20 AFV Winter 2013.pub - Federation of Australian Movie Makers

URBAN LEGENDSFACT AND FICTIONBy A Film FanWhat I like about movies is that they engage you on so many levels. You can be transported to anotherworld, excited by a story, entranced by scenery, fall in love with a hero or heroine or be fascinated by specialeffects all in the space of a couple of hours.But there is another level which interests many of us, sometimes for decades after the movie has finishedits run; the urban legend.These tales are often funny, sometimes intriguing and frequently macabre. They may have little more thana nodding acquaintance with truth but they fascinate and captivate us. Is it, I wonder, the idea of being inon a secret that makes us so interested in what might have been unexpectedly recorded? Or is it that someof these stories cut our heroes down to size? Who knows?Could there really be a ghostly image of a child in the background of a scene in “Three Men and a Baby”?Many think so and have spent hours running the DVD in slow motion to prove it. The studio’s answer isthat a prop – a cut out figure - was inadvertently left on set. However, the photos supplied as evidence donot really back this up with little resemblance between the “child” image and the cut out figure. Spooky!Reports of scenes where stunt men have died being included in the finished product are popular in theworld of the movie urban legend. Two that immediately come to mind are “How The West Was Won” and“Ben Hur”. Stories have circulated for decades about both these movies. It is true that stuntman Bob Morgan,husband of Yvonne De Carlo, was seriously injured and lost a leg during a break in filming a gunfighton a moving train. Chains holding logs on a flat-bed car broke, crushing Morgan.Anyone who has seen “Ben Hur” would wonder how no one was killed, but that is due to the cleverness ofthe special effects department. According to those who know, no one was killed in the version filmed in1959. However, an earlier version was filmed in 1926 and it is generally believed that at least one stuntman died during production and that the footage was included in the end result. The second-unit director B.Reeves Eason was known for his ruthlessness and uncaring attitude towards stuntmen. No Health andSafety in those days!Of course, some urban legends are merely wishful thinking. For example a rumour went round that thehoverboards used in “Back To The Future II” were real and would be available for sale shortly. What kid(or, let’s be honest, adult) wouldn’t want one? When they didn’t appear the story was expanded to includean accident that had delayed production. Perhaps an overzealous publicity department at work?Today we consider urban legends to be of minor interest or a bit of fun, however in earlier days before theterm was coined they had a darkly insidious side – they were believed as Gospel truth. Several careers wereended because of rumour and innuendo, Roscoe “Fatty” Arbuckle being a notable example.In 1921, at the peak of his career, he hosted a party where a young woman died. Roscoe was accused ofmanslaughter and put on trial three times. Newspapers published lurid innuendo in an effort to generatesales and this swayed public opinion to such an extent that a fair trial was impossible. The first two trialsresulted in hung juries but by the time the third one came around, public opinion had calmed down and hewas acquitted with the jury deliberating for six minutes, five minutes of which were spent composing thefollowing:Page 8 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

"Acquittal is not enough for Roscoe Arbuckle. We feel that a great injustice has been done him. Wefeel also that it was only our plain duty to give him this exoneration, under the evidence, for therewas not the slightest proof adduced to connect him in any way with the commission of a crime. Hewas manly throughout the case, and told a straightforward story on the witness stand, which we allbelieved. The happening at the hotel was an unfortunate affair for which Arbuckle, so the evidenceshows, was in no way responsible. We wish him success and hope that the American people willtake the judgement of fourteen men and women who have sat listening for thirty-one days to the evidence,that Roscoe Arbuckle is entirely innocent and free of all blame."Although he was blacklisted by Hollywood for next eleven years, he did pop up in a couple of silent films.He also directed several films under assumed names and eventually after an article in a motion picturemagazine called for him to be given a break, Jack Warner signed him to six two-reel comedies in 1932.Sadly, Roscoe “Fatty” Arbuckle died of a heart attack after a night of celebrating his newly acquired contract.From the late 1940s the United States Committee for Un-American Activities conducted what is nowknown as the McCarthy Witch Hunt which was aimed at removing perceived or real Communists from positionsof influence.Many actors, directors, screen writers and other behind the scenes personnel were blacklisted on as littleevidence as a rumour. Many were forced, on pain of being blacklisted themselves, to divulge names. Theblacklist was huge and included such noteworthies as Actors Eddie Albert and Jose Ferrer, Oscar winningscreenwriter Ring Lardner Jnr and Musicians Leonard Bernstein and Burl Ives. Who knows how manylives, reputations and careers were ruined by jealousy and spite? So much for being the Land of the Free!Further reading:www.silent-movies.com/Arbucklemania/home.htmlwww.snopes.comwww.en.wikipedia.org/wiki/How_the_West_Was_Won_(film)REAL or FAKEA photo of a fossilized mermaidskeleton discovered near the BlackSea in Bulgaria. Real or fake?Check it out at Urban Legends.http://urbanlegends.about.com/AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 9

FAMM Convention 2014 - Update 4inWonderful! Wonderful! Wollongongby Wollongong FAMM Convention Committee31 March 2014 to 4 April 2014A DELlGHTFUL HOLIDAY RESORT“The residents of the city and the “backblocks” often sigh when reading of the picturesquebeauty of the tourist resorts of New Zealand and Tasmania, over thefact that for various reasons they cannot visit these resorts when their annualholiday falls due, and consequently they revisit the same old resorts year afteryear, and as a result do not reap that benefit which fresh scenes and surroundingsare known to bring. For instance, at our own very doors we have one of themost, delightful holiday resorts which is not availed of as it should be—I referto Wollongong.”So exclaimed the writer to the Forbes Times on Saturday the 20th of July 1912.Also reported in that same newspaper article were the observations of “that famousauthor”, Mr David Christie Murray, who commented on the view from thetop of Bulli Pass:"The precipice overhangs, and that mere reflection seems to make the groundunstable. Below to the front and left and right lies the sea, a scene of most delicateazure fading on the horizon into palest turquoise. The sands are golden andcurved into innumerable bays. A line of white foam following the delicate outlineof the shore breaks utterly unheard away and away; and away to the rightwaves the most undulating triple line of blue and white and gold until they allPage 10 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

meet together in the distance. The land sweeps bodilyup in striking lines, and every hillside is a veryriot of verdure. An unbroken stillness broods over itall, and though the atmosphere is as clear as crystal,as the vividness with which all objects at amoderate distance are seen declares, a tender bluegauze seems everywhere drawn across the distance.This one picture was enough to repay themost exigent of sight-seers for a journey threetimes the length of that we had taken. I was morethan half tempted to turn hermit here, and writeand paint, and idle, and soak into my soul thebeauties of that glorious prospect.”With such singing endorsements, even though theyare 101 years old, why, the 2014 FAMM Conventionhad to be sited next to those golden sands at theWollongong Surf Leisure Resort.FAMM2014 ConventionsiteAlso here in the sights of such natural beauty youwill also be given the opportunity to soak up thosebeauties into a short movie.The Wollongong Surf Leisure ResortLocated 4km north of Wollongong’s CBD in the suburbof Towradgi is the Wollongong Surf Leisure Resort.It occupies 30 acres and is a family friendlybeach-front resort. Onsite facilities include a 25mindoor heated swimming pool, two spas and saunas,two outdoor tennis courts, a mini golf complex, bikehire and a games room. Also it is only a short walk tothe FREE Wollongong Bus Shuttle which operates tonorth Wollongong, the CBD and most city areas. Theresort is also close to two railways stations.AccommodationThe accommodation varies from a beach-front powderedsite for caravans and tents to motel styledunits, one or two bedroom units, two bedroom bungalowunits and terrace apartments. The floor planscan be seen on the following page. All units are fullyself-contained with kitchen and bathroom. Linen issupplied on all beds. Air conditioned units also havea microwave. Note: The Committee has negotiated reducedrates on all accommodation except camp site fees.AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 11

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Beach-Front Powered Camp SitePowered, waterfront site for Caravans or tents—$30 per nightMotel Style Air Conditioned UnitMotel style units are available in three versions: Budget unit— $68 per nightStandard unit— $78 per nightAir Conditioned unit— $96 per nightAll motel style units have a double bed and one set of single bunk beds and have the same floor plans (seeprevious page). They vary in age, proximity to the main dinning room / conference rooms and extra fittingssuch as air conditioning and microwave.AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 13

Two Bedroom Air Conditioned UnitTwo bedroom air conditioned unit—$156 per nightOne bedroom air conditioned unit—$124 per nightTwo bedroom air conditioned unit has one double bed, one set of single bunk beds, one trundle bed andone single sofa bed.One bedroom air conditioned unit has a double bed, one set of single bunk beds and a lounge converts totwo single beds.The beach adjacent to the Wollongong Surf Leisure ResortPage 14 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

Two Bedroom Air Conditioned Bungalow UnitTwo bedroom air conditioned Bungalow unit—$168 per nightTwo bedroom air conditioned Bungalow unit has two double beds or a double bed and two single beds.AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 15

Two Bedroom Terrace Apartment Air ConditionedTwo bedroom Terrace Apartment air conditioned—$224 per nightTwo bedroom Terrace Apartment air conditioned has two King beds or 4 King singles, one Queen sofabed.The entrance to the Wollongong Surf Leisure ResortThe natives are friendly at the resortPage 16 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

FAMM 2014 Convention Preliminary ProgrammeAUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 17

FAMM Ltd Insurance CoverExplained 2009-2010FAMM Ltd have a Third Party insurance policy with CGU Ltd.FAMM Ltd have had many requests from club members to get specific information of what is covered bythis policy. The document tells us what is excluded but very little of what is included. In general all clubswithin FAMM Ltd carry out much the same activities as below.We know we have had this policy through you for a long time now and there has been no issue but thesedays people are being made more aware of their obligations about insurance cover particularly in the PublicArena. Would you please give the below Questions your attention so we can pass on your findings to allmember clubs within the FAMM Ltd organization and tell us specifically how we are covered for eachevent and any other similar event in the act of making a movie.Questions and Answers1. Carry out Club meetings at specific places to discuss Movie/Video making and joint member activitiesand to show members movies.Covered2. Meet in groups to discuss/plan the making of a movie at some other place.CoveredReprinted from Issue No 7 - Autumn 20103. Meet at some other place to conduct the action of making a movie either as a single club member or asgroup of club members.Covered4. Meet at a public place to make a movie where we have to show that we are covered by an insurance policyto allow us to proceed.Covered5. Meet at a private place with other members of our club to make a movieCoveredbut also to include some invited members of the public who will perform as actors in the Movie.Covered for any damage or loss caused by the volunteer but not to the person themselves this would requirea volunteer workers policy.Secretary Stewart Writes;I hope by now all clubs are aware that the Insurance is for Third Party Cover only, i.e. NOT Club Members,but any member of the public who is hurt by our actions or equipment while we are out and about.In my letter to Marsh and their reply above where they say covered they don't mean our members, but onlyany member of the public.Most clubs who venture out to film will take out a specific cover for that event that is quite expensive, butwell worth while if it’s a big production.Page 18 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

