Australian Film and Video Spring 2016

Page 1 A u s t r a l i a n F i l m & V i d e o — V o l 3 3 S p r i n g 2 0 1 6

Volume 33 SPRING 2016

We’re on the FAMM website www.famm.org.au

President’s Message

Club Link

Basically Videography

Bits & Pieces

Tech Topics

Pot Shots

Back Page

REGULAR

Video Clubs David Fuller from Canada reflects on the demise of video/movie clubs

SPLAToons Caricatures & Cartoon Wine from Beechworth Victoria

Roxy Theatre Les Tod OAM talks about the restoration & re-use of the Roxy Theatre in Parramatta

FEATURES

CODECS Neal talks about checking your Codecs

UNICA A Quick Guide

FAMM It has Never been a More Exciting Time to be a Member of FAMM

4K Ultra HD

NEWS

It has Never been a More Exciting Time to be a Member of FAMM


DISCLAIMER In regard to products, services and/or procedures which are either advertised or mentioned in this magazine, readers should determine for themselves the reliability and/or suitability of these products for their own particular requirements. Australian Film & Video cannot accept responsibility for any prod-ucts or service statement made herein and the opinions or comments by contributors are not necessarily the views of the Federation, the Executive, or the Editor. E&OE.

COPYRIGHT All articles and photographs appearing in this magazine are subject to copyright and may not be reproduced in whole or part without the author’s consent. Enquiries regarding permission should in the first instance be directed to the Editor Australian Film & Video.

CONTRIBUTORS

Technical Joe Leon - Newcastle Video Moviemakers Inc Ian Simpson - Wollongong Movie Makers Rob Farquharson - Ncle & Hunter Valley Cine Society Historical Les Tod OAM - Theatre Historian Foreign Correspondents David Fuller - Victoria Video Club - Canada Guest Contributors Jan Watterson - IAC Webmaster UK Neal Reville - Brisbane Movie Makers

FEDERATION HONOURS Honours shown throughout Australian Film & Video were awarded under FAMM and not FAMM Ltd. All care has been taken to ensure the Honours are allocated to the correct recipient. If an Honour is incorrect please let the Editor know so as a correction may be ad-dressed. FAMM Ltd recognises all recipients of FAMM Honours

FEDERATION OF AUSTRALIAN MOVIE MAKERS LIMITED

www.famm.org.au

FEDERAL EXECUTIVE

President: Rob Farquharson [email protected]

V/President: Laurie Chesterfield (02) 4965 6449

[email protected]

Secretary: Gordon Taylor (02) 4933 7359 FFAMM AFAMM SSFAMM DSFAMM [email protected]

Treasurer: Mark Owens (02) 4969 3117 [email protected]

DIVISION DIRECTORS

NEW SOUTH WALES – CENTRAL DIVISION Rob Farquharson [email protected]

NEW SOUTH WALES – SOUTHERN DIVISION Mark Tunningley [email protected]

QUEENSLAND DIVISION Ron Gregson (07) 4129 5842 [email protected]

VICTORIAN DIVISION John Stevenson SSFAMM (03) 9546 7554 [email protected] Wade Hatton DSFAMM SSFAMM 0407 824 889 [email protected]

TASMANIAN DIVISION Don Fitzpatrick [email protected]

SOUTH AUSTRALIAN DIVISION Barry Schrapel (08) 8264 1412 [email protected]

WESTERN AUSTRALIAN DIVISION Brian Brown [email protected]

FAMM WEBMASTER Ian Huish [email protected]

AUSTRALIAN FILM & VIDEO - Previous Editions

May be down loaded from the FAMM website at www.famm.org.au

Then go to Resources/Magazines drop down menu.

Australian Film & Video is produced under the patronage of the Federation of Australian Movie Makers Limited

Editor: Gary Peterson AFAMM SSFAMM

Established 1984

Australian Film & Video is read in the following countries. New Zealand, South Africa, England, Scotland, Canada & the USA


Welcome to the Spring edition of Australian Film & Video E-Magazine. Well Spring is almost upon us and the warmer weather is not far away. In this issue we

have the regular columns of Basically Videography & Pot Shots by Ian Simpson, Tech Topics by Joe Leon and Rob Farquharson’s Bits & Pieces.

