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Cameras Featured
ARRI 435 with 8 different Kodak and Fuji film stocks
Genesis
D-21
Sony F35
Red One
ARRI 416 with 8 different Kodak and Fuji film stocks
S I 2k
Panasonic 3700
Sony F900R
Thomson Viper
Sony EX 3
Panasonic HVX 201
Canon EOS 5D Mk2
 
The package includes a Blu-ray disc of the Evaluation and The Making Of, with Menu Controls and a Pamphlet containing an Introduction, Technical Specification, Exposure Data and Workflow chart.

 

 

 

The other nominees for the BSC Best Cinematography Award included Christian Berger (The White Ribbon),  John de Borman (An Education), Bruno Delbonnel (Harry Potter and the Half-Blood Prince); Anthony Dod Mantle (Slumdog Millionaire); Mauro Fiore (Avatar); Roger Deakins and Chris Menges (The Reader);  and Claudio Miranda (The Curious Case of Benjamin Button).    John de Borman BSC, the President of the BSC presided over the proceedings and welcomed the guests who included Christian Berger AAC who had flown in from Vienna, Chris Menges ASC BSC, David Gritten, Philip French, Angie Errigo, Matt Wolf and a host of BSC cinematographers and Camera Operators, Patron members and Friends of the Society.

Alan started in the industry in the 1940s, at Olympic Film Labs in Acton, Middx next door to Paramount News London HQ.    He would often go with the lab van to pick up daily rushes from the Denham Studios where, on one occasion, he overheard that one of the clapper loaders had been called up for National Service.    The next day he went to see the head of the camera department, Bert Easey, who took him to meet the camera operator and focus puller on Stage 3 where they were shooting a film about a RAF fighter pilot, entitled `The First of The Few`.  He was immediately signed up and continued with the crew on their next films `Thunder Rock` and `Yellow Canary` following which he was promoted to Focus Puller on `Tawny Pipit`.     He was at Ealing when he was called up on 1^st March 1944 and having served in the Fleet Air Arm returned there after demob.   He then moved to Denham and Pinewood Studios where he pulled focus for Guy Green on `Passionate Friends` (One Woman`s Story) (1949) on which Ossie Morris was operating.

 

In 1954 he got a break as main camera operator with the DoP Wilkie Cooper, on `Our Girl Friday` which starred Joan Collins.     Alan then worked on about 20 films as the Main Camera Operator until `Shout At The Devil` 1976 on which he got a break as D.O.P. of the second unit.

 

His first film as cinematographer was `No Kidding` produced by Peter Rogers and directed by Gerald Thomas at Beaconsfield Studios. He worked for Peter and Gerald for 10 years with no contract - just a handshake!   He subsequently moved on to photograph such memorable titles as `For Your Eyes Only`, `Eye of the Needle`, `Star Wars: Episode VI – Return of the Jedi`, `Octopussy`, `A View to a Kill` and `Shirley Valentine` for which he received a BSC Best Cinematography Award Nomination.    Alan amassed more than 100 films during his career.     He leaves a wife Sheila and his sons Martin and Simon and daughter Pauline who all followed him into the industry.

 

 

Pictured here before the meeting on the Terrace at Pinewood are left to right:

Richard Blanshard, Colin Corby, Peter Hannan BSC, Frances Russell, Nick Shapley (LCA), Alan Lowne, Dennis Fraser MBE, Bob Quinn, Ben Bradley (Fuji), Sir Sydney Samuelson, Sue Gibson (President) Centre Front, Robbie Ryan BSC at back, John Daly BSC, Ernie Vincze BSC, Terry Lewis with Robin Vidgeon BSC behind, Tony Spratling BSC, Paul Wheeler BSC, Alec Mills BSC with Nigel Stone BSC behind, Billy Williams BSC, Nic Milner (back hidden), Peter Versey, Sean Bobbitt BSC, Mick Coulter BSC, John Golding, Ashley Rowe BSC, Gavin Finney BSC, David Higgs BSC, Remi Adefarasin BSC, Mike Fox BSC, John Mathieson BSC, Philip Sindall, Rodrigo Gutierrez, Michael Johns, John de Borman BSC, Nigel Walters BSC.     Also in attendance but not pictured were Oliver Curtis BSC and Associates Chris Plevin and Jamie Harcourt.