SUPER 8 MYTHSAdapted from an article in SAC Magazine, USA by Merv Cahill. (May 1988)Some people are running around saying things about file formats that are not true. For the record, anddespite what you might have heard, the Super 8 format is still alive it is "dying" only in the sense that weare all dying a little each day. But Super 8 (availability of film and equipment) will outlive you and me. Andit's not an unproductive life, either, since no other format at the present time can offer Super 8's combinationof economy, versatility and quality.MYTH - Most people cant find any Super 8 film.FACT - Not only is Super 8 still being sold in many department stores, it is sold in many specialty photoshops such as Home Talkie Co. in Sydney and from FAMM Purchasing Division.MYTH - Most people can't find Super equipment.FACT - Home Talkie Co, P/L is just one large trader that still carries Super S equipment. Most Stateshave at least one trader looking after the needs of members. In any case, a lot of publications still carry adsfor Super 8 equipment and some equipment is still being manufactured. Used equipment will be around fordecades.MYTH - Once Kodak gives up on Super 8, the ball game is over.FACT - Someday Kodak may very well sell off its movie film packaging machine and no longer manufacturecartridges in Australia or Rochester in the USA. But if you think that they are going to sell it to the junkman, think again. B&W Super 8 film still comes in the yellow box. But now it is manufactured in France byPathe. And if you want to know about France.... well .... they are still manufacturing 9.5mm film and equipment.MYTH - Super 8 film is way over-priced compared to other film.FACT - A roll of Kodachrome sound film sells for around $18. A roll of Kodachrome SLIDE film sellsfar around $6. The slide film is about 3ft long and four times as wide as Super 8 (50ft long). You get moreemulsion for your money with movie film - even as you are getting the more complex cassette andsound stripe. Processing is about the same cost even through your film has four times the emulsion area ofslide film.MYTH - Once a format loses favour with the mass public it's best to “get out” or you will beleft high and dry.FACT - Ever hear of the instamatic cartridge? How about the old Polaroid B&W film? Regular 8mm film(Std.8)? 9,5mm film? Every one of those formats have lost favour with the overwhelming majority of users.And - every one of them is still around.MYTH - Our Australian video standards, based on 625 scan lines, allow for video to potentially equal Super8, which has a 100 lines of resolution per mm, a picture that is 5mm high,FACT - This bit of figure juggling is hauled out every time video is hyped. No respectable photomagazine would judge a lens or film based only on lines of resolution. The factors which comeinto play for picture quality are far more complex. Our Australian video standards would have to bedrastically changed before they could approach Super 8 quality.MYTH - Lab services are no longer available for Super 8.FACT - All lab services are still available and will be for quite some time. And the lab's equipmentwill last for a long, long time. Source Australian Film & Video - Issue No 53 May 1988AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 19

BASICALLYVIDEOGRAPHYby Ian SimpsonThe Frustrations of the Amateur VideographerIn this hobby of movie making have you ever created a video that you thought, at the time, was really good only tofind that your teenage children or grand children ridicule it, or that in your club competition, the judges mark itdown? I have. Aside from the disappointment, there is the realisation that either your technical standards or yourcreativity or both are not up to that of your peers. This realisation can come to you as a shock after a poor performancein a competition or it can come to you, as it did to me, over a period of time. In my case, for years I reconciledmy poor performance in competitions as being a consequence of the genre of videos I like to make; documentaries.I rationalised that comedies, animations and dramas, if well made, would always beat a well made documentary. Ifooled myself for years with the argument that audiences like to be entertained first and informed second. This selfdeception can go on until something pierces this deception balloon. In my case it was an article in the electronicmagazine f11 Magazine. This is a web based monthly magazine that originates from New Zealand for the still photographers.One article in the September 2012 issue caught my eye. It was by Tony Bridge and it was entitled,Clarity and Megapixels. http://issuu.com/f11magazine/docs/issue14-september2012?mode=window&backgroundColor=%23222222In this article Tony began with a similar question to the one I posed above; why, with the same equipment, couldn’the produce the same startling images as a fellow photographer? His answer to this question was that he did nothave the same “clarity of vision” as the other photographer. Tony then went on to say what was NOT clarity ofvision but he wasn’t too clear on what was clarity of vision. Translating his concept of what is not clarity of visioninto the moving image domain, clarity is not the content of the video; nor is it the freshness or originality of themovie; nor is it its use of special effects, nor the slickness of editing; nor how well integrated the sound track; noris it the quality of the images; nor the power of the non-linear editing software; nor even the number of awards themovie may have won in competitions. For Tony clarity of vision is when the photographer captures an image that“resonates” with the viewer; where the image creates an emotional experience in the viewer. All of this is very subjective;evoking emotions, spiritual resonating, speaking to the inner soul, communicating to the individual “clearlyand honestly.” Can there be no quantification of this subjectivity?Does Clarity of Vision mean Unity of Content and Form?We, like our still photography brethren, often approach the hobby of photography and movie making from thewrong end. Encouraged by advertisements, we blindly hope that good movies will come from the best equipmentor the latest editing program or the best collection of special effects. We subconsciously hope that good equipmentwill make up for our poor creativity. But deep down we know they won’t and the results of each competition confirmthis. Ralph Hattersley in an article in Popular Photography many decades ago used the analogy of whatmakes us human to try to explain how a good photographis achieved or in our case how a good movie ismade. He said that although you may have all theparts that make a human being it is only when you putthem together in the correct way than you have a person.Thus for Hattersley, a great picture happens whenform (the correct ‘composition’ of the human body) isperfectly matched with the content (the parts of thehuman body). When this perfect matching of form andcontent occurs then according the Hattersley you have“unity.” So perhaps this “unity” of Hattersley is thesame as Bridge’s “clarity of vision”? The graph onthe right presents this idea diagrammatically.For us videographers form is what is assessed in most club movie judging sheets with the final video mark oftenthe sum of these form categories. So what are these form categories? Well they can be camerawork, effective use ofsound, editing and titles. The content of the video, however, rarely gets attention. Whilst the successful mixing ofform and content elements in a movie to achieve unity is never assessed or quantified. However, it is this unity thatgives meaning to a movie. It is what makes us viewers say, “now that was a great movie!”Page 20 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

© Tech Topics with Joe Leon - Winter 2013All Registered Names, Trademarks, Logos and Images appearing in thisarticle are subject of Copyright to their respective Copyright owners.Back To Basics - Windows Explorer - Page 1 ...Note: Images have been enhanced for clarity.Many options are available of which you may notbe aware which could improve your navigatingskills in Windows Explorer.Right-Click on an empty area in Explorer, selectView and the available options are: Thumbnails,Tiles, Icons, List and Details. The Details modeprovides a lot of useful information for Video Editorslike Name, Size, Type, Date Modified, Durationand Dimensions.The highlighted file on top left is not required whencopying needed Audio, Image and Video files generatedby various Cameras, Mobile Phones, etc.The two highlighted files above shows wrongdates one of my kids has on their Mobile Phonewhich the Details mode shows clearly.If List imode is selected then the display would beas in left column only which has been Arranged ByName and allows us to view a lot more files on thescreen than in Details mode.The Thumbnails mode shown below shows in picturesImage and Video files and what is insideFolders plus other file types as well. It’s a quickway to visually find a particular file like an Image,Video, Document file, etc.Page 22 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

© Tech Topics with Joe Leon - Winter 2013All Registered Names, Trademarks, Logos and Images appearing in thisarticle are subject of Copyright to their respective Copyright owners.Back To Basics - Windows Explorer - Page 2 ...Right-Click on an empty area in Explorer andselect Arrange Icons By: Name, Size, Type orModified as required.Arrange Icons By Name in View List ...In the above optionFolders areshown at top firstfollowed by Fileswhich all aresorted in Alphabeticalorder.The two highlightedfiles arenot required whencopying neededfiles to the HDDand are generatedby variousCameras, MobilePhones, OperatingSystems, etc.View and Arrange Icons By functions can be usedin conjunction with each other, for example:Select Arrange Icon By Name and the files will besorted in Alphabetical order.Select View, Details and then Arrange Icon By Sizeand the files will be sorted by Size with smallest fileat top and the largest file at bottom.Select View, Details and then Arrange Icon ByType and the files will be sorted by Extension.Select View, Details and then Arrange Icon ByModified and the files will be sorted by Date withearliest Date at top and the latest Date at bottom.Both Size and Modified options works best in ViewDetail mode which shows all relevant informationwith other option in View not so helpful.Every option in Arrange Icons By and View can beused with each other and some options will notgive desired information.For an exercise, select a Folder that contains variousfile Types like: Documents, Images, Videos,etc and then using View and Arrange Icons Byseparately, then in conjunction with each other andyou should find a mode that you like.The file withthe .sfk extensionis produced by some Sony applications whileThumbs.db is a System file and both can be deletedsafely.Arrange Icons By Type in View List …All the files in thisoption are sortedbe Extensionwhich groupssame file Types(Extensions) together.Special Note: Forsome of these optionsto work, fileExtensions mustbe enabled inWindows which isdisabled by default.In Windows XP /Vista or Windows7 open Explorer . On the Menu Bar Click on Tools /Folder Options / View and under Advanced Settingsscroll down and Un-tick: Hide extensions forknown file types and then Apply.JPLAUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 23

Automatic ExposureBy Neal RevilleThere are some subjects that can take up a lot of time at meetings. There are some subjects that some memberssteadfastly decline to engage. There are some subjects that are so basic to the art of Video making that it is difficultto see how anyone who neglects to learn them can ever hope to progress beyond the level of “snap shooter”.There are some subjects that need time for reflection, especially for beginners with no prior exposure to them. Thisis an attempt to address these difficulties. It is intended to keep the content as non-technical as possible while, at thesame time, covering the essentials. Don’t forget, there is nothing to stop you doing some research on your own—oreven asking a question at a meeting. It’s not beyond anyone. If you had come into this business 40 years ago, youwould have had to know all this to get a picture out of your camera. Millions managed.H V = E v • t gives us Photometric Exposure (usually in lux-seconds) where the physical quantity of visible light energy,weighted by the luminosity function, applied to a surface during a given exposure time (where E v is the image -plane luminance in lux) . . . .No, no, no! That’s not how we hope to do it. Let’s try to keep it simple. So simple, in fact, that we will probablygloss over some aspects that really are important to a complete understanding of the subject. So this is a superficiallook at this subject but probably sufficient to illustrate why relying on auto-exposure is not a good idea and some ofthe resulting drawbacks. By the way, do I have a “complete” understanding of the subject? Absolutely not!It’s a nice, sunny day. The countryside stretches out before us, just asking to be photographed (or videoed). Fluffyclouds dot the sky and clumps of trees promise cool shade. A tourist brochure delight—a photographic nightmare!But, why? Consider the brightness range in this scene. The fluffy clouds reflect a large amount of the light fallingupon them. The trees hide most of it. It’s safe to say the brightness range is thousands, if not millions, to one. Funnything about our eyes—they have no trouble handling it, but alas, not so our cameras.In a camera, generally speaking, we have one of two devices to record a scene—first, a film, second an electronicsensor. A film chemically records the various brightness levels, not doing too well at the darker end where it strugglesto discern one dim item from another, but much better at the brighter end where it records level after level withgood detail. Eventually, its nice, linear response starts to fade, tapering off smoothly into a blank, featureless white.This tapering is relatively unobtrusive and is fairly easy for the photographer to control.This is pretty good. After all, there may not be much to look at in dark shadows and most of what we want to seeoften happens in the brighter part of the world.Page 24 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

However, given that film is terminally ill, if not already dead, we should turn our attention to electronic sensors. Howdo they compare with the very satisfactory film? At this stage, let us acknowledge, then forget, that today there existelectronic sensors like that used in the Arriflex Alexa camera that simply outperform everything else—film included.Let us keep our attention on devices available to mere mortals.Accordingly, we find that sensors exhibit just the opposite characteristics to film. (Well, they would have to, wouldn’tthey?!) They dig deeply into the darker layers of the scene, uncovering detail there that film would never knowabout. As the brightness grows into the “average “ zones of the scene, they follow it faithfully. As we get towards theupper end of the brightness scale—we are approaching those “fluffy clouds” now—we suddenly strike one of thosedown-sides of digital recording. There is no tapering-off. When the numbers reach their limit, for that’s what we arerecording, they stop. That’s it! Kaput! The effect is, we go from a perfectly nice, quite bright scene to a blank, glaring,washed-out patch in an instant. There is no “fix it in post”. In that ugly, blank white area there is nothing. Nothingto recover or improve.OK, where does that leave us? We had film which was poor at the dark end of the scale and forgiving at the brightend, and have electronic sensors which are excellent in darker areas and absolutely unforgiving at the top. Keep thisin the back of your mind while we consider a couple of other factors.Film had a couple of other characteristics. One was “speed”. Simply, the chemistry could be manipulated in manufactureto make the film more or less sensitive to light. As might be imagined, “slow” films were good in bright conditionsand “fast” films better in dim. The speed was rated in a myriad of systems over the years, the sensible GermanDIN system (logarithmic, where each increase of 3 degrees indicated a doubling of speed) and the Americannumerical system, called ASA, where each doubling of speed required doubling of the index number. As late as2006, the ISO (International Standards Organisation) stepped in having established the ISO rating, adopting theAmerican system because it was “simpler”(!).Slow films, like early Kodachrome, had a rating of ISO 10 while fast ones, like Tri X (black & white), were aroundISO 400. Currently, the fastest motion-picture films in general use are around ISO 500. Digital cameras are a differentstory. “Speeds”, or sensitivity, are set by manipulating the sensitivity of the sensor and/or the gain of the videoamplifiers. The higher the gain, of course, the more electrical “noise” is introduced into the picture. Notwithstandingthis, reflex cameras are capable of good pictures up to around ISO 3200 and the Panasonic AF102 to 1600 ISO. Thisis fantastic! At 800 ISO it is feasible to take movies at night with available street lighting, or light a subject with amatch or single candle.But, back to those clouds before they blow away! From our digression(s), it should be apparent that our camera isjust not able to handle the brightness range of the scene. No problem, simply set the exposure to accommodate thebrightness of the clouds, if we want them in the picture. This may mean sacrificing some detail in the shadows butthat’s your creative decision. But, here comes the fly in the ointment.Mid (18%) greyIn your consumer camera lives a reflected light meter. Its job is to measure the scene brightnessand set the exposure. This meter is calibrated with respect to a mid-grey, of 18% reflectance andit sets your exposure accordingly. Now, there will almost certainly be things in the scene we aredescribing that reflect around the same as our 18% grey, and they will be correctly exposed butthings that are brighter than this grey, to a degree that exceeds the brightness range of our system,will clip. This includes our clouds and, instead of rendering as bright, detailed objects, asthey are, they reproduce as a bare, burned-out patch with no detail, ugly and featureless. Thisblank, white, burned-out patch may well include most, or all of the sky as well.What should we have done? We should have set the exposure higher in the brightness range in our picture and allowedthe lower brightness objects to fall where they will. (In fact, we should have tried to reduce the brightnessrange of the picture to better suit the available range of the camera, but that’s another story.)The rule of thumb is: “Protect your highlights.”In fact, it’s worse than that. Had we tried to shift the auto exposure range of the camera towards the bright end andavoiding clipping of the whites, we risk converting the blacks in our picture to a grey and perhaps making them“milky”. Those who try to be serious about their videos do not ask for all these manual exposure controls lightly. It’snot about trying to look “professional”. It’s because all of these controls are necessary if the job is to be done properly.AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 25

