for it. 

Thanks for reading and beware. 

Editor. 

Australian Film & Video. 


Page 59

Page 60 


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: Rainer Listing (02) 6230 3383 

listing@shoetone.com 

Meet: 1 st & 3 rd Thursday at 7.30 pm 

Illawarra Screen Production Group 

Pres: Karen Pouye (02) 4262 8315 

karenp@exemail.com.au 

Meet: Last Wednesday of the Month at 6.30 pm 

Milton Ulladulla Video Club Inc 

www.miltonulladullavideoclub.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 

VICTORIAN DIVISION 

Australian Widescreen Association 

www.users.bigpond.net.au/awa 

Sec: Tony Andrews (03) 9793 6930 

tandrews@bigpond.com 

Meet: 4th Monday 

Winter May – August at 7.30 pm 

Summer Sept – April at 8.00 pm 

(No Meeting in December) 

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) 

Geelong Cine Society 

Pres/Sec: Erio Pietsch (03) 5229 1522 

epietsch@ozemail.com.au 

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.ringwood.org.au 

Sec: Norm Tillack (03) 9874 2993 

ntillack@gmail.com 

Meet: 1 st & 3 rd Friday at 8.00 pm 


TASMANIAN DIVISION 

Bridport Movie Makers Group 

Sec: Roger McLennan 

Bridport@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 


QUEENSLAND DIVISION 

Brisbane Video Makers Association Inc 

www.bvma.org.au 

Sec: Rod Kay (07) 3376 3273 Mob: 0418 180 575 

rodk@ecn.net.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 

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 

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 


Page 61

BACK PAGE 

AUSSIE COMPUTER TERMINOLOGY 

LOG ON: Adding wood to make the barbie hotter. 

LOG OFF: Not adding any more wood to the barbie. 

MONITOR: Keeping an eye on the barbie. 

DOWNLOAD: Getting the firewood off the ute. 

HARD DRIVE: Making the trip back home without any cold tinnies. 

KEYBOARD: Where you hang the ute keys. 

WINDOW: What you shut when the weather's cold. 

SCREEN: What you shut in mozzie season. 

BYTE: What mozzies do. 

MEGABYTE: What Townsville mozzies do. 

CHIP: A bar snack. 

MICROCHIP: The little bits left in the bag after you've eaten the chips. 

MODEM: What you did to the lawns. 

LAPTOP: Where the cat sleeps. 

SOFTWARE: Plastic knives and forks you get at Red Rooster. 

HARDWARE: Stainless steel knives and forks from K-mart. 

MOUSE: The small rodent that eats the grain in the shed. 

MAINFRAME: What holds the shed up. 

WEB: What spiders make. 

WEBSITE: Usually in the shed or under the veranda. 

SEARCH ENGINE: What you do when the ute won't go. 

CURSOR: What you say when the ute won't go. 

YAHOO: What you say when the ute does go. 

UPGRADE: Steep hill. 

SERVER: The person at the pub who brings out the counter lunch. 

MAIL SERVER: The bloke at the pub who brings out the counter lunch. 

USER: The neighbour who keeps borrowing things. 

NETWORK: What you do when you need to repair the fishing net. 

INTERNET: Where you want the fish to go. 

NETSCAPE: What the fish do when they discover the hole in the net. 

ONLINE: Where you hang the washing. 

OFFLINE: Where the washing ends up when the pegs aren't strong enough. 

AUSTRALIAN FILM & VIDEO 

SUBSCRIPTION FORM 

Afv_1@ymail.com 

or 

Australian Film & Video 

PO Box 75 Toronto 

NSW 2283 Australia 

DEADLINE 

The Deadline 

for the Spring 

Edition is the 

31 August 2009 

I would like to receive Australian Film & Video via email when each edition is published until I 

advise you to stop emailing such copies or the magazine ceases publication. (Please note Australian 

Film & Video is only available via email or via a hard copy from your Club Secretary). 

Name: __________________________________________________ 

Club: ___________________________________________________ 

Email Address: ___________________________________________ 

Aussie Printed 

Page 62

Australian film - Federation of Australian Movie Makers

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