Rising through the ranks from tea to clapper boy, cinematographer, producer, scriptwriter and director he was regarded as the consummate Film Maker.

Although being born in 1911 �Ronnie� Neame was second generation in the film business, following his father Elwin Neame, a director of silent films and his mother an actress. His career took off working as an assistant on Alfred Hitchcock�s Blackmail which was released as a silent and sound film. It was one of the first films to make use of movement through by using the wheels of an early dolly.  As a cinematographer one of his most important contributions was through the use of Technicolor on David Lean�s films This Happy Breed and Blithe Spirit, noted for the warmth of the colour images and his skill of the use of light. He also wrote the screenplays for both films and later co-wrote Lean�s Great Expectations and Brief Encounter.

It was in his collaboration with Noel Coward, David Lean and Anthony Havelock-Allen through the formation of Cineguild, funded by Arthur Rank, that Ronnie was able to craft his most distinguished work as a cinematographer. David Lean, by the early forties regarded as a great British directors, used Neame as one of only four cinematographers in his fifty year career. Neame�s enthusiasm for filmmaking led him eventually to producing and finally directing by the late 1940�s. His directorial debut was a strong thriller, Take My Life, enriched by the cinematography of Guy Green BSC one of the other four cinematographers favoured by Lean.

Ossie Morris BSC traces his friendship with Ronnie Neame to 1933. �Ronnie treated me as his son and prodigy, he was a lovable, likeable man, from whom I learnt a great deal,� says Ossie. Their friendship began whilst working under the cinematographer Friese-Greene. Ossie operated for Neame on the Cinema Quickies and described Neame�s simple technique in the days when lights had no condensers, testing each small floor light and chalk marking the back of the most suitable light to use in lighting the actors. He remembers Ronnie telling him to regard his role as an Executive Cinematographer, remembering always producers have limited amounts of money.

Ronald Neame�s visual style embraced a wide range of films, from thrillers to melodramas. Writing on the www.filmreference website Chris Routledge comments that �it was in his gentle comedies, such as Million Dollar Note, an adaptation of a Mark Twain story starring Gregory Peck, that his direction seems most comfortable. At his best he drew excellent performances from his leading actors including Gene Hackman in The Poseidon Adventure, Alec Guiness in The Card and Maggie Smith who won an Oscar in 1969 for her performance in The Prime of Miss Jean Brodie. Neame has been nominated for Oscars as a writer, producer, director and special effects. Probably his best film Tunes of Glory, a tense army melodrama, was nominated for BAFTA in 1961.�

He is survived by his wife, Donna and son Christopher, also a producer and a Friend of the British Society of Cinematographers.

 

His popularity and the respect in which he was held were not confined to the United States and in 1979 he was made an honorary member of the BSC following his first Oscar nominations for “Looking for Mr Goodbar”and “Heaven Can Wait” and his earlier (shared) nomination for a BAFTA for “One Flew Over the Cuckoo’s Nest” . This was followed in the early eighties by three further Oscar nominations for “1941”, “War Games” and “Murphy’s Romance”.

 He served as President of the ASC in 1979, 1984 and 1991. William Fraker also found time to direct three feature films as well as several TV films and series. He returned to the University from where he had graduated with his friend Conrad Hall to become Professor of the USC, School of Cinema. A student wrote” What an honour it was to be taught by this man. His heart and personality are just as impressive as his filmography.”

His other notable films include “Rosemary’s Baby” in 1968 and “Paint Your Wagon” in 1969, the same year in which he was awarded the American Film Critics Award for his cinematography on “Bullitt”.

In 2000 he was presented with the ASC’s Lifetime Achievement Award, an honour he was also to receive at Camerimage in 2003 where his Master Classes became as popular as the man was himself.

Billy Williams BSC, a friend for over thirty years described “Bill” Fraker as a man “always willing to share his experience with others, open, friendly, of genial disposition, a gentleman.”

William A Fraker ASC BSC was also a formidable cinematographer who will be missed by his friends in Europe as well as in the USA. Bill Fraker’s  father had been a stills photographer at Pathe and Columbia Pictures and he hailed from a long line of still photographers in the studio system stretching back to his maternal grandmother. His son William A Fraker Jnr. also a cinematographer died tragically in 1992.