Setting correct exposure on a consumer camera is not always easy. Sometimes it’s downright impossible. That’s becausethe manufacturer has deemed that the user of his camera is not intelligent enough to work out exposure or isnot enough a videomaker to see exposure errors right in front of his/her face, or does not care anyway. Is there ananswer? Yes! Don’t buy cameras like that.Just a couple of other things to think about: If you are doing a major documentary on black cats living in a coal mine,you are going to finish up with dark grey cats in a greyish fog, as the auto exposure struggles to convert black to itsnative mid-grey.Another situation where problems of this sort are commonly evident is a shot taken in a room where windows, lookingout into daylight, are totally burned out. Not good! Or a shot taken in a shaded area where a bright background isnotable only for its nuclear attack look. Extra not good!If you have a black person and a white person standing against a mid-grey wall (well, anything’s possible), becauseof the exposure system the wall will be correctly exposed, the black person will be slightly over-exposed and thewhite person slightly under-exposed. Is this really what would happen? And, if so, how would you fix it?This ramble has not given much advice on how to fix exposure problems—that was not its purpose. The purpose wasto bring to the attention of some video users that what their camera delivers is often not right. Many, especially newcomers,take the view that, “That’s the way it is,” or “That’s normal”. That, in fact, is not how it should be and notnormal. The first step in fixing the problem is recognising that there is one.Neal RevilleSHORT BITSWhen’s Easter?Kids know what date their birthday is every year and that Christmas is always 25 December, they evenknow Valentine’s Day is 14 February, but Easter? Well that’s a mystery every year. Even the adults ask thequestion annually “When’s Easter this year?”Easter can fall anytime between March 21 and April 25. So the easiest way to explain to the little tykes isto tell them after the March 21, find when the next full moon is and it’s the first Sunday after that.Paddy & MickBloke at a horse race whispers to Paddy next to him "Do you want the winner of the next race?"Paddy replies "No tanks, I've only got a small garden."A coach load of paddys on a mystery tour decided to run a sweepstake to guess where they were going.The driver won $60!Paddy finds a sandwich with two wires stickin out of it. He phones the police and says " I've just found asandwich dat looks like a bomb."The operator asks, "is it tickin ?"Paddy says "No I tink it's beef"The Irish have solved their own fuel problems. They imported 50 million tonnes of sand from the Arabsand they're going to drill for their own oil.Paddy says to Mick "Christmas is on a Friday this year"Mick says "Let's hope it's not the 13th."Paddy's in the bathroom and Murphy shouts to him. "Did you find the shampoo?"Paddy says "Yes but it's for dry hair and I've just wet mine."Page 26 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

By Ian SimpsonA Zoom Lens with a Prime Lens’ Asset.Once upon a time, zoom lenses had variable maximum lens aperturesdepending on the selected focal length and these maximumapertures were small because of the limitations of cost, weight andlens technology. Now Sigma Corporation (www.sigmaphoto.com),have announced the Sigma 18-35mm F1.8 DC HSM Art lens. Thisis claimed to be the market’s first zoom lens to achieve a maximumaperture F1.8 throughout the entire zoom range. So for aDSLR or video camera with a APS-C size sensor this lens has afocal range of 27-52.5mm (in 35mm standard speak). So for bothstill photographers and videographers Sigma have produced a lensthat is ideal for those low light situations whether it be for landscapes,portraits, still-life, studio, close-up and casual photography.Want a small non-threatening, high image quality, High Definition camera for about $1000?Of course we all dream of such an entity. Well now Blackmagic has made one appear at NAB (the National Associationof Broadcasters in April at Las Vegas). It is called the Blackmagic Pocket Cinema Camera. For under $1000USyou get a solid magnesium alloy chassis which will accept Micro Four Thirds (MFT) lenses, has a Super 16 size sensorwith 13 stops of dynamic range and will record the images in high quality ProRes 422 (HQ) and lossless CinemaDNGRAW file formats. The ProRes footage is captured at 220 Mbps thus allowing 50 minutes of footage on a64Gb SDXC card which is also just about the duration of the charge of the battery. The excitement around this cameracomes from the unique combination of low cost, large selection of MFT lenses and the high dynamic range of thesensor, and not forgetting the bundling of DaVinci Resolve Lite colour correction software with the camera. For PCusers it is almost enough inducement to desert to an Apple iMac and FCP X(?)The Hobbit at Double the Standard Frame RateEver since 1927 the standard for shooting and projecting a motion picture was 24 frames per second. But then alongcame digital 3D cinema and New Zealand director Peter Jackson. He recently shot The Hobbit at 48fps so as to givea clearer image for 3D projection. Jackson commented about the new frame rate that, “Film purists will criticize thelack of blur and strobing artefacts, but all of our crew–many of whom are film purists–are now converts. You getused to this new look very quickly and it becomes a much more lifelike and comfortable viewing experience.” It hasbeen commented that 3D at high motion can cause certain people to feel sick: and during a recent viewing of TheHobbit in 3D I noticed that many of the pans at the beginning of the movie did appear odd and very fuzzy. I couldsee how some people could become motion sick. So in these few pans the doubling of the frame rate has not improvedthe situation.Page 28 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

By Ian SimpsonBrian Harvey’s Web SearchesLive in a bi-lingual family and want a Mac to talk to Windows? http://www.mwave.com.au/product/sku-aa45146-j5create_wormhole_station_mac_windows_compatible#detailTabs=tabOverviewNeed an electronic clapperboard for your iPad? Then have a look at this:http://www.redsharknews.com/production/item/510‐the‐coolest‐clapperboardHave you got a Zoom H1 microphone? If so you may like to read the following discussion on its Pros and Cons:http://www.magiclantern.fm/forum/index.php?topic=1230.0Need some inspiration for your next Audio-Visual? Then watch this:http://marcbrecy.perso.neuf.fr/history.htmlSeen a good movie recently? Why not try Flickerfest:www.flickerfest.com.auNeed a sliding mechanism for your camera? If so why not build this DIY one?http://www.videomaker.com/forum/topic/easy-diy-camera-slider-tutorialA Fresh Approach to Copying 8mm Cine FilmLooking more like a 1960s reel-to-reel tape recorder, the Retro-8Home Movie Scanner is USA Texas based company, MovieStuff’sanswer to the Telecine machine. Claimed to scan frame by frame at arate of about 2 frames per second, a 50 foot reel will take almost 30minutes. Thus it is no speed demon but it has automatic features builtinto it that will stop the process at the end of a reel or at a brokensplice. Interesting all the computer complexity required of theirtelecine equipment for saving files is gone with the Retro-8. Nowwith the scanner all that is needed is a USB connection to your computer.The Retro-8 scans are codec-free in HD and can be seen immediatelyafter capture on the capture PC in the viewing software.These files can then be exported both as 1080p HD files as well asSD .MOV files or can be output as a numbered image sequence in afolder. For years 35mm slides could be scanned to your computer,now amateur film makers have a tool of comparable quality and simplicity.Are Smart phones killing off the Digital Camera?The digital camera market has decreased by a third from 2006 to 2011. For an answer to why this has happened, justlook around at any event, school, festival or party and count the number of smart phones being used as cameras. Thepeople who use these phones are not your average enthusiast photographer, they are the happy snappers. They wantconvenience and immediate availability, all of which are provided by a device they now carry around with themselvesall the time, the mobile phone. Add HD video capability to this necessary piece of a modern person’s adornmentand you have the ideal unit. You are ready for any eventuality; you will never again miss that once in a life timeshot. However, happy snappers please hold your phones with their long axis horizontal if you are capturing movingimages.A Project Activity any Camera Club could EmbraceIf your Camera Club is looking for a project to involve all its members then take a lead from the Lake Illawarra MAP(Memory And Place) Film project. Concentrating on one geographic location, this project explored the collectivememory of Lake Illawarra seen through the moving image. It is a collection of short films or digital stories, rangingfrom contemporary video to archival film footage. Each one of these films contains a strong sense or 'memory' andmany of them reflect on the environmental, cultural or historical significance of the Lake to individuals and the community.http://www.lakeillawarramap.info/About_the_Project.htmlAUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 29

Making MoviesThe Beginner’s NarrativeBy David FullerGetting Our Heads in GearOK, a "narrative" movie is one that tells a "story." It has actors in it. They speak lines, on location and it comes upwith a "yarn" with a "point" to it. It's structured with a beginning, middle and an end. As Club members, we have torecognize that our human and physical resources are limited, so whoever writes an original screenplay or acquires ascript from another source has to think the production through. "Is this production feasible for us?"Do we have a good chance of pulling it off ? Yes, we'll give it a go. The driving force behind the Narrative Shoot,will probably become the "Director" and if he remains enthused and he has a modicum of successful experience, he'llbe able to work through the steps of getting his actors and crew "knowing the screenplay", its plot and the personasof the characters.This preliminary "getting the artistic dimension sorted out" and understood by the actors and camera people is anessential part of "getting our heads in gear." Pressing the red button lies ahead. I stress "our" because the productionhas to be a team effort; the director has a "vision" and the team has to develop a matured "feeling" for the movie. Remember,unlike our professional counterparts, we don't have a "big dollars" budget . We're out to have fun togetherand make a movie that our members and friends will enjoy. Entering the movie in a contest - perhaps.Who the Characters "are"Let's say a budding director comes up with a story in his mind and then an actual screenplay. Reading over thescreenplay together with the actors and crew is next. The director's insights, vision and interpretations of personas arecritical. And he has to possess a desire and an ability to "have a go" at delivering each actor's lines himself and/orassigning the task to a member of the "round table". He has to get out of his head his "vision" so as everyone can seeand hear it. A screenplay isn't much without "believable" characterization. Who IS Ramona, a female character?What motivates her? What's her character flaw or strength? How do the other characters and their personas relate toher?Believable characterization is the essence of a narrative.“Dry” RehearsalsStart Early in the Shoot Day. Get the Set ready the night before. Present the Screenplay to the team previously. Do afew "read overs" - refreshers. Secure commitment. Prepare everyone for a long Shoot day, with the possibility of anotherhalf day.The Director sits with his actors, on location, and works them through the screenplay, line by line. It's nice for him tohave, following "first" rehearsal, a sidekick who can go at it independently, one on one, refine, and confirm personas.While this informal rehearsal is proceeding, the Director and camera-people work through how each line will be shot- profile, head-on, hands occupied or not, "facials" of actors responding to how the lines are delivered. It's nice if theDirector can have faith in his camera-person's judgement and his flair for getting the best angles.Using What Talent You Can Come up With - CastingThe Club may be able to persuade a few members of an amateur stage group to come and join the Shoot. If not, we"do with what we've got."I hasten to add that the audience will be aware of the fact that a beginners' production is "just that." However, you'llbe pleasantly surprised how your vision and your patience as a director can "extract" a good degree of credibilityfrom actors drawn from the Club membership or "just friends". Patience, small increments, some repetition till youget the best from them.Keep The "Tech" Things as Simple as PossibleFor a Set involving just a few pieces of furniture - e.g., table and chairs - the simplest and quite effective lighting isto point one 500w bulb in a reflector at the white ceiling and allow the light to diffuse evenly around the room. Audiocapture by a boom mike. And if you're taking a string of close-ups, profiles and head ons, on-camera mikes,Page 30 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

