Cesti A. Cousins A. Cowper A. Coldiron A. Housman A. Morris A. Maran A. Macdonell A. Cronin A. RussellWood A. Zaikov A. Barker A. Kennedy A. Lloyd A. Wilson A. Nasedkin A. Ninan A. Crawford A. Unlimited A. Rahman A. Byatt A. Mott A. Publishing A. Schaffner A. Schnittke A. Schoenberg A. Scott Earle A. ShaRee Books A. Toots Publication A. Vivaldi A. Milan A. Hood A.
Bournemouth A. Hering I. Enders A. Croce A. Amherst A. Hellum A. Benis a. Smith A. Lee A. Schreckenberger A. E Publishing A. S Sat A. Creation A. A Manufacturing A. Museum A. The growth of productions designed from arid for somewhere else can edge out projects of a genuinely indigenous nature. The answer to the dilemma presented by the Village Roadshow case is, we believe, to not confuse cultural support policies with those of industry, development.
Pressure is being applied to the federal government to relax the definition of Australian content for free-to-air and pay TV to allow this type of. Rather its purpose is a cultural one: to encourage the expression of local stories, idioms and concerns. Having said that, however, it is probably the case that the regulatory thresholds for awarding points are outdated, having been calculated on the high fees licensees were paying for product in the late Qs. Off-shore production of, say, Mission: Im possible in Australia will obviously not do that.
On the other hand, it may have industrial benefits and enhance the trade balance. We thank them for their time. For further discussion of this highly-contentious issue, see Susan Dermody and Elizabeth Jacka eds , op cit, pp. Sydney, , pp. In competition, Cannes The story of a Sicilian peasant and his struggle with the Mafia. The tale of a man sentenced to ten years of solitary confinement for staging what he thought was a popular uprising. Based on a story by Leo Tolstoy.
Irt competition, Cannes Critics Week, Cannes Jake Eberts: We were shown all the things we were looking for. I have no idea how much we saved by shooting in Australia, but what we shot here is unique. We have the pick of the crew. The locations are not expensive and they are not hard to access; and yes, labour is a BIT cheaper. The Pacific Film and Television Commission is a governihentowned cofnpany set up to encourage and asisiSbproduction within the state.
Hurd says unlike Mexico and Spain, which only ever offered a cheaper shoot, Australia offers two important additional elements: The language is English, and the crew is world class, which is not the case in Spain or Mexico. You have to import all your people. Australians love movie-making, and love making it better.
The production used up a massive , feet of film stock, which was processed through the new Atlab facility situated within the Warner Roadshow Studios complex at Cade County on the Gold Coast. An estimated 2, different people worked on the film, with up to extras on a single day. Although the bulk of the shoot was on Queensland locations, New South Wales also benefited. The fact that filmmakers of their stature in Flollywood are seen to be making bigbudget features in Australia - Queensland in particular - is crucial for the longer term, as it gives others confidence.
The Penal Colony was originally set amongst the windy, rugged cliffs of Ireland. Over a full month period, the PFTC lobbied and faxed and phoned; Eberts and Hurcf were still undecided, when another, unrelated, project came up for them to consider, which would have involved some coral reef shooting. As often:happens, that particular project was shelved. James felt he needed to do something to lock them into a jungle setting, and there is nothing like being there, seeing it, touching it, smelling it.
So he invited the filmmakers to visit Queensland, and took them to Canungra in the south of the state, then up to the Warner Roadshow Studios on the Gold Coast, and further still to the North Coast and Cairns. They were sold. Clear blue sunny skies were guaranteed but nature had other plans. The dry season never happened and a new wet season soaked FNQ, with low clouds and persistent rain so bad it delayed the cane harvest, ruining much of the Crop - and pestering the shoot.
I doubt if there are crews anywhere in the world who could have done that. It is a tough place which has split into two armies: the Insiders, who live within a compound in a roughly ordered community, and the Outsiders, who roam and rampage wildly. In the process of fighting for his own cause, the insular killing machine of a man, Robbins Ray Liotta , rediscovers some sort of humanity and recognizes the need for contact with others. The locals were recruited for the rugged battle scenes, and the only futuristic scenes are at the beginning of the film.