 

 

The Board of the BSC are highly supportive of this venture, which has banded together many of the industries leading rental and facility houses to ensure image quality is maintained.   Among its ranks are many of our Patron Members and the technical content of their site is extremely informative. It is designed to give unbiased, impartial information about the different formats available today and has useful advice on may topics.We encourage you to go and take a look at their website   www.theimageforum.org

London-born Tony was liked by everyone. He began his career by lighting TV films for Ken Loach and Tony Garnett. Indeed in a career which spanned almost fifty years of filmmaking his most memorable films were those which changed British public awareness for greater good, such as the powerful `Cathy Come Home`and `Up the Junction`.

Shot in the 1960s and broadcast on BBC1, those two television films are today regarded as milestones in a great era of television drama. `Cathy Come Home`, full of Tony Imi’s evocative images, was the film which changed public awareness to the plight of the homeless. Who can forget the impact of the scene when the family and children are forcibly evicted by bailiffs from their home? Tony’s 16mm gritty, black and white film was seen by over 12 million viewers and a BFI poll in 2000 voted it the top film in the one hundred greatest television programmes of all time.

His innumerable feature films included `The Slipper and the Rose` and ‘International Velvet’ both directed by Bryan Forbes; ‘Breakthrough’, starring Richard Burton and Rod Steiger and ‘The Sea Wolves’ with Gregory Peck, David Niven and Roger Moore, both for renowned action director Andrew McLaglen; ‘Buster’ with Phil Collins playing the eponymous Great Train robber, and in the 1990s a number of gritty British action films like ‘Shopping’ with Jude Law and ‘Rancid Aluminium’ with Rhys Ifans.

Tony also enjoyed gentler fare, in more recent years worked on CBS and Hallmark TV series ‘Blackwater Lightship’ and ‘Candles on Bay Street’ and Gate Television’s ‘The Shell Seekers’, ‘Starting Over’ and ‘Four Seasons’.

In 2001 he won the Best Cinematography award for ‘Taliesin Jones` at the Santa Monica Film Festival and received an American Society of Cinematographers’ nomination for his work on the mini series `Scarlett` and a BAFTA Best Video Lighting nomination for `The Life and Adventures of Nicholas Nickleby`.

Until the end of his life, he was doing what he loved best, shooting films. And in shooting one of his last works, a film called ‘Trapped’ that highlights the plight of homeless families in London, he once more reprised the very same concerns memorably brought to the screen by ‘Cathy Come Home’ more than forty years previously.

A former President of the British Society of Cinematographers, Tony continued to serve on the Board as Governor giving generously of his time and energy when not committed to filming. A fair man with a deep sense of justice, his opinion was always sought and listened to with respect. Tony had a fantastic sense of humour and invariably any meeting with him would begin with a joke. It must have been as enjoyable to be a member of his crew as it was to have shared his presence at BSC Board meetings. He worked tirelessly for all cinematographers and will be sorely missed.

He leaves wife Marilyn, daughter Gemma and son Matthew.

He amassed 96 credits during his career.

Barry Ackroyd BSC won the Cinematography Award for his work on “The Hurt Locker”, Kathryn Bigelow’s film, shot on 16mm with a modest budget, which outshone the blockbuster ”Avatar” and the other nominees. A great indication that the power of the visual story is still paramount . His use of multiple, handheld 16mm cameras brought an intimacy and intensity to the story of the bomb disposal team in the Iraq War which I’m sure was instrumental in the film also scooping the Best Film Award. Our hearty congratulations go to him and the rest of his team. We are very proud to have him as a member of the BSC. Click on link for interview http://www.bafta.org/awards/film/film-awards-nominations,949,BA.html#jump14


