Dunton’s and Ackroyd’s outstanding BAFTAs.

Joe Dunton MBE BSC received the Outstanding British Contribution to Cinema Award in recognition of his long, influential and inventive career. He was presented with the Award by 2009 Academy Fellow Terry Gilliam at the Orange British Academy Film Awards on Sunday 21 February 2010.

Movies such as Poltergeist, Return Of The Jedi, The Mission, Secrets & Lies, Eyes Wide Shut, the Harry Potter films and Nine all benefited from his expertise. Amongst Dunton’s innovations are the heated camera eyepiece, the Ladderpod, a video assist for the Louma Crane, the Moy Bazooka, the Mitchell Vitesse geared head and an HD camera magazine that is interchangeable with a traditional film magazine.

“I’ll continue to spend my career looking for people who have interesting ideas,” he said. “Not only do I want to help these filmmakers harness future technology to tell their stories, I also want to remind them of the past so that they understand the grandeur and gift that is the silver screen.”

Barry Ackroyd BSC was also awarded with the BAFTA for best cinematography for his work on The Hurt Locker, which earned him a clutch of other gongs during awards season including those from BIFA, the Boston and Austin festivals, Evening Standard, along with Oscar and ASC nominations. The Hurt Locker won six Oscars at the 2010 Academy Awards, including best picture and best director for Kathryn Bigelow. Discover more about Ackroyd and his work on The Hurt Locker and Green Zone in this edition.

Pinewood celebrates BSC’s 60th.

Pinewood and Shepperton Studios plc has commemorated the 60th anniversary of The British Society of Cinematographers with a specially-designed plaque. The plaque was created by a trainee of Film Design International, a Pinewood-based production design school run by production designer Terry Ackland-Snow (Batman, Superman The Living Daylights). It is placed in the BSC’s dedicated corridors at Pinewood Studios, and was unveiled by the society’s president Sue Gibson in February.

BSC president Sue Gibson commented, “The society has always enjoyed an excellent relationship with the studios and is very grateful for its continuing support and presentation of this special anniversary plaque.”

“As the industry enters the digital era giving rise to evolving techniques and technologies, the BSC will continue to play a prominent role in educating and inspiring both the international industry at large as well as the next generation of British filmmakers,” said Pinewood Shepperton CEO Ivan Dunleavy.

Rock On Tommy.

The mould that made Tommy Moran may have been lost somewhere in the Irish Sea, but fortunately not before he had worked with David Jason, who proceeded to “nick” (as Tommy may say) the inspiration of his unique character and mannerisms to create one of Britain’s most loved characters, Del’ Boy, writes Nigel Walters BSC.

Gaffers, ARRI staff, cinematographers, friends, mates Tommy has never forgotten and who will never forget him and, most importantly, his wife and daughters gathered together to celebrate Tommy’s 25 years as MD extraordinaire of ARRI Lighting Rental in La Rucolo Italian restaurant, Uxbridge recently.

In a search for the aspect of his character, which distinguishes this extraordinary manager of men from ordinary mortals, I questioned those who know him best. A gaggle of gaffers gave a spontaneous analysis of the reasons for his success: “Tommy came before corporate greed.” Quite a complement! The more you analyse those words the deeper they dig into the soul, and the more there is to reflect on the changing nature of our industry.

Tommy is generous. He has always called a spade a spade. You know where you stand. If he makes a mistake he admits it. He has never changed and that is probably the secret of his managerial success. There are no two sides. His judgement of character is impeccable, with the ability to surround himself in his management team, with mates of integrity – ex-gaffers such as Dave Mason, Tony Hestor, the finest of men in any profession. In his speech he remembered especially the help he received in those early days from good friends such as Mike Southon BSC. Tommy has built a strong team at Uxbridge, and he is particularly proud that his daughter, Sinead has become the rock in his company due to the strong relationships she has built up with both productions and technicians, along with general manager Mike Ohara and HODs of Films & Drama servicing Jason Hunt and Sandro Leone.

For many years as Union representatives we conspired together to outwit the vagrancies of management within the BBC. Not that they were wholly bad, far from it, but when the time came to break free with Barry Bell to start Bell Lighting (later ARRI Lighting), Tommy had learnt to distinguish between a good manager and a bad one. The bad ones inspired him. He is a good one.

One Tommy story, there are so many, I did not tell under the alcoholic inspiration of this fine restaurant, was the occasion Tommy was at home watching the Grand National on TV. His wife rushed in to say that she was worried about the fire he had lit in the garden to burn garden rubbish. With the race about to begin Tommy , with a wager to follow, and not a man to be distracted by a fire at such an important time, waved aside her concerns and asked her to prepare the garden hose for after the race. An inspection of his garden after the race revealed that his sheds and fence and the neighbour’s sheds and fence where now a blazing inferno to which Tommy said, “Forget about the f-ing hose, and call the fire brigade!” The stories would fill this magazine.