The penal colony has a slightly mediaeval look, with industrial waste materials being recycled as clothing, weapons and even furniture. The extras and support roles were filled locally, but all principal roles were cast in the U. Despite having a basic agreement on work The problem is not coming from [the cast or crew], but from the union. In the first two weeks of the shoot, they came with a list of allegations, all groundless. Maybe someone who was not hired wanted to cause trouble.
They came and accused us of using the army as extras. That is absolute nonsense. Director Martin Campbell Edge o f D arkness found the making of The Penal Colony an awesome and challenging task, not least because of the weather. But he also admires the crew and believes it is world-class. Campbell: By Hollywood standards this was a lot to achieve, which is one reason we were down here.
Then there is always the challenge to make it more interesting - a bit more depth than usual for an action-adventure film. P a rt Six: S u rp ris in g S u rv iv a ls W hen cinema began, Brisbane was a tiny colonial capital with a population o f about 95, It was in the most decentralized o f the mainland states, heavily reliant on mining and agriculture with only a small manufacturing base. Nevertheless, Queensland produced more o f the surviving Australian colonial films than any other state. Their public premiere was delayed for 94 years, until the authors exhibited them at the Queensland.
The earliest Australian films were made and shown by touring companies, their output being advertised and reviewed in regional newspapers. The opportunities for obtaining confirmation or further material from other sources are limited.
Similar authors to follow
Publishers were not legally required to donate copies to Queensland libraries until the late s. State Library on 15 September This extraordinary saga has only just emerged from research funded by Griffith University in Brisbane, and is published for the first time in this article.
In which. Exhibitions every Half-hour, from 3 to 5 and 7. On account of the management having decided to. Boivin, who put it on show in Brisbane from 3 May to 26 June Was the film successfully processed and exhibited? Was it only a publicity-stunt?
Was there really any film in the camera? Until the issues of the Brisbane Telegraph can be examined, we may never know more about Boivin and Mason,.
from sally lunns to cider sauce recipes and memories of somerset Manual
Professor A. Refer Brisbane Courier, 7 September , p. Brisbane Courier, 8 September , p. Same paper, 13 September , p. Refer Brisbane Courier, 23 December , p. Mark Blow and E. Thwaites also covered these events. Derby, Melbourne, His effort was praiseworthy, but Spencer was following a precedent set in by his colleague Alfred Cort Haddon In this capacity, Haddon spent eight months on an expedition investigating the marine zoology of Torres Strait during and There, he became fascinated by the rapidly disappearing customs and ceremonies of the Islanders, spending most of his spare time noting details for subsequent publication.
Several minor papers were subsequently published, but the research was inadequate to assemble a general ethnographic work on the region.
Above: Frame enlargements from films made by A. Left: 7 Newman and Guardia movie camera, as used by Professor Haddon in the Torres Strait in 1 8 9 8 , had a convoluted film path causing films to jam under tropical conditions. Two visits were made there, the first during May , the latter commencing on 20 July and concluding on 8 September. H a d d o n ' s F ilms In March , Haddon purchased a 35mm Newman and Guardia movie outfit in London, including 30 rolls of raw film 75 feet long, intending to reproduce Islander dances, ceremonies and customs.
Hose, in Sarawak. Another problem was encountered with the Newman and Guardia movie camera, which sustained damage in transit, causing the films to jam in the tropical climate. Only a few films were taken successfully. Haddon therefore assembled a team of scientists, all subsequent leaders in their specialities, to go to Torres Strait in and make a thorough study of it.
They were comprehensively equipped with the very latest scientific recording instruments. Sidney Ray, an authority on the languages of Oceania, the musicologist Dr C. Myers and the naturalist Dr C. Seligman used two wax-cylinder phonographs to make about one hundred records of Islander speech and song. Their photographic kit included equipment for taking stills, movies and even experimental colour photographs by the Ives and Joly process. These would have been the earliest colour photographs taken in Australia. Rivers and Dr W. McDougall completed the party. Kap in Australia corrobora beche de mer men on board the lugger C oral Sea belonging Fred Lankester [ I have had many disappointments on this expedition, perhaps I was too sanguine.