The Outstanding British Contribution to Cinema went to Joe Dunton MBE BSC, who is also Vice President of the Society. His work over the last 42 years has brought many innovations to our industry that have resonated around the world. As a camera engineer he invented the heated eyepiece, the first Video assist, the Moy Bazooka, the Mitchell Vitesse geared head and an HD camera magazine which is interchangeable with a traditional film magazine. Working with Stanley Kubrick , he was responsible for helping make some of the seminal movies of our time such as “A Clockwork Orange” . He continues to work and serve the industry in a remarkable way, always striving for excellence, and helping future generations of film makers realise their dreams. He is a stalwart supporter of the BSC and we are all greatly indebted to him for his remarkable talent and enthusiasm for film. Clink on link for more 
http://www.bafta.org/awards/film/outstanding-british-contribution-2010,1028,BA.html or listen to the interview at
http://www.bafta.org/awards/film/film-awards-nominations,949,BA.html

Click here for more details and to register

John, who is over here prepping `Burke and Hare`, which is to be photographed by John Mathieson BSC  at Ealing Studios in the New Year,  entertained the audience with some highly amusing anecdotes.  President Sue Gibson BSC welcomed the guests which included Eduardo Serra AFC ASC who had been in the UK  filming `Harry Potter and the Deathly Hallows: Part 2` and introduced a screening of the new BSC Trailer , produced by Phil Meheux BSC which celebrated the work of the Society`s cinematographers, as part of the 60th Anniversary of the  BSC.

 

After dinner, there was a presentation of the  BSC ARRI John Alcott Memorial Award which went to Paul Collard of Ascent 142 in recognition of the enormous support he had given both the society and cinematographers over the years.       This was followed by the presentation of the BSC Bert Easey Technical Award which went to Kommer Kleijn SBC for his achievement in implementing the 60 frame rate proposal as an addition to the International Standard for digital projection.  

 

Some fine dining was accompanied by excellent wine kindly provided by Panavision UK and a plethora of exciting raffle prizes donated by ARRI GB, Chapman Leonard, Fuji, Kodak, Panalux and Peter Macdonald and Madelyn Most. The raffle raised  £2360 for the Great Ormond Street Hospital for Sick Children and Cinema and Television Benevolent Fund.

For live recording of Douglas Slocombe BAFTA evening click on link below.
http://www.bafta.org/access-all-areas/videos/a-tribute-to-douglas-slocombe,1004,BA.html

To read Philip French`s write up of the event click link below.
http://www.guardian.co.uk/culture/2009/dec/13/douglas-slocombe-tribute-philip-frenc

On offer were a fine selection of films, shortlisted by from over 50 submissions.    The programme below was followed by a lively Question and Answer session.       

 

BARRY  (2 mins)

Director:  John Michell.  Writer: Rubert Raby.  Producer: Casey Herbert.   DoP: Faye

It`s very difficult to write a script for a 2 minute short which entertains the audience and this film certainly achieved this goal. Well photographed by FAYE, it contained live action plus some well composed animation, just enough to add script points. Some nice wide angle deep focus shots, combined with rich lush colours, made an enjoyable 120 seconds. The co star was delightful, even though he didn`t have much to say..Barry the Rabbit.

 

NETTY CARLISLE AND IRON HANDS  (12 mins)

Director: Alasdair Beckett-King.  Producer: Karen Latto.    

DoP: Tobias Dodt 

A well constructed story, reminiscent in style of Alice in Wonderland. Beautifully photographed by Tobias Dodt, the Somerset locations, both exteriors and interiors,  were well used giving a nice rich fairytale look. Good casting and clever camera angles all helped to make this a bold piece of work.

 

THE SUMMER HOUSE  (14 mins)

Director: Daisy Gili.   Producer: Anna MacDonald.  

DoP: Alex Ryle.

Filmed in France, this is the first venture by Miss Gili  to produce write and direct her own short film. Although she is joint principle of the non government funded London Film Academy,  her short was made totally independent of the LFA.   The result is a warm, dreamy piece, which captures the lazy summer afternoons and cool evenings at the French villa, for a gathering of family members.  I suppose the temptation may have been there to pace it up a bit, but she held to the story which gently unfolded. Nicely photographed by Alex Ryle.

 

 BRIXTON 85 (14.30mins)

Director: Tom Green, Producer: Purnima Ramadorai (nee Phansalkar), DoP: Vanessa Whyte.