Fraser honoured by grips branch.

The Grips & Crane Technicians Branch celebrated its 25th anniversary recently in Panavision’s preview theatre in Greenford. The event, took place barely a stones throw away from its very first meeting held at Grip House in 1985, and provided an opportunity for the branch to honour one of its founding members, Dennis Fraser MBE.

Fraser, along with several other motion picture grips, helped to form the first Grips Branch committee to represent grips and promote the grade as a professional body of highly-trained technicians. Over the last quarter century the Branch has grown from around 35 members, working exclusively in film and TV commercial production, to a current membership of more than 150 grips and crane technicians working across all sectors of the industry, predominantly in London and the South East.

A unique feature of this group of individuals is that the majority now hold Grips or Crane Techs qualifications, and carry Skills Passports, in the form of a laminated photo ID cards, issued by Skillset. Achieving the Grips/Crane Techs NVQ is the aim of all branch members.

Fraser has been the standard bearer of the grips qualification and has achieved almost single-handed cross-industry recognition for a craft grade that had previously only existed within the confines of the camera department. He was honoured for his considerable achievements with a gold plaque, presented by the first branch chairman and his former colleague at MGM Studios, Jimmy Dawes.

Arts Foundation awards cinematography fellowship.

The winner of the cinematography fellowship, worth £10,000, was announced by Sir Nicholas Hytner recently at the annual Arts Foundation Awards held in London.

The Arts Foundation was established a decade ago, and was funded through a generous anonymous donation of over £1 million pounds. It is the first time the art of cinematography has been recognised, and the three young filmmakers shortlisted attended the packed gathering.

The chosen artists, all resident in the British Isles, originated from Bangladesh, Poland and Norway. The winner was 36-year-old Ole Bratt Birkeland, originally from Bergen, Norway, now living and working in London since studying at the London Film School from 1996-98.

With this financial support Birkeland can now spend time testing for a new feature. He is also hoping to shadow Barry Ackroyd BSC whilst filming Coriolanus in Romania, and visit Camerimage in Poland. Birkeland’s most recent film, Helen, won a host of prizes including best cinematography at the Durban and Dinard Film Festivals. Two other exceptional cinematographers shortlisted by the panel of advisors for the award were Urszula Pontikos and Sadik Ahmed, who both trained at the National Film & Television School.

Major new 3D training initiative unveiled.

With the box office success of Avatar ringing around the production industry, a ground-breaking partnership between Skillset, Sky and the UK Film Council has been announced to develop and run 3D training for the UK film and television industries.

The commitment to a £140,000 3D training budget was unveiled at Introducing Sky 3D – an event for the UK’s production community, which was supported by the UK Film Council and BAFTA. The fund will pay for specialist training across the board – from those needing to know the basics as they start a 3D project, to professionals sharpening up high-level specialist skills.

Principal Large Format, the UK’s leading consultancy for 3D production, run by Phil Streather, has been awarded a 3D stereoscopic innovation grant by Skillset to research and structure the curriculum for delivering this definitive course programme for 3D training for the production sector.

Brian Lenz, Sky’s director of product design and TV product development, commented, “We want the UK to be at the forefront of 3D’s assault on cinema and TV. With 3D cinema proving a hit at the Box Office, and 3DTV coming to living rooms this year, 2010 is the year for UK producers to grasp the 3D opportunity. We’re delighted to support the UK in becoming a 3D centre of excellence.”

Speaking on behalf of the UK Film Council, CEO John Woodward, said: “This partnership is part of the UK Film Council’s ongoing commitment to securing the UK’s reputation as the home of the world’s best creative talent, giving our filmmakers the 3D training they need to stay ahead in the 21st century skills race.”

S3D Campus brings 3D training to Europe.

Avance Rapide, which has organized the Dimension 3 Festival in France for the last three years, has announced an international 3D training course sponsored by the European Union’s MEDIA programme. The S3D Campus, “Mastering 3D from filming to broadcasting” will be held in Paris from May 24 to 28th, and aims to develop a network of qualified technicians, producers and creators who will master the new processes involved in creating 3D content.

“Stereoscopic 3D is now a reality in cinemas and on TV screens, and Europe should not lag behind in terms on content ” said Stéphan Faudeux, manager of the training course.

Based on alternating conferences, hands-on workshops for 3D shooting and post-production, and keynote addresses, S3D Campus will gather a dozen international trainers. The five-day course, given in French and English, will host 35 trainees from all over the globe. Geared towards technicians, directors, producers and teachers, the course will tackle issues such as writing for 3D, pribciples of 3D mastering and screening, filming in 3D, colour grading and CG animation. Dimension 3, the international forum on stereo 3D, will take place in Paris from June 1st to 3rd, 2010.