close-in will work well. Monitor the audio capture via headphones. That's not complicated. Take a video feed fromthe camera to either a family room monitor or a portable monitor. The cameraman and the director and the crew cansee what the camera sees. And it isn't difficult to set it up before the Shoot.“Break time” during the Shoot, sit around the camp-fire and play back what you've got so far. Quick coffee or fruitjuice, a bag lunch. DO the re-shoots needed so far, there and then.If you have the luxury of a second camera for taking "cut-ins", the editor will bless you many times. Cut-ins provideextra information while the main action of the Show is proceeding. If you don't get them spontaneously, you can fakethem by taking them separately while the main camera gets ready for the continuation of the Shoot. And you can'thave too many cut-ins !RememberLeave plenty of "dead room" before each shot and at its conclusion. A "5 through to one, plus a hand signal." Actorsjust freeze for the "five-count" as the end of each take. . Before the actor speaks, it allows extra moments forthe actors to "psyche up." And, a refinement, if the Director wants to deploy L & J cuts (as cut-ins) these extraintroductory and concluding seconds may be handy. In a following shot, a character may begin responding to whatwas said in the prior shot and the left-over of the previous shot can "cover" his first few words. Variety and reaction.Nice touch. **At the "End" of the DayYou could plan on carrying the Shoot over to a second day, but a "carry-over" will produce "complications". So,gather everyone around the campfire with some munchies and a beverage and view "the rushes." together. The Directorwill decide on what shots will need re-doing. He has to possess a sixth-sense of how the shots will flow naturallyat the editing bench. Get the repeats done there and then is better than a "second day" attempt.What kind of a Narrative Works for youWell, a comedy should bring laughs from an empathetic audience. A short skit involving husband and wife, conflict& comedic resolution? Or a burst of Farce to begin with! A farce is deliberate exaggeration to the point of being ridiculous,but an audience may be coaxed to "willingly suspend disbelief" so it can enjoy the resulting comedy. Afarce is supposed to be funny; production mistakes may be forgiven more easily. An audience is less forgiving if theScreenplay tries to be "serious" and the actors aren't too convincing. The length of a "beginners' " screenplay couldfit nicely into 4-Minutes. It's a bigger challenge to keep actors and crew "on task" for a 10-Minutes longer "Drama."“Looking For Signs” [See video link.]My good wife, Joan, cooked up the "scenario", bearing in mind who she knew would become the acting talent. Sherefined it as we discussed the plot, its characterization, the strengths of our talent. Joan would accept the most difficultrole of a member of a Bridge Four - with her "signs of approaching dementia" . The actors' personas were defined.Our production sets were, (a) at the house entrance door and (b) at the kitchen snack table. One light to theceiling. All shots close-in, on-camera mikes, no room to fit in a tripod.Joan and I looked at possibilities for developing in this Screenplay a mixture of mild comedy and a touch of pathos -just a "touch" . The ending of the "play" suggests an aura of uncertainty. Does Joan have "approaching" dementia orsome other problem?Joan was the only member of the cast who'd had acting experience. She & I had plucked three ladies from our Seniors'Bridge Club who'd never been in a video "Shoot" in their lives, nor acted on stage. Using stage actors with experiencewould enable a faster Shoot.David Fuller**Cut-ins. Shot separately or as "L & J" Shots. Without cut-ins, the story becomes a "he said" and "she responded"thing. That's OK. But cut-ins can add extra emotional dimensions while the speaking actor is delivering her lines.You get images and input from two actors at the same time. In effect, you can fit extra information in the 4-Minutesslot.http://www.youtube.com/watch?v=PN6Mo9L_SXkAUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 31

TIPS FOR BETTER IMAGESFrom DVD InfinityDeciding on the camera to useThere are three types of cameras available designed to take moving pictures.• Film Camera• Analogue Video Camera• Digital Video CameraFilm CamerasFilm cameras are generally used for Hollywood movies and some advertising. They produce extremely high qualityresults. There are a number of different gauges (widths) available. Mainstream choices are Super 8mm, 16mm & Super16mm, 35mm and Super 35mm. Larger film gauges mean greater resolution, larger bulkier cameras and greaterexpense in purchasing the equipment and processing the film. 35mm film cameras are mostly the domain of Hollywood,16mm varieties are used for documentaries and Super 8 is used for amateur filming and for special effectsmainly in advertising.Analogue Video CamerasAnalogue video cameras are used mainly by consumers. Analogue video formats include Betamax, VHS, Video8mm and Hi8 which are all consumer varieties and Beta SP, which is an older professional format, still widely used.Analogue video is usually a lower resolution than its digital counterpart and is fast becoming obsolete. High end analoguevideo cameras are used when cost is important and sometimes produce a smoother look than digital video cameras.Digital Video CamerasDigital Cameras include miniDV, Digital8, hard disk drive, microMV and DVDcam which are consumer formats,and DVCam and DigiBetacam which are professional formats. In choosing a video camera you should aim for 3CCDif you can afford it. If not try to find one with the largest CCD and the highest number of megamixels. MicroMV,Hard disk drive and DVDCam are low quality compared to others as they are highly compressed formats. Digitalcameras are generally more complex than their analog counterparts, with controls accessible through an internalmenu, rather than an extrenal control on the camera itself. Hence, you need to read the technical manuals that comewith the camera and understand them thoroughly. These days it is possible to buy Hi Definition HDV video camerasthat can produce some stunning results in good light.SP vs LP modeAlways shoot in SP mode. LP mode degrades the quality. It records the same amount of footage in less space at theexpense of quality.PlanningThink about the story that you want to capture. Check the camera is working. Ensure you have enough spare batteries& tape or memory cards. Charge your batteries before shooting. Find the best vantage points that will look good onvideo. Shoot with the sun behind you. If you are interviewing people, consider preparing your subject beforehand.Work out where you want the subject to be in your shot. Do you want a head shot, an upper body shot, a full bodyshot or a distance shot? Is the subject going to appear in the left hand, right hand or centre of the image? Do you needbacklight set on or off? Are there other settings that need to be adjusted?Date/Time ImprintIn order to get a professional look, ensure that the date/time stamp remains off. Once it is there, it cannot be removedlater. If you must have a date/time stamp, then just shoot a few seconds at the beginning of the day. Just take a fewseconds and then turn it off if necessary at the beginning of the day. It can always be added in the post productionstage so that it looks like it should be there, for example as a title page. Label the outside of the tape or memory cardand set the tape or card to lock to stop you recording over the work that you have just created.Page 32 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

Framing, Zooming and PanningZooming and panning is used to reframe from one image to another and should be used sparingly. Always zoom orpan very slowly and steadily. Failure to do so will make your footage appear amateur and difficult to follow. Alsohold the shot for a few seconds before and after the pan or zoom. Keep the camera steady. The camera is designed towatch moving pictures not move. Hold the shot. Movements should be very slow. A tripod, minitripod or monopodcan make life much easier in steadying the shot. This is often the thing that more than anything else defines the workas amateur or professional.Focus, Iris and White BalanceManual FocusAlways use manual focus over auto focus to avoid the constant refocusing. Manually you can concentrate your focusingon the subject you want the viewers to see not always what is in the centre of the picture.Manual IrisYour video can suddenly turn dark when something bright goes through the scene. This is because the auto iris is setto a certain amount of light. If you override the auto iris this will never happen again. Learn the proper light levelallowed to enter your lens by shooting near your television, ride the iris up and down and look at your TV, if the irisis up to high your TV will show an over modulated picture. Turn down the iris until the picture is just slightly overmodulated, then look in your viewfinder, you will notice that the picture is slightly washed out, turn down the irisuntil the picture in the viewfinder no longer looks washed out. Look at your TV. Next turn down the iris until thepicture is slightly too dark and look in the viewfinder, turn up the iris to the point before it starts to wash out. Whenyou start shooting with manual iris and something bright passes through the picture leave the iris alone, it looks morenatural that way, unless the bright object stays in the picture, in that case slowly turn down the iris to compensate.Manual White BalanceColours sometimes look good and sometimes look bad This is because the auto white balance has not had a chance toadjust to the lighting conditions. If you set the white balance manually this will never happen again. To set the whitebalance manually, simply point your camera at a white card and hit the white balance control. Repeat the process atevery light level change, moving from indoor to outdoor (& vice versa).ViewfinderThe viewfinder can sometimes appear fuzzy and hard to see through. The diopter control on your viewfinder lets youadjust the viewfinder to your own eyesight. Other controls give important information such as if there is no tape inthe camera, no battery, how much recording time is left on your tape, and whether there is adequate light for shooting.SoundUse an external microphone and headphones and have the microphone as close as possible to the sound you are recording.The closer the microphone, the less background noise to cause a noticeable distraction. Use the manual gaincontrol rather than the automatic gain. The AGC will increase its sensitivity until it picks up some audio even whenthere is nothing you want to hear. This can result in noise from air conditioning, wind or even the tape mechanismfrom your camera. Instead use the manual gain control. Perform a sound check to ensure that levels are correct andthen ride times when the speaker speaks softer or louder. If in a very windy area consider using foam rubber or otherprotection around the mike to stop the noise.LightingAlways try and have the light source coming from behind you. Avoid backlight as a strong light source behind yoursubject will place it in silhouette. Fortunately, most modern camcorders can correct this problem. Shooting in lowlight will make your pictures look grainy, out of focus and without colour.Use a TripodA tripod, mini-tripod or monopod will aid you to always keep your camera level and steady. Too much hand-heldcamerawork tends to make viewers dizzy. Placing the camera on a tripod allows for smooth operation and visual relief.When shooting for a long time or when shooting distance shots, a tripod will reduce the amount of shake, makingthe footage much more viewable. When selecting a tripod make sure it has a fluid head for smooth tilts and pansand make sure it has a bubble level.Vary Your ShotsMove the camera to different positions to capture your subject from different angles. Don't stay wide or close theentire time. Capturing a larger portion of the event will give a better perspective.Special effectsUse them sparingly. These can be added post production and will always look better. The rule is less is more.Sourced from DVD Infinity with permission - check out their website www.dvdinfinity.com.auAUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 33