A very different piece of work from the rest of the programme; in gritty, sometimes grainy black and white. Hard hitting story, the tale of a young black youth involved with crime focussed on a true incident which occurred during the Brixton riots.     A very clever mix of TV news footage during the riot,  a punchy soundtrack, and excellent setups in and around Brixton in South London.  Well crafted and acted. B/W photography by Vanessa Whyte and directed by Tom Green.

 

CONFESSIONS (9.50 mins)

Director: Simon Lykke.  Producer: Gabriela Latorre.   

DoP: Geoffrey Sentamu

Directed by Simon Lykke, photographed by Geoffrey Sentamu, this was a glossy piece on super 16mm. Once again, a good original script and some excellent photography, helped to make this one of the boldest shorts of the evening. Nice locations and a strong cast, also some humour as well. I should single out the sequences in the large church, beautifully lit and well balanced.

 

 

 Robin Vidgeon BSC FBKSTS

 

 

 

 

 

`Fujifilm Shorts` is open to all UK based short filmmakers, entry is free and entrants can submit as many short films as they like. There is one category with an open brief with two prizes being awarded - `Best Film` and `Best Cinematography`.

In addition to the £4,000 worth of Fujifilm film stock up for grabs there is a whole range of other prizes on offer - Technicolor is providing a `Rushes Package` including film processing, a one light transfer, sync sound and Digi-Beta deliverable. Technicolor Creative Services will also present both winners with a 35mm print of their films for this year`s awards screening.

Other prizes include: a five-day lighting hire package courtesy of Panalux; Panavision is supplying a 35mm or 16mm Camera and Dolly hire package; a `Three-Day Weekend` studio hire package from Island Studios; a year`s free subscription to both British Cinematographer Magazine and Moviescope Magazine.

The cinematographer from the winner of both sections will also win a free ticket to the Camerimage International Film Festival of the Art of Cinematography, in Poland, December 2010. The prize includes flights, accommodation and industry festival passes. The British Society of Cinematographers will welcome the two winning cinematographers to all BSC social and technical events for a period of one year.

The two winning films will be automatically entered into competition at the Born Shorts International Short Film Festival in Bornholm, Denmark and will be screened as part of the festival programme. The two winning films will also be considered for a worldwide distribution deal with Future Shorts.

All submissions must be shot, in their entirety, on Fujifilm Motion Picture film stock and must have been completed after 1 January 2008. All submissions must be less than 30 minutes long. The closing date for entries is 29 January 2010.

Submission must be made on DVD and sent with a completed entry form to Jerry Deeney, Fujifilm Shorts, 56 Poland Street, London, W1F 7NN. Entry forms can be downloaded from www.fujifilmshorts.com

The film charts the rise of Laszlo Kovacs and Vilmos Zsigmond who, having escaped from their homeland in 1956 after the Hungarian Revolution had been crushed by the Russian army, took Hollywood by storm and rose to fame with classic films like Easy Rider, Deliverance, Close Encounters of the Third Kind and The Deer Hunter. They helped pioneer the `American New Wave`, designing innovative new ways to tell stories. The film is an intimate portrait of the 50 year journey of two giants of modern film making and the deep friendship they maintained until Laszlo Kovacs death in 2007.

Nigel Walters BSC hosted the Q and A session with Director James Chressanthis ASC and Vilmos Zsigmond ASC who regaled the appreciative audience with fabulous anecdotes of these two erstwhile heroes of the revolution. Laszlo and Vilmos had risked their lives, secretly filming the brutality of the Soviet’s reprisals against Hungary’s bid for freedom.

We were eventually prised out of MPC’s excellent screening facility so that the staff could go home, but could have listened for hours.

Many thanks to MPC for providing the facilities to host this unique event.

Pictured here left to right Vilmos Zsigmond ASC, James Chressanthis ASC and Nigel Walters BSC.

The BSC Show offers the only totally dedicated event for the cinematography industry within the UK. The event has grown from strength to strength in recent years. The BSC Show provides a platform for all suppliers to the Film production community to access the most influential decision makers in the UK at the most highly competitive rates of any Exhibition globally today. No other UK event attracts this level of audience and the 2009 show reported the highest attendee numbers to date.  To be part of the UK industry`s most respected event costs from as little as £995 for a complete 9 sq.m. stand including shell scheme, carpet, power, lighting & furniture.

Exhibitors - to apply for registration pack, click here