Fujifilm scoops Academy Award.

The Academy of Motion Picture Arts and Sciences has presented Fujifilm with an Academy Award for its development of ETERNA-RDI, the first motion picture film designed specifically for use in converting digital image data to negative film.

The award was given in recognition of the significant picture quality and workflow improvements made possible in the moviemaking process through the development of Fujicolor ETERNA-RDI.

Kodak iPhone app.

Kodak has released the Kodak Film Calculator and Glossary application, the first of several cinema tools to be released as free downloads from the iTunes App Store. The tool determines the running time for any length of film in any format, or how much film is needed for a specific duration, making complex mathematical calculations quickly and conveniently. Film length can be measured in feet or meters for all formats, including Super 8, 16mm, 35mm, three-perf 35mm, and 65mm film. The application also includes Kodak’s Glossary, which provides instant definitions for hundreds of filmmaking terms.

Sci-Tech Award for ARRISCAN team.

In recognition of the critical role played by science and technology in the moviemaking process, the Academy of Motion Picture Arts and Sciences has bestowed a Scientific and Technical Award to the team responsible for the development of the ARRISCAN film scanner. This marks the 16th Academy Award to have been bestowed upon ARRI and its designers.

The recipients are Michael Cieslinski, Dr. Reimar Lenz and Bernd Brauner. Cieslinski is credited with designing the sensor and serving as project manager for the scanner, while Brauner was responsible for the film transport and Lenz developed the micro scanning feature.

More than 100 ARRISCANs are in use worldwide, and have been utilized on many features including The Blind Side, Up in the Air, The Twilight Saga: New Moon and Transformers: Revenge of the Fallen.

NFTS students win Kodak cinematography award.

Students from the National Film & Television School in Beaconsfield, led by Chris Moon, won the award for best cinematography for The Cloud Chasers at the recent Kodak Commercial Awards held at BAFTA. Open to all students studying on a full or part-time film, media or TV course in the UK or Ireland, the competition is based around briefs provided by advertising agencies Oglivy and BBH.

The 2010 Awards received 250 script and storyboard entries from 22 different film schools. The entries were shortlisted by agency creative teams, with 52 films going into production. Each film was made by a team of up to five students. Along with a 400ft roll of 16mm Kodak negative stock, camera kit was available via ARRI Media and Soho Film Lab provided a one light transfer. The Cloud Chasers also won the award for best production design, and was judged second in the best commercial overall category.

What’s Shooting on Kodak?

The following motion pictures are shooting on Kodak filmstocks… Harry Potter And The Deathly Hallows Part II, DP Eduardo Serra, dir. David Yates; West Is West, DP Peter Robertson, dir. Andy De Emmony; John Carter Of Mars, DP Daniel Mindel, dir. Andrew Stanton; Killing Bono, DP Kieran McGuigan, dir. Nick Hamm; Burke & Hare, DP John Mathieson BSC, dir. John Landis; Flutter, DP Christopher Ross BSC, dir. Giles Borg; Clean Skin, DP George Steel, dir. Hadi Hajaig; and Peter, DP Michael Miles, dir. Sanjay Kumar. The BBC television series New Tricks, DP Sean Van Hales, is also using Kodak.

What’s shooting on Fuji?

The latest of features and TV dramas shooting on Fujifilm include…Hereafter, DP Tom Stern ASC AFC, dir. Clint Eastwood; Clash of the Titans, DP Peter Menzies Jr, dir. Louis Letterier; Eagle of the Ninth, DP Anthony Dod Mantle DFF, BSC, dir. Kevin MacDonald; The King’s Speech, DP Danny Cohen BSC, dir. Tom Hooper; The First Grader, DP Rob Hardy, dir. Justin Chadwick; Tamara Drewe, DP Ben Davis BSC, dir. Stephen Frears; Murder on the Orient Express, DP Alan Almond BSC, dir. Philip Martin; Oranges & Sunshine, DP Denson Baker, dir. Jim Loach; Spooks Series 9, DP Fabian Wagner, dir. Michael Caton Jones; and Men Don’t Lie, DP Justin Brown, dir. Jane Spencer. Commercials include… Johnnie Walker commercial (Home Corp) DP Benoit Delhomme AFC; Mercedes (RSA) DP Ole Bratt Birkeland; Whizz Kidz charity ad (Smuggler) DP Denis Crossan BSC; Malaria No More charity ad (Partizan) DP Barry Ackroyd BSC; Homebase (Independent Films) DP Remy Cheverin; Tesco 7 commercial (Smuggler) Denis Crossan BSC; Promos using Fuji stocks include… McLean (Pixelloft) DP Erik Maddeson; Corrine Bailey Rae (Believe Media) DP Riego Van Wersch; Jamie T (Black Dog UK) DP Matthew Fox; Plan B ‘Live’ (Partizan) DP Stuart Bentley; and Plan B promo (Partizan) DP Lol Crawley.