TIPS & HINTSFrom Los Angeles Cinema Club BulletinThis month I am going to harp on a subject to which no one apparently pays attention. We’re going to talk(write) about camera technique, particularly the system Roger reminds us to use on a regular basis. It is an acronymthat videographers use to keep their shots from becoming boring. The acronym is W.A.L.L.D.O.W stands for Wide . . . as in Wide Angle. Get close to the subject and include something in the foreground.A stands for Angle . . . as in letting a wall or a fence lead the viewer’s eye to the subject.L stands for Low . . . as in either shooting flowers and other low subjects from a low angle. Get down on theground and get a bugs eye view. Also, shooting up at a person can be very interesting too. It works best withgroups. (Joni calls these “Nostril Shots”).L stands for Linking . . . as in including a sign (or icon) that says where you are with the person you are shooting.D stands for Depth . . . as in depth of field. By lowering your shutter speed (if your camera allows it) you caninclude close subjects that add depth to your scene.O stands for Opposite . . . as in doing something unexpected. Like shooting a dance from behind the band standincluding the musicians, or shooting the subject in a window reflection.Any of these will improve your video. If you simply stand in one spot and shoot whatever you see, you’ll missmost of the GREAT shots. Many of you will complain that it’s too hard to get down (and even worse standingup again), but if you carry a tripod or a monopod you can use it to get back up. I see so many beautiful flowershots that are wasted, because the shooter just stood there, aimed down to the flower and zoomed in until itfilled the frame. To get great flower shots you have to get down (even lie down) and be on their level.We used to shoot children in our studio. I loved it. The set was prepared, the modelling lights were on and I layon my stomach with the camera following the action and waited for the child to do something photogenic. Itworked every time. Sometimes we see something we want to shoot. Before you shoot walk around the subject,stoop down, check the background and the foreground. When you’re certain that you have determined the bestposition then you can take your video knowing it will be a usable clip.We are all so happy to be able to zoom in on things that we forget to use the camera at a wide angle. Move inand out until your subject is framed to your satisfaction before you snap the shutter. When using the camera inthe wide angle mode the depth of field increases. This enables you to include foliage in the foreground, or treebranches to frame the subject. I don’t own a telephoto adaptor. I wouldn’t want to be tempted to use it. I do,however, own a very nice wide angle lens that I use a lot. Your pictures will look much more professional whenyou shoot wide. Let’s say you are shooting someone buying a hot dog from a street vendor. The typical andmost obvious thing to do is stand in front of the stand and shoot the person with the stand in the background.But what if you went out in the street and shot the person through the stand, or from the edge of the stand soyou can see the subjects face? Your photo would be far more exciting.If your camera is capable of large apertures you might try shooting certain subjects with selective focus. That’swhere a single flower in a field of flowers is in focus and all the rest are soft and fuzzy. You can carry this ideato extremes by smearing Vaseline around the edge of a clear filter and shooting a single flower with a large aperture.When you are travelling include state signs, city signs and landmarks designating where you are in a few ofyour shots. Those shots of a person seemingly holding up the leaning tower of Pisa may be corny, but there isno questioning where the shot was taken (although there is a duplicate tower in a miniature golf course in Chicago).There are many ways to improve your videos and almost none of them include a fancier camera. Takeyour time. Compose the scene carefully and look for alternate ways to get the best result from a scene. When wetravelled with a camera club from Chicago we compared pictures at a meeting a few weeks after the trip. Therewere never any duplicates of the same scene. Every one saw the subject differently.NOTE: This is a reprint of an article written by a past member, Lee Agnew.COPYRIGHT: Los Angeles Cinema ClubPage 34 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

WHERE YOU BELONGThe Making OfBy GazDuring 2012 my nephew JP Morson approached me about producing a music video for him featuring his new song;Where You Belong. At the time I was very busy with work, approaching retirement and the prospect of relocating toQueensland. Well all of that has happened and as you all know when you retire you have plenty of time on yourhands…So I approached two movie makers and asked them if they would be interested in assisting me in the production of amusic video and they said yes, they would like the challenge as neither of them had tried this genre before.The two camera person’s were Wade Hatton and Ron Gregson and Ron suggested a third camera person KevinCochran. I scouted around and with the assistance of the team located a couple of venues. The first being the CommunityCentre at Burrum Heads and the second being the Hervey Bay Historical Village & Museum.A weekend was chosen in March for the two day shoot as my nephew had to fly into Hervey Bay from Victoria sothe shooting commenced in the early afternoon on the Saturday in Burrum Heads and concluded at Hervey Bay onthe Sunday afternoon.The cameras used were all Canon 60D’s and it was their first time to use a still camera to make a movie, we also utilisedlights, reflectors, clapper board etc.The three camera edit was carried out by Wade Hatton and Ron Gregson with my assistance. Two different B&Wcopies were produced for my nephew so as he had a choice of two to promote his new song. A third copy edited andproduced in colour by Wade Hatton with my input containing a short interview with the singer JP Morson at the startof the video followed by his song.Setting up at Burrum HeadsFraming the shot at Hervey BayJP Morson on the cover of Where You BelongEDITORS NOTE: Read the song review on page 45Canon 60D Cameras which were usedAUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 35

The 17th Combined Clubs’ Meeting &The 11th Southern NSW Division of FAMM MeetingSource Wollongong Movie Makers NewsletterOn Saturday the 6th of April twenty six members of the four clubs that make up the Southern NSW Divisionof FAMM met at the Weston Creek Community Centre for the 17th Combined Clubs meeting. Asthese meetings are biannual, this event is in its 9th year and far from growing stale by its age it is growingfrom strength to strength as evident by the very high calibre of the members’ videos shown. Many commentedafterwards that this was the finest collection of videos so far shown at such a meeting.The meeting followed the now well accepted agenda of two guest speakers, a show & tell segment, aFAMM business meeting and the showing of members’ videos made to a previously set theme or subject.How to Win a Film FestivalThe first presentation was by Christian Dorin on the topic, ‘How to Win a FilmFestival.’ With a background in Screen ACT and having won best director andbest editor in a film festival, Christian was very capable to tackle the topic. Hespoke of his experiences in the making of his video, “On Air” which told thestory of how a young man goes for an interview for a job at a TV station andinadvertently gets ‘hired’ and then ‘thrown in’ the deep end of the making of anews programme. He covered everything from script preparation to final edit;of how he had to compress an 18 page script to 12 pages even then finding thattoo long for a seven minute video and how he had a team of four computerscompiling his competition entry (edit, grading, special effects and sound).He demonstrated his RED scarlet video camera which shoots in 4K resolutionin RED RAW format. This equipment he uses to shoot advertisements and forother corporate work as well as preparing show reels and dance DVDs. Hisbusiness is called SOLAR PICTURES. http://www.solarpictures.com.au/Christian Dorin demonstratinghis RED Scarlet cameraHow to Get Your Videos SeenThe second speaker was Andrew Pike who has been a film distributor since1974. Andrew trained as an historian with an MA in Australian Cinema. Heinitially made documentaries but couldn’t get them shown and so he became adistributor and created his firm, Electric Shadow Cinema.http://www.roninfilms.com.au/feature/2445/electric-shadows-story-ofcinema.htmlHis life as a distributor began by distributing documentaries and then hemoved into feature films. “Dances with Wolves” was offered to him by Hoytsas they thought it un-screenable because it was three and a half hours long andcontaining some subtitles. Andrew also started importing films from Europeand Asia and finally started showing Australian films.Andrew then discussed a part of the distribution business, the distribution ofdocumentaries. The market for this genre is the education market which encompassescommunity groups, institutions, government agencies, universitiesand secondary schools. This is a small market and 85% of the market involves Andrew Pikethe distribution of the material on DVDs, the remaining 15% is streamed toUniversities. As Andrew pointed out most librarians want a physical item to catalogue, hence the interest inobtaining a DVD and not live streaming. The expectations of this market Andrew explained were:1) a duration of 25 minutes or more is expected and longer videos are not a problem,2) not concerned about the date of production (the current commercial market is not interested in productionsfrom 2010 or older and even those made in 2011 are often not accepted),3) technology tolerant as it is interested more in content than in video techniques.4) content is primary – Subject matter not Story.Page 36 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

5) subjects that do well are: indigenous, environmental, health and social documentaries.6) “How to” videos are best for the high school market.Andrew showed an excerpt from a work in progress on the New Zealand born film director, Cecil Homes.It was a 4 minute interview with the producer, writer and director Hayden Keenan where he tells his experiencesin meeting Cecil Homes in his small unit amidst scripts, empty bottles, cans, and un-washed plates.In the discussion of this excerpt Andrew was drawn into commenting on commercial TV aversion to‘talking heads.’ In the education market ‘talking heads’ are fine if the content is OK. Whilst if such an excerptwere intended for commercial TV then after only a few seconds of a talking head there would need tobe a cut away to footage, historical or contemporary, related to the interview.Note: “Talking Heads” is a term of Contempt in the Commercial TV IndustryAndrew then described his project, Chifley, where he collected interviews with 73 people who had storiesto tell of their association with the Bathurst born Prime Minister, Ben Chifley.The challenge was to seek out all those who had come into contact with Chifley. The successful methodwas to set up a stall at the Bathurst markets and to invite people to come along and tell their stories.Andrew’s answer to commercial TV aversion to “talking heads” lay in his experiences in making these twodocumentaries. Here through these many interviews he was able to bring out the feelings as well as thethoughts of those individual people, those “talking heads”. Also sometimes in those interviews, when theperson “re-lived” the experience they were relating in the interview, then, as Andrew said, “you get a greatmoment.” A great moment that would have been lost in a cut away on commercial TV! Andrew firmly believedthat it was the job of the interviewer to encourage the interviewee to re-live moments and to capturethese on video.FAMM MeetingWith four clubs present the 11th meeting of Southern NSW Division of FAMM became a legitimateFAMM meeting to cover the election of the FAMM executive and directors. All the state directors andFAMM President and Secretary were re-elected unopposed. Brian Leonard was elected treasurer. The outgoingtreasurer, Jim Thornton, reported that FAMM had a bank balance of $16,960 and that the 2012 Conventionhad contributed approximate $1000 to that balance. The trophies for Most Improved Videographersin 2012 were handed out to each club.Show & TellDennis showed his mark 7 steadicam support for his camcorder and discussedthe reason for its development and the changes he made along the way.Mark Tunningley spoke of his Sony Alpha camera with its translucent mirrortechnology, which allows faster shooting and focusing than traditional SLRs.No moving mirror means no blackout time when the photo is taken, amongother advantages.DennisDennis’ Mark 7 Steadicam supportSource: Wollongong Movie Makers’ NewsletterAUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 37

4K or Quad HDWhat Is It ?As if LED and 3D TV weren't confusing enough, 2012 and beyond will bringan HDTV technology called 4K. It's being heralded as the next high def, andmanufacturers are already lining up to bring you products. But just as was thecase with 3D, it's the hardware chicken before the software egg: there's no consumer4K content available. Still, if you listen to the industry, it'll tell you it'sthe last resolution you'll ever need. So what is 4K anyway, and what makes itdifferent from high definition?Digital Resolutions: A primerThe latest in a line of broadcast and media resolutions, 4K is due to replace1080i/p (1,920x1,080 pixels) as the highest-resolution signal available for moviesand, perhaps, television.When it comes out this summer,the 84-inch LG84LM9600 will be the largestLCD the market has yetseen, and one of the firstwith 4K ResolutionThough there are several different standards, "4K" in general refers to a resolution of roughly 4,000 pixelswide and about 2,000 pixels high. That makes it the equivalent of four 1080p screens in height and length.Currently 4K is a catch-all term for a number of standards that are reasonably close to that resolution, andthe TVs we'll see this year labelled 4K will actually be Quad HD, defined below.But frankly, we think 4K is the catchier name. Meanwhile, high definition (HD) itself has been with us forabout a decade and is used in Blu-ray movies and HD broadcasts.There are three versions of HD: full high definition 1080p (progressive), 1080i (interlaced), and 720p (alsocalled simply "high definition"). Most television programs and all DVDs are encoded in standard definition(480 lines). Standard definition is the oldest resolution still in use as it began life as NTSC broadcasts,switching to digital with the introduction of ATSC in 2007.Four resolutions compared: standard definition; full high definition; Quad HD; and 4K/2K. (Credit: CNET)Page 38 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