Reporting on these on 28 June , J. Guardia told him: With respect to the Kinematograph, we are waiting for you to return the machine for repair, when we will report as to what has gone wrong with it. In the meantime, we beg to enclose a print from a strip of one of your films. We would submit that there is nothing much to complain of with a machine that produces work of this quality practically on the first trial and under admittedly unfavourable circumstances.
We tested all the films, and have developed those that promise good results. We still have one or two more to finish. Strangely, no screenings of the films by Haddon have been traced. The six volumes of Reports o f the Cam bridge A nthropological Expedition to Torres Straits, published between and , contain virtually no mention of the films, other than a few frame enlargements plate 29 in volume six.
This little known island is very difficult of access, but from it the great maj ority of the largest and finest pearls are obtained. The view presented in the film embraces the jetty alongside which the sailing craft are moved as they return from the fishing grounds. In the back ground the conformation of the island is distinctly seen, whilst as the camera rotates a number of the pearling cutters are seen lying at anchor in the estuary. Length 75 feet [1 minute 15 seconds]. They wrote me by last mail saying that a catalogue was forwarded [ Haddon reaped more tangible rewards.
They are the oldest surviving Queensland films, and the oldest films of Torres Strait Islanders. Three men in forest setting wearing leaf skirts; leading man wears the cardboard mask made for Haddon and last man holds a tailpiece. They dance in procession. Length 50 seconds at 16 f. It is an indispensable piece of anthropological apparatus. I have asked them to send you a catalogue and to write to you as well. I have stated what you want it for. I have no doubt that your films will pay for the whole apparatus if you care to let some of them be copied by the trade.
He took the usage of film on field expeditions much further than Haddon, shooting 3 ,0 0 0 feet of Aboriginal ceremonies and customs in the five weeks following 3 April Contacts and recommendations on film equipment in London were made for Spencer by Haddon.
Photo from L ife Sydney 15 October , p. Camera jam occurs mid-shot and the dance re-commences. Length 70 seconds. Unidentified dance, same camera position as 2 , but with the camera panned slightly to the right. Three men dancing in procession on a beach. Length 21 seconds. Photo from Queensland Agricultural Journal, June opp. Currently held by Queensland Museum, and still in working order. Photo by courtesy of Mark Whitmore, Queensland Museum.
There was never any viewfinder on this camera. The glass window behind the film gate top right provided a view of the image on the film itself before shooting commenced to indicate the field of view. Photo courtesy of Mark Whitmore, Queensland Museum. Three men - Pasi, Sergeant and Mana - sit cross-legged on the ground, twirling a stick between their palms bearing upon a wood block drill method. Length 30 seconds. Four visiting Australian Aborigines wearing labalabas clap, then dance, then clap again. A fifth man beats rhythm by hitting a long pole with a branch.
Film in three sections with cuts separating them. Same locale as items 2 and 3. Few earlier films of Sydney survive today. On his return to Brisbane in March , the Department gave Wills an assistant. However, Wills also filmed historical events which can be readily dated. These are easily the earliest Australian industrial documentary films, and are among the earliest films of their type in the world.
Many of the second rolls are constructed in sequences of two or three camera set-ups, and the rolls are intended for exhibition in a logical order to construct a narrative of the agricultural processes shown. February Castellated turrets of Government House can be seen on the opposite shore, with Bennelong Point and Fort Macquarie on the left. I find it best to rehearse the scene I wish to photograph whatever it might be, that is when persons are to play any part in the picture, as those unaccustomed to photography often do the wrong thing at the wrong time, and possibly cause a film to be wasted, although I have been very fortunate myself, as out of thirty negative and thirty positive films which I have exposed only two negatives and one positive have been spoilt.
It shows a close view of railway tracks receding from the rear of a railway carriage in rural Queensland. Wills apparently misjudged the coverage of his camera from the rear of the train, pointing it downwards too far to record any meaningful scenery. Fortunately, two successful travelling shots of this type do survive in the collection, one showing scrub in the vicinity of the railway at Eumundi near Nambour and the other showing forests in the Atherton tablelands on the CairnsMareeba line.