Sun-Mover focused reflector.

California Sunbounce, the German developer, manufacturer and distributor of photographic accessories and light modulating equipment, has launched the Sun-Mover, a flat, collapsible light reflector that transforms sun and studio lighting into controlled spot and soft lighting. The new product, created by Wolfgang-Peter Geller, chief designer and owner of the company, consists of an oval shaped, reflective screen and two solid built-in handles. It allows spot, natural and soft light effects to be made by bending the two motorcycle-like handles in-or outward to control the beam of light. The oval 85x79cm (33.46x 31.1 inch) system is available in silver/white fabric for slight warm light and zebra/white fabric for neutral light, and folds like a regular collapsible reflector.

Matthews supplies Budapest studios.

Independent VFX post-production facility BlueBolt has announced that David Jeffers, former CEO of MPC, Technicolor’s London VFX division, has joined as non-executive chairman, a hands-on role that will see him support the future growth of the company. Under Jeffers’ 20-year leadership MPC became a worldwide industry-leading provider of VFX and post-production services to both the feature motion picture and commercial advertising industries. Along with its successful growth, he also managed the relocation of MPC into London’s premier custom-built facility in Wardour Street, Soho, as well as its subsequent sale ($105million) to Thomson/Technicolor in 2005. Jeffers retired from the company in 2007 to pursue other business interests.

Jeffers commented: “Bluebolt is an exciting new company with a highly creative, experienced and professional offer. I am delighted to be able to share my experience with the team from this early stage. As a boutique facility in the highly-regarded Soho/London VFX industry Bluebolt is set to succeed in a VFX marketplace that has enjoyed unrivalled growth in recent years – the future demand for which is perhaps best exemplified by the recent box office success of James Cameron’s Avatar.”

BlueBolt was established last September by three former Moving Picture Company (MPC) staff – VFX supervisors Chas Jarrett and Angela Barson, along with VFX producer Lucy Ainsworth-Taylor. It is currently working on the John Landis-directed comedy Burke & Hare, and has completed VFX work on a number of features including Sherlock Holmes and Prince of Persia: The Sands Of Time.

ZipCalc DP simulation freeware.

ZipCam Systems has released its new freeware planning tool, ZipCalc DP. This freeware application is intended primarily for DPs and key grips. It provides interactive simulations of cable camera flight paths and plots them on a graph. This helps users determine the best flight path for cable-suspended tracking cameras such as the ZipCam cable camera system. ZipCalc DP is currently available for download, without charge, from the ZipCam Systems’ website.

China Film Archive purchases Quantel gear.

China Film Archive in Beijing has purchased a Quantel iQ 4K Dl and finishing system. The iQ includes QColor in-context grading and the Quantel Stereo3D toolset. In addition to its role safeguarding China’s film heritage of over ten thousand films, China Film Archive is also charged with adopting and exploiting new film technologies; hence the Stereo3D tools.

BlueBolt VFX appoints Jeffers as chairman.

Independent VFX post-production facility BlueBolt has announced that David Jeffers, former CEO of MPC, Technicolor’s London VFX division, has joined as non-executive chairman, a hands-on role that will see him support the future growth of the company. Under Jeffers’ 20-year leadership MPC became a worldwide industry-leading provider of VFX and post-production services to both the feature motion picture and commercial advertising industries. Along with its successful growth, he also managed the relocation of MPC into London’s premier custom-built facility in Wardour Street, Soho, as well as its subsequent sale ($105million) to Thomson/Technicolor in 2005. Jeffers retired from the company in 2007 to pursue other business interests.

Jeffers commented: “Bluebolt is an exciting new company with a highly creative, experienced and professional offer. I am delighted to be able to share my experience with the team from this early stage. As a boutique facility in the highly-regarded Soho/London VFX industry Bluebolt is set to succeed in a VFX marketplace that has enjoyed unrivalled growth in recent years – the future demand for which is perhaps best exemplified by the recent box office success of James Cameron’s Avatar.”

BlueBolt was established last September by three former Moving Picture Company (MPC) staff – VFX supervisors Chas Jarrett and Angela Barson, along with VFX producer Lucy Ainsworth-Taylor. It is currently working on the John Landis-directed comedy Burke & Hare, and has completed VFX work on a number of features including Sherlock Holmes and Prince of Persia: The Sands Of Time.

Capelle joins Eyelite.

Following the closure of DI facility HoverlorD last October, cinematographer and IMAGO treasurer Louis-Philippe Capelle has joined Belgian rental group Eye Lite in a consultancy role. Capelle’s task includes the establishment of the company’s new digital cinema camera department to complement its existing film camera rental business. Eye Lite is the biggest rental company in Belgium. Capelle will remain active in IMAGO and as a cinematographer.