The Roots of 4K are in the TheatreWhen George Lucas was preparing to make his long-promised prequels to the "Star Wars" movies in thelate '90s, he was experimenting with new digital formats as a replacement for film. Film stock is incrediblyexpensive to produce, transport, and store. If movie houses could simply download a digital movie file anddisplay it on a digital projector, they could save a lot of money. In a time when cinemas are under siegefrom on-demand cable services and streaming video, cost-cutting helps to keep them competitive.After shooting "The Phantom Menace" partly in HD, George Lucas shot "Attack of the Clones" fully digitallyin 1080p. This was great for the future Blu-ray release, but the boffins soon found that 1080p wasn'thigh-enough resolution for giant theatre screens. If you sit in the front rows of one of these theatres as it'sdisplaying 1080p content, you may see a softer image or the lattice grid of pixel structure, which can bequite distracting.The industry needed a standard that works on the proposition that you'll be sitting one-and-a-half times thescreen height from the screen, and this required a higher resolution than 1080p. Digital Cinema Initiatives(DCI) was formed in 2002 with the goal of setting a digital standard. Based on these efforts, two new resolutionscame about: a 2K specification, and later in 2005, the 4K format. The first high-profile 4K cinemarelease was "Blade Runner: The Final Cut" in 2007, a new cut and print of the 1982 masterpiece. Unfortunately,at that time very few theatres were able to show it in its full resolution. It would take one of directorRidley Scott's contemporaries to truly drive 4K into your local Cineplex.The 4K “Standard”Despite the industry's best intentions, there is still no single 4K standard-- there are five or more differentshooting resolutions available. In cinemas you see projectors based on the DCI specification. Things are alittle simpler in the home. The HDMI organization recently added two types of 4K support to its latest 1.4specification: Quad HD (3,840x2,160 pixels) and 4K/2K, also called 4Kx2K (4,096x2,160 pixels).Only Quad HD conforms to the classic 16:9 ratio ofmodern television screens. Meanwhile, some industryexperts have questioned the necessity of 4K as ahome format given the lack of content and the needfor very large displays to appreciate the extra resolution."There was a huge, noticeable leap from standarddefinition to HD, but the difference between1080p and 4K is not as marked," said researcher DaveLamb of 3M Laboratories. Lamb added that "4K is atthe point of diminishing returns," but there could besome benefits for screens over 55 inches.(Credit: 20th Century Fox/Lucasfilm Ltd.)3D Parts of “The Phantom Menace” were shot digitally, and the film enjoyed a new lease on life in early2012 with a 3D cinema release.Did you see James Cameron's "Avatar 3D" in the theatre? Then you've seen 4K in action. Cameron's movieabout "giant blue dudes" helped drive high resolution 4K Sony projectors into theatres around the world,and made a lot of money in the process. Movie studios keen to maintain that momentum have released aslew of 3D films--mostly converted from 2D--and continued the expansion of 3D cinemas. However, thisforward motion hasn't translated to a success for 3D TV in the home. "Manufacturers would have wanted3D to be bigger than it was; they wanted it to be the next LED, but it didn't work out," Lamb said. Given aso-far-mediocre response to 3D, and the expense and bulk of active glasses, manufacturers have begun tosearch for an alternative, and 4K offers a way to increase the quality of the 3D image with passive glassesor get rid of them altogether.Source: Stoke Cine & Video Society Newsletter #145 Autumn 2012AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 39

In-Home 4KNow and in the FutureThe 4K TVs will be big and expensive for the next couple of years. Just when we thought we had it all covered, 4Kmay not even be the final word in resolution. Japanese broadcaster NHK was the first to demonstrate 8K in 2008, andat CES 2012 there were industry murmurings, and at least one prototype, devoted to higher-than-4K resolution.ConclusionWill the extra resolution offered by 4K make movies better? You could argue that it depends on the format of theoriginal film. For example, "The Blair Witch Project" and "28 Days Later" were both shot with standard definitioncamcorders, and there would arguably be little extra benefit to buying either movie in a 4K native format over aDVD-- depending on the quality of the scaler in your brand-new 4Kscreen, of course.Even with reference quality native 4K material, however, a 4K resolution TV or projector won't provide nearly thevisible improvement over a standard 1080p model that going from standard def to high def did.To appreciate it you'll have to sit quite close to a large screen--sort of like being in the front few rows of a movietheatre. But whether it's 4K or 8K, you can bet that manufacturers haven't run out of cards when it comes totrying out the next "must-have" feature in the coming crops of televisions.By the way, in case you never noticed, most paying customers in modern 2K and 4K movie theatres sit in the "sweetspot" of between 1.5 and 2 screen heights away from the screen (pretty well where most people sit away from theirPC screens).In fact, in a modern movie theatre, the furthest you can get from the screen in the last row is 3 screen heights away!Some authorities recommend 3 to 3.5 picture heights for 1080 HD.So why is it we still sit a lot further away from our HDTVs than they were designed for? Why don't we want to fullyappreciate the resolution of HD?4K Resolution From Wikipedia4K is an emerging standard for resolution in digital film and computer graphics. The name is derived from the horizontalresolution, which is approximately 4,000 pixels. This designation is different to those used in the digital televisionindustry, which are represented by the vertical pixel count; for example 480p, 576p, 720p, and 1080p. 4Krepresents the horizontal resolution because there are numerous aspect ratios used in film — so while the horizontalresolution stays constant, the vertical resolution depends on the video source (aka letterboxing).An Update from Issue No 147 (Spring 2013)First 2K, then 4K and now 8KJapanese national broadcaster, NHK, has said it is developing a sensor capable of shooting 8K video at 120fps.It will be able to support the company's Super Hi-Vision standard of 7680x4320 pixels (generically known asUHDTV) which, at 33MP, is 16x higher resolution than current 1080 HD technology.During the London Olympics large screens around the city showed the high quality of the new UHDTV images.It is expected that UHDTV will arrive in our homes in 2020? NHK has a history of developing high-resolutionbroadcast technologies - having started producing HD content as far back as 1982. Previous 60fps 8K cameras developedby NHK were based around multiple 4K chips.Source: Stoke Cine & Video Society Newsletter #145 & #147 Autumn 2012Make Movies - Make FriendsPage 40 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

Ted Sando, an ex BVMA member has notified us that he has a range of surplus gear hewishes to dispose of. He is willing to sell/give it away as appropriate. He says that anyprices are negotiable.Ted can be contacted at: tedsando@ozemail.com.auHere is the list:1 x Oarsman N373 TV modulator1 x A1/17 8v 50w Bell & Howell Projector lamp (condition unknown)1 x sharp AC adaptor battery charger Model AA-75X(Input 110-240V, output 50/60Hz 28w)1 x Rondo 8mm movie editor (manual)1 x 400’ 8mm film reel & can1 x 400 8mm film reel1 x Arista power adaptor model PP500 240v output 6,9,12v1 x optex cordless video light 9v 500mA (with battery)4 x radio shack head sets (send & receive)1 x professional audio (hard) carry case2 x pose N287 2 channel AC/DC monitors2 x 25m A/V leads with gold connectionsVarious audio equipmentQty x VHS white casesQty x 15min, 30min 60 min new blank VHS tapes4 brand new S-VHS 240min tapes1 x 8mm film splicerQty x sundry items eg – camera bags, lens covers, ac/dc converters1 x Slik tripod1 x 3 wheeled tripod trolley1 x mic stand1 x desk mic stand1 x Sony PD 150 Mini DV, DV- CAM video camera $1,250.001 x Panasonic NV-DA1 mini DV video camera including charger/batteries $100.001 x Panasonic prof.WJ-MX10 2 channel stereo production mixer $500.00(with manual)1 x LUX sound LM (-104A) audio mixer $50.00Variety x audio, TV, video leads (Canon & RCA)AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 41

ASTOR Theatre, MorpethBy Les TodThis historic building at 85 High Street is rarely seen by the many tourists who visit Morpeth to stroll itsmany craft shops and restaurants, because it is located in a residential street away from the business district.Fewer still would realise that its story as a cinema goes all the way back to 1856. The MorpethPrimitive Methodists had obtained land in 1853 and following a Sunday meeting, the foundation stone oftheir new church was laid on Monday, 12 March 1855.In 1856 the Maitland Mercury reported improvements that had taken place in Morpeth generally, and statedThe High Street, not long ago scarcely a street at all, now shows a fair display of cottages - slab, weatherboardand brick, with buildings of a public character also. Of these the Primitive Methodist Chapel maybe mentioned, erected within eighteen months, and recently opened. It is a plain structure of brick, its dimensions30 feet in width by 40 feet in length, more or less, judging from eye measurement.In 1862, the first Government school in Morpeth was opened on 3 November. Called the National School,it was a non-vested school, meaning that the buildings were not owned by the Government. The schoolwas actually held in the Primitive Methodist Church. The church was rented at a cost of £26 per year,. Acommittee of seven leading citizens, consisting of the Reverend George James of the Primitive MethodistChurch; William Chamber, butcher; Andrew Tulip, coal miner; John Wisdom, telegraphist; Duncan Sim,millwright; and J Whytlaw of the Commercial Bank, undertook the opening of the school. The first teacherwas Mr Ralph Broadbent.At the end of 1866, a public school building was erected in High Street and its opening saw the closure ofchurch and private schools in the district, including that in the Primitive Methodist building. During earlyJanuary, 1902, Methodists throughout Australia were united in one body, combining Primitive Methodistsand Wesleyan Methodists to form a strong church. The Rev T Rudd was the last Primitive Methodist ministerin Morpeth. After this unification, the use of the Primitive Methodist Church building becomes unclear.Film screenings had been held regularly at the School of Arts building and also in an open air cinema, andit was in 1921 that the old church was converted into the Aster [correct spelling at that time] Theatre. Itopened on Saturday, 11 June 1921, with Mr R Stephens as proprietor. The Aster was formally licensed asa theatre from 20 May 1921.Its dimensions were 80 feet by 28 feet, with brick and iron walls, iron roof and a floor part timber, partearth. The stage measured 15 by 28 feet. The operating box dimensions were 10 x 10 ft, with iron wallsand a timber floor. The box was also used for the sale of tickets.In 1924 the operating box was still being used for the sale of tickets and was an addition to the front of thebuilding, on the ground floor, with the cinematograph on an elevated wooden platform. Three openingshad been cut in the main wall of the building for "rays" to pass through, which had no proper shutters. Theowner was given as R Stephens, of Francis Street, Wallsend.A few weeks after this report, a letter was sent to Mr Stephens informing him that the use of the operatingbox as a ticket box had to be discontinued.The theatre was also used for many other purposes, apart from the screening of films. The Methodist RainbowFair was held there on 12 and 13 October, 1927. On 12 May 1928, the Methodist Spring Fair was advertisedfor the coming October, and the St James Spring Fair was held on 19 September 1928.In 1929 the theatre, now referred to as the Astor, suffered significant damage in a storm. The Chief Secretary'sDepartment wrote to Mr Stephens on 2 May 1929, stating ...Regarding the proposal to construct aPage 42 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

picture theatre at Morpeth, using in connection there with portion of the old premises, which was recentlydestroyed by a storm. In June 1929 another report stated that the ...Contractor has commenced the erectionof the building...One month later, it was reported that the Building is in the hands of the contractor - 140 feet by 45 feet,seating for 446. By the end of August, it was stated that ...The work is progressing satisfactorily...will beabout two months before the premises will be ready for final inspection and test... From the above measurements,it is obvious that the building was enlarged and extended.The official re-opening of the rebuilt and enlarged Astor Picture Palace took place on 19 October, 1929.The Mayor of Morpeth, Alderman J E Connolly, commenced proceedings with a short address and congratulatedMr Stephens on the erection of his fine building. The opening feature was "The ForbiddenWoman". Mr W O'Hearn, MLA, was present and also addressed the gathering. The Lady Mayoress, MrsConnolly, then cut the ribbon drawn across the stage.The floor in the theatre was built of tallowwood, in order that it also be used for dancing. Reputedly thefloor was laid by the same contractor who constructed the famous dance floor in the Sydney TrocaderoBallroom.The theatre licence had been revoked from 14 November 1929, and was relicensed from 29 November1929, with a registered seating capacity of 795, as the Regal Picture Palace. There is no mention of thename Regal in the newspapers at the time - it is referred to as the Astor. Perhaps this was a misprint in thedepartment's files.The Astor settled down to a routine of films and community events. In June 1930 it was the venue for theJunior Football Club Dance and the Cricket Club Ball, but both were postponed to July, like many otheractivities in the area, because of flooding.The pantomime, "Cinderella", from the Sydney State Theatre,travelled through the picture theatres in the Newcastle region and played at the Astor on 23 January 1932.Sound on film was installed in 1932.On 27 July 1934, the Astor advertised Exclusive Presentation. All Australian presentation of the film TheLife Story of John Lee, the man they could not hang.In August 1934, the theatre came under a new proprietor, Mr C R Garnham. The following notice was insertedin the Mercury: The undersigned wishes to inform the public of Morpeth and surrounding districtsthat he has taken control of the above theatre. Only the best pictures to be screened.In 1954 further alterations were made to the theatre and CinemaScope was installed, with a new, widenedproscenium. the auditorium was repainted in a light blue with gold trim and new K&B projectors installed.The Astor held a gala reopening on 30 July with the MGM film "Lili", because at that time it could not procurea CinemaScope release. The theatre advertised again that it was under new management and wasnow equipped with the latest projection and sound system.In November 1954, the theatre advertised Exclusive to the District, with four sessions, Walt Disney's PeterPan, with buses leaving The Belmore Corner, Maitland, decorated with Peter Pan signs.December 1954 saw "Australia's Greatest Tivoli Stars" play at the Astor. It is believed this was a first forthe Astor, and certainly an exclusive, for the show did not tour to Maitland itself.A week of CinemaScope favourites was advertised in July 1959, while in the middle of the week the theatrebecame the Astor Danceland, with "The Modernaires". Dances were also held with the Astor BallroomOrchestra.Disaster struck on 16 February 1962, when a fire caused damage estimated at approximately £3,000 to theAUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 43