Highgate Hill can be seen across the Brisbane River. The occasion is thought to be their outing in connection with the Queensland Federation League on 14 October Ricardo, are seen receiving a spirited send-off during their final parade past Post Office Square in Queen Street on 28 October No other films of Australian Boer War troop departures are known to survive. The value of this film to Queensland now had to be demonstrated. A new series which provides a forum fo r revisionist studies of the classic works of the cinema Four new titles:.
United Notionsfi. To retain a sense of the poetry at the same time as making it sound sufficiently conversational, as realistic as the. He is. Twelve m em orable images of the most significant wom en film directors spanning the history of Australian cinem a. This high-quality calendar highlights their careers w ifhup-to:dgte filmographies; and includes a special back page listing other feature directors and some newcomers.
An ideal Christmas gift - invaluable throughout the year,. Name Address Card number. Hall, The Cars that Ate Paris. Pakula Presum ed Innocent. Card N o. I wonder that you will still be talking, Signior Benedick: nobody marks you. It is also the title of Carl T. The reason for this was that marks the 50th anniversary of the Mostra Cinematografica cinema showcase and a fitting way to mark the occasion was the screening of films which were released in those days of wrath of World War If.
The U. Federico Fellini as the great directors whose work could be deemed, in the broadest sense, religious. Queensland imbue their tales comes across clearly. Moffatt is of Koori background. The fixed camera emphasizes suburban mundaneness. It turns out, though the film hands it to us and evokes no surprise, that the housewife knew the man: he was the boy of her recollection. Chuck turns out to be the nickname, perhaps invented by the boy, of a U.
Producers: Anthony Buckley, Carol Hughes. Scriptwriter: Tracey. To be fair, Blackfellas is aware of and goes some way towards addressing this issue. While its principal creatives are white, the film carries the imprimatur of being able to lay claim to the input of Aborigines on multiple levels. They are to be applauded for that. There can be no denying that, in front of the camera, many of those in the predominantly black cast show considerable promise; John Moore gives a performance streets ahead of the one for which he garnered some praise in Deadly Esben Storm, , and David Ngoombujarra is always compelling, whether Floyd is stealing cars, playing football or squeezing out his last words in a pool of blood.
The best guarantee that they do is to place the right to speak and make films about the subjects that matter to them in the hands of Aboriginal people. Executive producers: Paul D. B arro n, P enny C h apm an. S c rip tw rite r: Jam es. Barron Films. Australian distributor: Barron Films. Alison Maclean, Anne Kennedy. Production designer: Meryl Cronin. Costume designer: Ngila Dickson. Sound recordist: Robert Allan. Editor: John Gilbert. Composer: JPS. Further Reading Andrew L.
Pickhaver - a clever, punning, ironic and notso-ironic name - who leaves the dust of Wagga Wagga to study at Sydney University. He initially chooses Australian history and poetry. Producer: Terry Jennings. Scriptwriter: Bob Ellis. Director of photography: Geoff Burton. Nor is he a genius. A five-year dentistry course stretches over ten, and Fairweather, somewhat clouded. The inquiry into his practice proceeds, even as his bank account swells enormously. This point is made with economy and humour: he arrives in the town with a bicycle, buys a moped, then a Rover, before he pays cash, first, for a Jaguar and then a Rolls Royce.
Fairweather falls in love, is found out as a charlatan, and flees to Hong Kong, where he is captured by a loud Australian detective and his sidekick. The film begins here. The story is a relatively straightforward one but it is told in an Interesting and fragmented manner. The use of a non-chronologica! Wardrobe: Ruth Bracegirdle. Editor: Peter Butt.
B u tthefilm nimbly negotiates the fine line between farce. Friend , Fiona Press Old Girlfriend. Australian distributor: Dendy Films. Director Ang Lee manages to get the right balance of sweet and sour with the help of a secret ingredient: the old Chinese melodrama of the s. One interesting theory, which is neither affirmed nor negated explicitly by Fairweather, is that dentistry is one way of getting back at the Poms for leading his ancestors to their deaths during the Great Wars.