There is Club Link with a coverage of clubs in Australia and overseas plus a little infor-

mation on Channel 76 - 7flix who are now transmitting in MPEG-2. Dave Fuller talks about Video Clubs and “A Change is A-Blowing”. Jan Watterson the

Webmaster of the IAC (UK) tells us about UNICA. Then we hear about SPLAToons in Beechworth Victoria where you can get a caricature

drawn if you email them a photograph. Don’t forget to mention you read about them in Australian Film & Video.

Neal Reville brings us up to date on CODECs. Why is 4K Ultra HD rumoured to fail? Home Movie Day is coming up on the 18 September, 2016. Les Tod OAM talks about a vision for the future of Parramatta NSW, and the restora-

tion and re-use of the Roxy Theatre. We have a “Show & Tell” from Wonthaggi Movie Makers Club with the Viltrox Moni-

tor. Australian Film & Video have been advised that there will not be a Widescreen Festival

in October this year. Sadly the 45th Widescreen Festival held in 2015 will be the last un-der that name.

However discussion is currently under way with another Victorian club in the hopes of

conducting a new International Festival. Australian Film & Video wishes both clubs the best in their combined endeavour.

Australian Film & Video would like to convey their sincerest condolences to Margaret

and the family of Don Hawkins of Oakleigh Movie Club and also to the family of Harold Barnes of Newcastle & Hunter Valley Cine Society.

Finally on the “Back Page” you can read about how the Internet began. Till next time. Stay in Focus. Gary.

From The Editor’s Desk - September 2016



Inside This Issue

Contributors 2

Editor’s Desk 3

President’s Message 4

Club Link 5

Home Movie Day 8

Movie Link 9

National Comp - NVM 9

Basically Videography IS 10

Video Clubs - Dave F 12

Tech Topics - Joe Leon 14

Pot Shots - Ian Simpson 16

UNICA - Jan Waterson 18

SPLAToons - Gaz 20

CODECs - Neal Reville 22

4K Ultra HD - R Bourke 25

Bits & Pieces - Rob F 26

Roxy Theatre - L Tod OAM 32

Vale - Harold Barnes 38

Vale - Don Hawkins 38

Kodak Info - Rodney B 38

Movie Club List 39

Back Page - The Internet 40

Subscribe to AF&V 37

Shoe & Tell - WMMC 38

7flix-Channel 76 Update 13


Greetings Movie Makers, FAMM Ltd’s public liability insurance is in place and a very competitive policy was accepted from AON. The only small hiccup was that The Australian Widescreen Association was recorded on the policy as The Australian Windscreen Association. This has been corrected. Since my last message, I have contacted the FAMM Ltd Directors and asked them to approach the clubs within their divisions to obtain a list of names of members who are both willing and qualified to act as judges for club competi-tions. There must be a wealth of experience and wisdom out there to be tapped. I will shortly be asking Directors to supply those names. I have been investigating the type of Vimeo account that would be suitable for FAMM Ltd’s needs and a Vimeo Pro account would seem the most appropriate and cost effective, especially since it includes support, a high level of cus-tomisation and password protection. I will be supplying Directors with the details soon and hope to get feedback about this from clubs either directly, or through the Directors. I have had some feedback about the judging criteria and scoring as specified in the FAMM Ltd By-Laws. Most of the views expressed appear to favour the simplification of the scoring. I spent time doing some research on the criteria and methodology used in other competitions (overseas and domestic, amateur and professional) and came to a couple of conclusions:

The criteria used for judging are almost all the same or similar (cinematography, sound, editing etc.)

The scoring system used is much simpler than that specified in the FAMM Ltd By-Laws.