projection and sound equipment and also the roofing timbers. The Astor was then owned by Mr AlbertWilliam Kent, of Guyra, NSW, and run by Mr Peter Jones. The theatre was closed until the damage wasrepaired. It reopened on 22 June 1962 with "Swiss Family Robinson". The Astor Danceland 50/50 Dance,with The Modernaires, returned in July, 1962.The Astor continued to operate under Peter Jones until closing on 11 April 1964, with "The Greatest ShowOn Earth". Falling attendances were blamed and a sale of the theatre fittings was held the next weekend.The lease had expired and was not renewed. By then the Maitland theatres had closed also, victims of television.Local historian Mr Harold Boyle informed me that from 1924 onwards, the equipment was Powers. Healso told an interesting anecdote concerning former operator Mr Cunningham. This gentleman alsoscreened films in the School of Arts at Paterson. One day he lost his driver's licence and could no longerdrive between Paterson and Morpeth. So he acquired a launch, and served both towns that way, commutingby river. Mr Bob Colefax, a former projectionist at the theatre from 1942 to 1945, informed me that noalterations were carried out during his time at the theatre, and that the stage end of the auditorium was notwide (as it is today), but narrow, and very long, ie, as the rear section presently is. If Mr Colefax's memoryis correct, then the alterations carried out in 1954 widened the auditorium and the screen (the latter forCinemaScope).After closure, the theatre was used for the storage of boats and emergency equipment for the local CivilDefence unit.During 19 to 28 November, 1971, Morpeth celebrated 150 years of settlement, organised by the MorpethDistrict Progress Association. The Astor was given a thorough spring clean and reopened on 26 November1971, for a Debutantes' Ball.After that it again fell into disuse, eventuallybeing used for furniture storage. Inmore recent times, the front awning hascollapsed during a storm and the buildingbecame very dilapidated.In 1997 David Griffin, a member of theAustralian Cinema and Theatre Society,made a submission to the National Trustin order to have the Astor Theatre listed.He stated thatThe former Astor Picture Palace andBallroom possesses both historical andsocial significance as a vital part of Morpeth'scommunity activities. Originallyerected as the Primitive MethodistChurch in 1855,, it was then used as theThe old Astor Theatre at Morpethwith the awning gone and peeling paint.Photo Copyright: Les Tod 2006town's first Government school, and became a cinema in 1921. It was rebuilt as a larger theatre and ballroomin 1929, the original church remaining as part of the building. The Astor was also used for flowershows, balls, debutante presentations, community singing, dancing, pantomimes and films. As a cinema ithas experienced silent films to talkies, and black-and-white to CinemaScope.The Astor Theatre and Ballroom is listed in Maitland City Council's Heritage Study and Local EnvironmentPlan and is regarded as an essential element to the streetscape of the town. In recent years some efforthas been made to repair it, and a new roof has been put in place, but at the time of writing it is still disused,which is a pity, given its amazing history. Anyone visiting Morpeth is recommended to stop and have alook at this very historic building.Originally printed in Dress Circle magazine.Page 44 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

Then There Are Song Writers(From InhaleTime Website)AN INHALETIME REVIEWWhere You BelongThere are songwriters, and then there are songwriters; those folks that so effortlessly set words to themoods and moments of life and that can make you weep like a baby or wildly happy to be alive. Thesesongwriters are there for us, creating a soundtrack for our most enduring memories, making the most of thelife experience by enhancing it with music.But the best of the best songwriters can do something even more. They canset our lives on a completely separate path by showing us the way to discoveringourselves. Something that they say can make us quit that bad job,leave that bad relationship, start a new relationship, or rekindle lost love.It’s not always about preaching or teaching, it’s about showing us a new,better path by touching something inside of us through song."Where You Belong" is the kind of song that helps set JP Morson apartfrom the pack of newcomers. His voice is a voice which rivals quite a fewtop stars with more depth and emotional punch than one might expect tohear. "Where You Belong" feels solid and ready for the spotlight or set list. But while saying this, it's notto say that JP Morson is chasing trends at radio like so many other artists seem to be doing. Instead he's deliveringa song that suits him and his voice by wrapping so much soul and emotion into few lines. Here'shoping the songs on his EP are a massive Country Radio success.His EP is available for purchase at his Official site, http://jpmorson.com/AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 45

News From Victoria - AustraliaBy Tony AndrewsWONTHAGGI MOVIE MAKERSOur new movie club was formed in February for movie and audio-visual enthusiasts in the South Gippsland,Victoria, area since the nearest movie clubs are in the Melbourne area, a four hour round trip away.After four months it is going very well, with nineteen members already, and most attending every meeting.Several members have been showing their movies, and we have had very interesting and informative presentationsand workshops from local independent movie producer Mike Green of Drift Media.There was a general talk on the basics of video production at our April meeting, since some of our membersare beginners in this area. Our May discussion and workshop was about exposure and lighting, bothfrom natural light and three-point artificial light.Currently members are working on preparing ninety second video postcards which we hope will be shownon ABC television. See www.abc.net.au/openpostcard We will be viewing what everyone has made at ourJune meeting.New members are most welcome to our meetings which take place on the second Tuesday of the month atthe Wonthaggi Visitor Centre, Bass Highway Wonthaggi, from 1.30-4pm. For further information emailwonmoviemaker@gmail.com or phone Tony Andrews on 0409 804 567.Page 46 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

This year the Association has changed most meetings to afternoons in members’ homes in Melbourne. Thissuits members who are now retired. While sadly we have lost some stalwarts over the last couple of years,as we enter our 41 st year we still have a small group of enthusiasts and friends who enjoy meeting to viewfilms and audio-visuals in the wider formats which have now become standard even on our televisions.Some televisions are now appearing in wider than the 16:9 format which was restricted by the originalcathode ray tube widescreen televisions. 4K televisions and projectors are already appearing which havefour times the resolution of current full high definition sets, and 8K screens are set to be released in timefor the 2016 Olympics.This year we are celebrating the 60 th anniversary of the first film released in CinemaScope - “The Robe”.Perhaps even more than CINERAMA this changed our cinema-going experience for ever.The “Monet's Garden” exhibition which is appearing only in Melbourne, featuring 60 of the artist's paintings,concludes with a 6 minute presentation of the garden, shot on five video cameras and shown with fiveceiling-mounted projectors onto a 180 degree screen with a width to height ratio of 5.5:1 – very impressiveand a sight to gladden the heart of any widescreen enthusiast.We still welcome new members and we can be contacted by email on auswide@gmail.com, or see ourwebsite at www.awa.netii.netSan Remo panoramaNEWCASTLE NATIONAL VIDEO FESTIVAL 20137.30pm 9th OctoberLakes Cinema62 Main Road, BoolarooClosing date for entries & entry formsWednesday 4th September 2013AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 47

My Favourite MovieRecently I went to an exhibition of Hollywood Costume at the ACMI (Australian Centre for the MovingImage) in Federation Square, Melbourne. There are clothes worn in films by famous actors dating back to1920 (Sex) and as recent as 2012 (Anna Karenina, The Dark Knight Rises, and a Mocap suit). It was amazingto think the DNA from actors’ perspiration might still be imbedded in the fabric. It was surprising somehad even survived after many trips through the laundry like the gingham dress worn by Judy Garland inThe Wizard of Oz (1939), John Wayne’s blue jeans and red shirt worn in The Searchers (1956), andMarilyn Monroe’s dress in Some Like it Hot (1959). My heart jumped when I saw the dashing russet outfitErrol Flynn wore in Adventures of Don Juan (1948). He was my boyhood hero and I emulated his look andswashbuckling in my own 8mm movies. But one costume took away my breath and, as I stood before it,my eyes welled with joy. There was Charlton Heston’s blue and gold-trimmed robe and white cassockworn as Judah Ben-Hur. Time had faded the brilliance of the colours, but the memory of having seen itworn in my favourite film was a lucid as ever.I’d already fallen in love with the movies after having seen my first movie Peter Pan. My parents took meto see The Robe, the first picture made in Cinemascope. Catholic schools organised excursions to movietheatres to see those biblical-themed pictures deemed acceptable by the Legion of Decency. Classroomnuns led me in to The Ten Commandments and Demetrius and the Gladiators. I was 13 in 1959 when Ifirst saw Ben-Hur. It made such a huge impression that I watched the Academy Awards and saw the moviewin 11 Oscars. I have not missed a telecast of the Academy Awards since. No matter where I’ve been, I’vealways managed to catch the telecast. It’s been a regular feature of my life, a genuine popcorn night. It’s aritual all due to my having regaled in the grandeur of Ben-Hur.In filming Ben-Hur, Metro-Goldwyn-Mayer was determined to have the most exciting photography obtainable.It chose Camera 65 for a new and vastly improved motion picture image. Camera 65 uses film whichis 65mm wide (over two and a half inches). Six cameras with rare Panavision lenses worth $100,000 eachwere shipped to Rome’s Cinecetta Studios. The overall depth and the high quality of picture allow the audienceto feel it is seeing the actual scenes through an open window, rather than an image on a screen. Maybethat’s why after cheering along the chariot race, I felt like brushing dust and horse poop from my face. Isaw Ben-Hur on a monstrous wide-screen or, because I was just a kid, it may have seemed bigger than life.A decade or so later, I was a teacher and took some 9 th grade students to a local theatre to see a 35mm printof Ben-Hur in the hope they might enjoy the experience as much as I had. The print was well-worn,scratched, spliced, and the screen was tawdry and puny. We walked out. If Ben-Hur can’t be seen in optimalconditions, it shouldn’t be seen at all. Given square screen analogue television, I never watched Ben-Hur. Even somewhat larger Academy-format TV screens couldn’t do justice to the picture with its pan andscan method for televising wide-screen films. Catch the film on videotape? Nope. Not worth it.Ben-Hur on DVD was somewhat acceptable with its masked format, but still not near as good-looking as itshould be on square screen TV. Enter the wide-screen digital TV. Bigger is better? When considering Ben-Hur, oh yes, it is! My screen is just 42 inch, but anything bigger would force me out of my caravan annexe.There are several issues of Ben-Hur available on DVD. There is a way to see the earliest silent film attemptsand see what all the fuss was about in the 1925 $4 million silent version starring Ramon Navarroand Francis X. Bushman. If it’s still around, find the Four-Disc Collector’s Edition. Then get your hands onthe Fiftieth Anniversary release of Ben-Hur on Blu-ray, the Limited Edition including six collectable charactercostume sketches. It has some of the extras found on other DVD releases, but it doesn’t include themagnificent 1925 silent version.Page 48 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

Watching Ben-Hur on Blu-ray is practically a whole new way to see the movie. Even on the big screen Inever saw clearly what people in the crowd wore. It was always a blur of colour. On Blu-ray it’s possible tosee every individual costume clearly. You can freeze-frame the image in the Circus Maximus and reallyhave a good squiz.Ben-Hur’s subtitle is A Tale of the Christ. The first half of the film features a falling out of friendship betweenboyhood friends, Judah Ben-Hur, a Jew, and Messala, a Roman. There’s an encounter with aStranger of great peace and power, and a bloody battle at sea. The second part is all about the chariot raceand redemption. What’s not to like over its 222 minute running time accompanied by the gentle and oftenrousing Miklos Rosza score?Bigger than Ben-Hur? Now it’s a cliché, so much so I don’t think I need to go into the story, save to quotesome of MGM’s own blurb: “Ben-Hur is a story of people... the rich, the poor, the cruel, the kind. The loversand the loved, the haters and the hated. Men of violence and men of peace... people of every kind,whose lives become entwined with that of the prince who became a slave.”Larry KlobukowskiFour Disc DVD Collector’s EditionBlu-ray EditionAUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 49