It is striking that many of his patients are older patients. This, though, is clearly not meant to be taken seriously. Fairweather, decent fellow that he is, theorizes that it is the loneliness that brings these patients back - and this theory does sound convincing when one sees the types of people who return. If this theory is intended to endear the dentist to the viewer, it succeeds. This is a clever, witty film in which many of the pleasures are small but notable. There are puns on words and accents, eccentric characters and memorable situations. At the heart of it, Girgus comes across as a classical auteurist.
Say goodbye to full-price tickets and see more movies for less. You can when you buy your And for you? Cinem a concessions are now at your fin g e r tip - dial toll f r e e 0 0 8 0 2 0 5 6 7 w eekdays. Ring us now for a copy of the latest Focal Press catalogue and price list. Payments by cheque, credit card Diners not accepted , or current Butterworths account must accompany orders. Prices are subject to change without notice. Books sold 30 days on approval. Telephone  Facsimile  " Choices must be made: the issue deals with Australian film after , and the films dealt with are theatrical fiction films of feature length.
As might be expected, many of the pieces in this. First, let me say that as someone who grew up in the era of the Arthur Freed-MGM musical my first film was Lili , film and musical theatre have for me always been inextricably linked. The public perceives them as hassles, but they are not hassles in the slightest. But do such experiences make one stronger? And, to a certain degree, this business makes you that way, regardless.
When you have to stand out in the middle of the street and kiss someone, as we did today, that requires a lot of going into yourself. You have to forget the rest of those people and just concentrate on what you have to do. In terms of disciplines on yourself? Actually, it is probably the opposite. It makes me want to go out there and I do enjoy a sort of private rebelliousness, but not in public. You also get pushed back a lot in this business. And, to be honest with you, those projects had great artistic strengths.
Do you have plans beyond your return to Jo se p h after filming? I feel very relaxed behind the camera. You mean in front of the camera! I think theatre has given me that expression. Acting has always taken me out of that shell. Jo sep h has been a good thing, too, in the sense that it made me extroverted for the two hours that I needed to be. And now with film, I have also had to learn how to pull that theatre training back a little bit.
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Would you like to switch that to more dramatic parts? I did a short film for the Royal College of Art last year in London. That was basically a voluntary film. That was great because I played a character totally opposite to what people see me as. I really enjoyed it. It was something to do without pressure, without-money, without criticism. I could go as far as I wanted to and not be too worried about whether I was making the right or wrong career move. That was good for me, definitely. Is that something you are familiar with? We have taken a particular stance, and there are times when a stance has to be questioned, either to re-affirm your own line, or bring it into question.
When it comes to broadcasting policy, you have to look globally, because Australia is a trading nation. It has no moral justification that I cart see, whatsoever. In a GATT environment, we really need to re-assess a lot of traditions of our industry. Given what you are saying, Film Queensland differs from the other state bodies in taking vocal positions on various issues.
Other bodies may well have positions on issues without actively promoting them. Do you see such forthrightness as necessary to being an active stimulus to the film industry? If an organization is interested in being recognized as an organization in its totality, then it needs to have views and policies on a whole range of film matters. The fact of the matter is that we have never resiled from making our position quite clear on a whole range of issues. Package of four feature films being done back-to-back by Ian Coughlan and Jim Dale.
Ian is a Cairns-based writer who wrote all four projects and will direct some of them. Jim Dale is the producer and rurts a Sydney-based company, Media Cast. Beyond will produce a television series up here. There are two feature films that we have developed in a package: W hite Eyes and D o u b le N egative, which will be with Portman.
Would you again like to act and sing in the same film? Not necessarily. But I think there is a market out there for films and productions that involve these two things. It just has music in it. I got into the business because I enjoyed that. What sort of roles would you now be interested in? Jonathan Shiff will continue O cean Girl, and he has told me he is doing another series up in Port Douglas. The Studios will start on the second series of Paradise Beach and will do at least another one or two Village Roadshow projects, such as Fortress 2. It is a great little series that was sold to Network Beyond has foreign distribution.
Allan Callaghan, former chief executive of the Queensland Film Corporation, was charged and found guilty on matters concerning financial improprieties. They were partly the victim of technological progress, partly passed over owing to bureaucratic bungling. He had not been consulted regarding the need for the films, and evidence suggests that they were foisted on him. In his opinion, farm workers were the only justifiable migrant group for Queensland:. Posthumously, at least, Wills can now reap the long-deferred credit deserved by his pioneering effort, allowing colonial Australia to live again on the screen.
W ills- M o b s b y F ilm o g raph y, Q u e e n s l a n d This list is in rough chronological order of production. Titles are taken from a Queensland Museum listing. Running times are obtained from the video copy, effectively transferred from film at 12 pictures per second by double-framing. Even at that speed, some films run slightly faster than optimum.
Length 19 seconds. Horsedrawn vehicles disembark from ferry, passing under a wooden gantry at the terminal stage. Length unknown not yet on video. View looks South along the line from No. Looking North towards Sydney city along the line, with a tall castellated tower at the rear. Advertising hoardings and a road bridge over a cutting are seen. Length 41 seconds the station shot is divided into two reels.
Taken either 18 M ay or 18 September 9 - there were two openings that year. The former is the more likely subject of the film, as it matches photos in the Queenslander. Length 61 seconds. Bridge and trams were both less than two years old at the time. Length 53 seconds. Length 49 seconds. In three shots: boarding, casting off, and steamer moving down the Brisbane River.
Probably 14 October 1 8 9 9. Length 51 seconds. Same scene appears onp. Length 16 seconds. Katoomba Unloading Probably shot at Pinkenba. Unloading timber spars at an active wharf. M ay have been demolition activity in William Street, clearing the site of the then new Agriculture Department building. Length 3 8 seconds. Cane is stacked onto wagon at rear of shot. Length 54 seconds.
Shot two: close view of trimming operations at conveyor carrying cane into mill for crushing. Length 50 seconds. Foxton Taken late July 1 8 Home Secretary Foxton and his wife receive a gift of bananas from islanders passing him in single file. Thursday Island Government Resident J. Douglas also appears. Length 56 seconds.
Some cuttings and built-up railway formations. Could have been taken during Northern tour of Agriculture Minister Chataway, as scrub abutting this railway had just been acquired by the Department for conversion into experimental farming plots, m id Length 39 seconds. M an with forked pole ensures total immersion of each beast. Length 3 7 seconds. Taken in arid countrypossibly Jimbour or Talgai.
Length 4 7 seconds. Post-and-rail fence at rear. Length 4 5 seconds. Length 41 seconds. In three shots: cavalry lines approaching, close shot of passing cavalry, supply wagons and rear of parade with children following up behind. Length 58 seconds. Probably a rejected view, showing only the rails receding from camera mounted at the back of a train. Surrounding scenery is outside the bounds of the picture. Length 62 seconds. Loading of refractory remounts aboard troopship Cornwall for South Africa, 31 October Labourers stook the sheaves from the reaper.
Length 5 7 seconds. Same countryside as previous shot. Sheaves are tossed up onto wagon for conveyance to the thresher. Length 34 seconds. A ten-horse team pulls a huge wagon laden with wheat sheaves passing on its way to the thresher. Length 65 seconds. Fork lifts the load onto the Length unknown - not yet on video. N o print known. Length unknown. Our first corporate film producer made more than films between 1 8 9 7 and 1 9 Yet only one of its productions is remembered.
N ext issue: the Salvation Army Limelight Department. FR YER mss. Wills is a typical example. University of Queensland: Richard Fotheringham, J. Queensland State Archives: L. McGregor, Judy McKay. Same journal, 20 November , p. Mobsby was appointed Assistant Artist and Photographer on 1 March.
The State Library of South Australia holds the magazine from the time it changed its name to Australian Kinematograph Journal in m id Mobsby papers and photographs are held at the Fryer Library at the University of Queensland. Brisbane Courier, 18 May , p. The Queenslander, 2 7 M ay , p. M orning Bulletin Rockhampton , 30 September , p. Torres Straits Pilot, 15 July 1 8 9 9 ,2 2 July North Queensland Herald Townsville , 17 July 1 8 9 9 , pp. Brisbane Courier, 23 December 18 9 7 , p. See also A. Haddon Papers, Cambridge University Library, envelope 1 0 4 9.