Waiting for AF&V MagazineBy John LawrieEven though Gary does a wonderful job producing this magazine of 40 and sometimes many more pagesand with relatively small file sizes of between 1.5 MB and 5 MB, receiving AF&V has always been a problemfor me.Here in the wilds of suburban Athelstone just ten kilometres from the Adelaide CBD there is an internetblack spot.There is a shortage of cable pairs from the telephone exchange at Paradise to Athelstone so I have to sharemy copper telephone line with other Telstra customers on a “pair gain” circuit. This allows two or moretelephone services to share the cable pair on a time multiplex basis. The “pair gain” circuitry preventsADSL equipment from being connected to the cable.We are also in a wireless black spot as well. Adam Internet has the black spot contract to service this areaand strange little box shape antennas have been springing up on rooftops.Because of this contract, and so that Adam can recoup its costs, Athelstone will be the last place in Australiato be connected to the NBN.So up to now I have had to make do with dial up. This is not only slow but is doubly so because the timemultiplex circuitry connects my service for only part of the time in each cycle.AF&V can take anything from thirty minutes to one hour to download to my computer.My internet service provider (Internode - now part of iiNet) uses the Optus network to provide wirelessconnection to its customers. My nephew works for Internode and he had brought out a wireless USB dongleto see how it would go. But no good - the signal strength here was too low and the signal drop outsmade it worse than dial up. We tried the optional antenna, but no better. At least dial up was reliable.So while waiting for AF&V to download I would find something else to do. Gardening if the weather isright or some movie or multimedia work or writing, on one or other of this row of computers below.Page 50 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

Then my nephew contacted me and suggested that I could try a HUAWEI Mobile WiFi hotspot modemthat they had been offering for sometime. He thought it could be more reliable on low signal strengths thanthe USB dongle. So out he came again and I used it for free for a week and then decided to buy.Huawei Mobile WiFi Modem with optional antennaThere are still some problems. I had to take the modem off the “Auto” setting and lock it to 3G, as whenthe 3G signal was a bit low the modem would find a strong 2G signal and lock onto that. 2G was about asfast as dial up. The only way to get off 2G was to turn the modem off and reboot. Now with the settingchange it will only look at 3G signals.If the network is very busy when other users are downloading movies, looking at YouTube, and playing online games etc. the download speeds become very slow.However if I pick the right times I can now look at YouTube myself and look at my place with GoogleMaps and hopefully get AF&V magazine downloaded in lickety split time.So I am partly on the way to the digital world that all you other lucky, lucky, lucky people have been enjoyingall this time.I am looking forward to the next issue of this magazine and even looking at some of the offerings on“Movie Link”.John LawrieAUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 51

MAD MAX (4) - FURY ROADIn Theatres 2014Watch a Fan Trailer herewww.youtube.com/watch?v=UE7cITcf85cWatch a Teaser Trailer herewww.teaser-trailer.com/movie/mad-max-4/The following was sourced with thanks from Teaser-Trailer.comPlot:“Mad Max (Tom Hardy) tags along a group of people fleeing across the Wasteland in a War Rig driven bythe imperator Furiosa (Charlize Theron). A battle erupts on the road as they attempt to push the rig to saferterrain.”Still no solar car in the fourth Mad Max movie? What a shame! Mad Max and his friends are just postapocalypticbarbarians obsessed with oil…The film is directed by George Miller and is starring Tom Hardy, Nicholas Hoult, Zoe Kravitz, Riley Keough,Rosie Huntington-Whiteley, Hugh Keays-Byrne, and Nathan Jones. There’s no official release dateyet, Mad Max 4 Fury Road should hit theatres sometime in 2014.They’re currently filming in the Namibian desert in Africa.With a budget of around $100 million this promises to be a big production. Director George Miller explainedthe reason the movie is so big, is that, “it’s just got a huge number of stunts, and we’re trying to dostuff that I believe people haven’t done before.”“[Mad Max Fury Road] is a relaunch and revisit to the world, an entire restructuring. That’s not to say thatit’s not picking up or leaving off from the Mad Max you know already, but it’s a nice re-take on the entireworld using the same character, depositing him in the same world, but bringing him up to date by 30 years.Obviously Mel would’ve been perfect for it but, for some reason, h’s not doing it and I am. You can expectthe same amount of grit and rawness and authenticity to my performance, I hope to deliver. But that’sreally the crux of me and George to deliver that and all the other actors as the other characters.”Actor Tom Hardy.Right: Actor Tom Hardy who plays Mad MaxPage 52 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013

NEW SOUTH WALES - CENTRAL DIVISIONCronulla Video Makerswww.members.optusnet.com.au/~knowtech/Sec: Glenn Townsend (02) 9525 1522seedivers@optusnet.com.auMeet: 1 st Monday at 8.00 pmNewcastle & Hunter Valley Cine SocietyWebsite Under ConstructionSec: Gordon Taylor (02) 4933 7359Gordon.taylor@hunterlink.net.auMeet: 2 nd Monday at 7.30 pmNewcastle Video Moviemakers Incwww.nvm.org.auSec: Mark Owens (02) 4969 3117mowens@y7mail.com.auMeet: 1 st Wednesday at 7.30 pmSouth West Video Club Incwww.swvc.org.auSec: Mark Driver (02) 4294 1537Meet: 2 nd Wednesday at 7.00 pmNEW SOUTH WALES - SOUTHERN DIVISIONMilton Ulladulla Videographers Club Incwww.muvc.org.auSec: Johanna Callaghan 02 4454 2797jocal46@tpg.com.auMeet: 1 st Thursday of MonthMovie Makers Wollongong Camera Clubwww.wollongongcameraclub.org.auSec: Vicki Packersecretary@wollongongcc.org.auMeet: 1 st & 3 th Thursday at 7.30 pm except JanuaryShoalhaven Movie & Multimedia Group Incwww.shoalhavenmovie.org.auSec: Margaret Roberts (02) 4423 2017shoalhavenmovie@gmail.comMeet: 2 nd & 4 th Tuesday at 7.00 pmAUSTRALIAN CAPITAL TERRITORY - NSW SOUTHERN DIVISIONACT Video Camera Clubhttp://www.actvcc.org.au/main-home.htmlSec: Trish Skinner (02) 6231 8851skinners@homemail.com.auMeet: 1 st & 3 rd Thursday at 7.30 pmQUEENSLAND DIVISIONBrisbane Movie Makers Incwww.bmm.org.auSec: Rod Kay (07) 3376 3273secretary@bvma.org,auMeet: 1st & 3rd Thursday at 7.30 pmDarling Downs Movie Makers IncSec: Peter Hansell (07) 4669 6940hansellpw@yahoo.com.auMeet: 3 rd Friday at 7.30 pmGold Coast Video Camera Clubwww.gcvcc.comSec: Glenda Threlfall (07) 5534 4485ggthrelfall@bigpond.comMeet: 2 nd & 4 th Wednesday at 7.30 pmSuncoast Video Camera ClubPres/Sec: June Beadel (07) 5482 6141bijou@activ8.net.auMeet: 1 st Tuesday at 7.30 pmFEDERATION OF AUSTRALIAN MOVIE MAKERS LIMITEDVICTORIAN DIVISIONAustralian Widescreen Associationhttp://awa.netii.netSec: Tony Andrews (03) 5952 30420409 804 567tandrews14@bigpond.comMeet: 4th MondayWinter May – August at 7.30 pmSummer Sept – April at 8.00 pm(No Meeting in December)Dandenong Movie Makers IncSec: Terry Fenech (03) 8787 7652terryfenech@optusnet.com.auMeet: 2 nd & 4 th Thursday at 8.00 pm(No Meeting in January)Meet: 4 th Tuesday at 8.00 pmMelbourne Movie Makers Club Incwww.melbournemoviemakers.orgSec: Verna Mills (03) 9499 5128derekhampson@westnet.com.auMeet: 1 st & 3 rd Monday at 8.00 pmNoble Park Video Club Incwww.nobleparkvideoclub.com.auPres: Frank Butterer (03) 9547 3104nobleparkvideoclub@hotmail.com.auMeet: 1st Tuesday at 7.00 pmOakleigh Movie Club Incwww.oakleighmovieclub.org.auSec: John Stevenson (03) 9546 7254jastevo40@bigpond.comMeet: 2 nd & 4 th Thursday at 8.00 pmRingwood Movie Makers Incwww.ringwoodvideo.org.auSec: Brian Endersbee (03) 9723 6110bendersbee@optusnet.com.auMeet: 1 st & 3 rd Friday at 8.00 pm(No Meeting in January)TASMANIAN DIVISIONBridport Movie Makers GroupSec: Wendy McLennanbridportwendy@bigpond.comAlternate Contact:Sheila Hagendorferhagen@microtech.com.auMeet: 3 rd Wednesday at 7.30 pmTasmanian Movie MakersSec: Jon Grey (03) 6228 5595j.n.grey@bigpond.net.auMeet: 1 st Thursday at 7.30 pm(No Meeting in January)SOUTH AUSTRALIAN DIVISIONThe Adelaide Filmo ClubSec: John Lawrie (08) 8337 8492johnandglenda@internode.on.netMeet: 2 nd Tuesday at 7.30 pmAdelaide Computer/Video Group IncSec: Marg Folkard (08) 8371 0830sundialmarg@kern.com.auMeet: 2 nd Friday at 6.30 pmWESTERN AUSTRALIAN DIVISIONWestern Australia Film & Video Club Incwww.wavideoclub.comSec: Brian Brown (08) 9344 2746xxxxbbrown@iinet.net.auMeet: 2 nd Tuesday at 8.00 pmVideomakers WA Incwww.vmwa.org.auSec: Tricia Van Nus (08) 9478 5881traus@westnet.com.auMeet: 2 nd Wednesday at 7.30 pmDEADLINEThe Deadlinefor the SpringEdition is the30 August 2013Aussie PrintedAUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013Page 53

BACK PAGEThe Crooning BullfrogA man walks into a bar and asks the bartender, "If I show you a really good trick, will you give me a freedrink?" The bartender considers it, then agrees. The man reaches into his pocket and pulls out a tiny rat. Hereaches into his other pocket and pulls out a tiny piano. The rat stretches, cracks his knuckles, and proceedsto play the blues.After the man finished his drink, he asked the bartender, "If I show you an even better trick, will yougive me free drinks for the rest of the evening?" The bartender agrees, thinking that no trick could possiblybe better than the first. The man reaches into another pocket and pulls out a small bullfrog, who begins to singalong with the rat's music. While the man is enjoying his beverages, a stranger confronts him and offers him$100,000.00 for the bullfrog. "Sorry," the man replies, "he's not for sale." The stranger increases the offerto $250,000.00 cash up front. "No," he in-sists, "he's not for sale." The stranger again increases theoffer, this time to $500,000.00 cash.The man finally agrees, and turns the frog over to the stranger in exchange for the money. "Are you insane?"the bartender demanded. "That frog could have been worth millions to you, and you let him gofor a mere $500,000!" "Don't worry about it." the man answered. "The frog was really nothing special.You see, the rat's a ventriloquist."Sun or MoonTwo drunks are walking along. One drunk says to the other, “What a beautiful night...look at the moon.”The other drunk stops and looked at his drunken friend, “You are wrong, that’s not the moon, that’s thesun.” They started arguing for a while when they came upon another drunk walking, so they stopped him.“Sir, could you please help settle our argument? Tell us what that this is up in the sky that’s shining. Is itthe moon or the sun?”The third drunk looked at the sky and then looked at them and said, “Sorry, I don’t live around here.”From Stoke Cine & VideoSociety NewsletterMoney isn’t everything, butit keeps the kids in touch.Dyslexics have more nuf.Paddy & MickPaddy's racing snail is not winning races anymore. Sohe decided to take it's shell off to reduce it's weightand make him more aerodynamic. It didn't work, ifanything it made him more sluggish.An American tourist asks Mick, “Why do scuba diversalways fall backwards off their boat?” Mick replies,“If they fell forward, they'd still be in the boat.”From Los Angeles Cinema ClubHonk if you love Jesus. Text while driving if you want to meet him.Last night I lay in bed looking up at the stars in the sky, and I thought to myself,where the heck is the ceiling?No one is perfect...that’s why pencils have erasers.The average pencil is seven inches long, with just a half-inch eraser - in case youthought optimism was dead.We’d love to hearfrom youPage 54 AUSTRALIAN FILM & VIDEO—VOL 20 WINTER 2013