H addon Papers, Cambridge University Library, envelope Microfilm copy held at National Library of Australia, Canberra. H addon Papers, envelope Diary 10 M arch 1 8 9 8 -2 5 March H addon Papers, envelope 1 0 4 9 : J. Guardia to A. Haddon, 28 June Evening Observer Brisbane , 18 November 1 , p. None of the correspondence relating to the film project came from Randall in Britain. Wills serialized. Graduates from all disciplines are welcome to apply. A selection of. One of the co-ordinators of Filmoteca-Madrid,. Masters by Coursework applications closed December From a professional point of view, Sarria.
As is the case in many European countries,. The competition is being promoted via necktags and point of sale material in liquor outlets throughout Australia. These choices are selected from films seen this year, not those released in Australia in If the. The social as well as personal conflicts caused by multi-culturalism which these films portray are, to. Music: Mader. Executive producer: Jan McGuinness. Producer: Don Bennetts. Director: Don Bennetts. Scriptwriters: Don Bennetts, Arthur Boyd. Producer: Bob Weis. Co-producer: Judi Lewin. Director: Ben Lewin. Scriptwriter: Ben Lewin.
Romantic comedy about a passionate virgin with a handicap and a fertile fantasy life. Producer: Keith Salvat. Director: Paul Fenech. Scriptwriter: Paul Fenech. We learn about the creation myths and their place in modern Australia. Producer: Glen Joseph. Director: Glen Joseph. Scriptwriter: Peter Engebretsen. Examines the dilemma of how to protect the fragile eco-system of. Only a mental asylum can save her, maybe. Producers: Rolf de Heer, Domenico Procacci.
Director: Rolf de Heer. An intergalactic love story about an. Synopsis: A feature adaptation of the television series of the same name. That is his first mistake. Synopsis: For forty years Arthur Stace walked the streets of Sydney and wrote on them one word - eternity. Special fx make-up Wig stylist Special fx supervisor Special fx Stunts co-ord. Stunts asst Safety officer Still photography.
Batteries not included. Dream House CristinaPozzan follows their surprising personal journeys. Synopsis: A continuing series of thirty-minute Trevor Graham portraits of prominent Australians. However peformances of the dance are becoming increasingly rare, as Yanyuwa culture now fights its own battle for survival. Kattina Bowell Lloyd Carrick. Ian Jobson. Synopsis: With a combination of stop-motion animation and documentary style interviews, this film looks at the dinosaurs who inhabited Australia one hundred million years ago.
SharonConnolly lectual, creative and political life of the decade. Hermoineon a journey of discovery, self-hatred,. It is about how they pick up the threads of old.
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Synopsis: Paradise Beach, where the perfect white sand stretches for miles: the music is hot and the party just goes on. With his band on a backing tape and two girl singers, Joanne and Sheena, they play in pizza shops and milk bars. Synopsis: The story of Neri, a mysterious young girl from the ocean, and her discovery by the young inhabitants of an underwater research colony.
It is also. Working from a script, he was commissioned. It all com es, as usual, dow n to m o n ey and tim e. Academ y live show at the Movie World theme park. This has led him into pyrotechnics for live shows, and the company has built a range of stunt equipment, such as kick rams, a small plate that, when stood on, kicks open to throw the stuntman to heights of up to 45 feet 14m. This includes special dynometersthat allow him to test load a rig so that people know it will.
I also run a mobile wire-rope swaging service. This lets Bob provide a service that he feels. We had to run cables across the gorge, anchor them down, and make a flying fox to travel the stuntman and the cameraman out the same distance and then drop them. The cameraman, with a hand-held camera, stopped short of the water and the stunt guy entered it. I did the wire work and got the crew down to the bottom and safely back up.
Gary says that this will change when the local Videolab facility installs an NTSC telecine at the end of the year. At Hotham Parade, the footage comes in there at the end of the day and you see it go out in the morning. Seminars on filmmaking can be as boring as they are titillating. Filmmakers can walk away from them inspired, or dejected. Sydney filmmaker, GLENN FRASER, bit the bullet and landed in Hawaii for a four-day seminar on the post-production techniques of Jurassic Park, and found the behind-the-scenes politics of the film promised that the future of effects pictures could be as interesting as the stories they tell.
Rushes screenings take place at the main theatre in the studio, which is a full double-head. J theatre wiih changeover, or at the sm aller lab theatre, which! The editors are working out of a room in the Videolab building which is also almost part of the Warner lot. It is an astute combination of marketing, merchandising and technology. Atlab has been consistently achieving the results they look fo r when it comes to film processing. Cinematographers are getting the quality, service and perform ance fro m a film processing la b o ra to ry committed to excellence.
Phone; 02 Fax: 02 Henderson Partners ATL Edit Advise has the track record to get you off the cutting ro om floor. A film m a ker is still a storyteller, and these advances will sim ply begin to bring to many more individuals the access to produce the ir own film s. T hey were tim e consum ing, but, after finishing them, it looked like nothing was beyond our reach.
Ultimately, the. Images and Pacific Title Digital. Our thanks go to the local distributor, Computer Effects, for permission to reprint the following examples and for the full story contact them at the address below. MATADOR was employed to produce a range of effects, from fairly straightforward wire and rig removal to very complex rotoscoping and retouching. I thought we were going to have to get into some kind of fairly involved 3D mapping or some kind of odd morph work to fit it in. I was pleased to see how effectively the perspective tool worked and also to learn that we could write a macro to batch process the whole length of the shot.
Throughout the balance of the film, we follow Danny, Slater and some nasty villains as. There were a lot of experienced people who knew exactly what needed to happen and how to make it work.
The Saga of Sally Lunn’s – Part 4
The visual effects producers at Columbia, Alison Savitch and Chuck Comisky, made a heroic effort to keep the momentum going. He recalls: The logistics of assembling the show were quite amazing. We were gratified that all the vendors came through on time and produced great work.
There were close to effects shots and the budget was quite modest - probably less than it would have been in an optical situation because. To capture these transitions, a film crew shot the background scene with a hole in a solid wall or a neoprene sheet. The actor then would put a hand, an arm, or his whole body through the hole. Then the wall or sheet was replaced with a beauty wall and shot in correct perspective as an empty plate. The next step was to blend the two shots. Then they animated the edge where the hand or body was passing through, creating the contour between the solid wall and the character.
This means a more user friendly face to face service right on your doorstep. A t our new Bank Street address we will be. If you can recall our old location you will agree this is indeed a real move up! And of course, we are moving along, along with the times.
- Flotsam and Jetsam (The Saga of Sally Lunns, Part 4).
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Enrol NOW. We matched the position and angle per frame of those searchlights. That element really helped to put the whole shot together. Next, he animated the orca and Combined the animation with the background. Rather than cutting a hard-edge type of matte, we used digital airbrush tools to create a matte with a lot of motion blur.
Sony Pictures Imageworks contributed We had to deal with a combination of black-andwhite scenes and colourscenes. As the window breaks, colour spreads into the shattered glass. Since the stained glass was originally shot in blackand-white, the effects team painted and tracked it through a non-motion controlled camera move, and performed an animated wipe starting from the point where the glass is broken. McGovern: We wrote code to take the motion out of the plate in which Eastwood originally appeared. When you see the shot, it really does seem to place Eastwood at the scene and it fits in well with the way the motion works.
And he really does look much younger. They actually were a story and a half above the stage floor. We added the extra 10 stories as well as an atrium, and shot footage to place the unsuspecting pedestrians beneath them. First, we shot a rough model of the whale and Richard Helmer, who was responsible for the physical effects, created a hydraulic rig to thrust the model through the surface. We scanned that footage and began the process of constructing a whale database from a model we had sculpted.
A member of our computer graphics team, Andy Kopra, created a numbered grid corresponding to that model of the whale.