It would seem that the scoring system should be examined with a view to making it simpler for judges and able to provide better feedback to entrants. The education system has for a number of years been moving to a “criterion ref-erenced assessment” system which is geared to provide a simple approach and meaningful feedback. I propose that we should consider this approach in our judging. I have provided an example below to illustrate this type of assessment (judging). Criterion: Cinematography

One of these could apply to each of the other criteria. The appropriate number can be circled and the numbers added to arrive at a total score from which placing's can be determined. Copies of the judging sheets can be returned to the entrants and this will provide much better feedback than in the past. An optional positive comment could also be in-cluded. Don’t worry that the system looks too complicated. Once you are familiar with the levels of achievement, you only have to circle a number and add the numbers up and it becomes very straight forward. What do you think? Any comments will be appreciated. If enough members like this system (which is the modern way to assess), then I will require assistance from Directors and members to help to formulate the “levels of achievement” for each of the judging criteria. Until next time, I wish you all good health and happy movie making. Rob Farquharson (President)

Score Level of Achievement

1 Satisfactory composition, lighting, exposure, focus and use of colour (or mono-chrome).

2 Good composition, lighting, exposure, focus and use of colour (or monochrome).

3 Very good composition, lighting, exposure, focus and use of colour (or monochrome).

4 Excellent composition including the use of lower third principles, lighting, exposure, focus and use of colour (or monochrome).

5 Outstanding composition including the use of lower third principles and an exceptional use of lighting, exposure, focus and use of colour (or monochrome) to enhance visual impact and complement the narrative.

President Rob Farquharson’s Message Federation of Australian Movie Makers Limited


Brisbane Movie Makers - Brisbane QLD Our thanks go to Peter and Neal for their fantastic presentation on Sound, covering history and many of the approaches to get the best quality sound. All illustrated by great video bites that

gave for a lively and interesting talk. Progress is continuing on Edith’s Choice under the guidance of Stewart Gordon and Col Threthaway with Joy continuing to tune the script. Shooting commenced on 19th June at Mon Komo Hotel Redcliffe. Please contact Col or Stewart if you would like to assist or just turn up and glean some of the tricks of the trade from experienced members! Source BMM Newsletter

Newcastle Video Moviemakers - Newcastle NSW It's important not to fall into a dull routine, and to keep fresh ideas coming through. From reading reports and newsletters from other similar clubs in Australia, it's clear that many are having diffi-culty maintaining membership numbers, and are slowly failing. However, in contrast, a few clubs

are doing very well. I think in practice, a healthy club is a bit of a balancing act. We must be talking about the latest technolo-gies for capturing, processing and displaying movies, or we will simply not be relevant to new members. On the other hand we have to be careful not to alienate the long term members that are the backbone of the group. Above all we have to make sure that we are an inclusive and welcoming club so that new members and visitors feel comfortable when they first attend the meetings. Source NVM Newsletter

Wollongong Camera Club Movie Makers - Wollongong NSW The meeting commenced with the screening of two movies produced by John and Ann Deven-ish. The first was shot from the gallery of a glass factory in Canberra. The movie demonstrated step by step the blowing and shaping of a glass vase. The movie was well shot and edited which

held our interest throughout. It was noted that the men working in the factory were not wearing feet protec-tion. The second movie was filmed at the Vivid Festival of Light. The spectacle was nicely captured on film which entertained the audience. Source WCCMM Newsletter

Ringwood Movie Makers - Ringwood VIC Well, half way through the year and all looking good with healthy membership numbers (around 30 last count). So we can proudly say

that we are still going strong, 60 years on. And yes the 60th anniversary was a total success. Great to see partners and members from other clubs who came along to celebrate with us. Thanks again to Joe Hastie and all that helped put the event together. I am most pleased that the Group movies are finally off the ground. It's looking like we have around 4, 5 projects now nearing completion and will be shown in the near future. Great to see our new members, Maureen and Elizabeth, going full steam with these projects. Source RMM Newsletter

SoCo News From England Editor Pip Critten writes; Is nostalgia a thing of the past? I’m part way through bringing life back into some VHS tapes shot at family gatherings going back about 40 years. I got out my

old shoulder mounted SVHS camera that had been gathering dust for quite some time. I spoke nicely to it, I threatened it, all to no avail. It refused point blank to do anything. I considered it not worth even thinking about a repair. So on to plan B. I woke up an old VHS desk top recorder player. It must have been starving because it ate the first tape I put it. Luckily a tape I put in just to check. It ate a couple more tapes. This machine was moved next to the pervious one ready for a trip to the recycling centre. On to plan C. My good friend and pro cameraman, Roger Underwood, came to the rescue and digitised the tapes and put them onto DVDs for me.


Frome Film & Video Makers - England Our new webmaster is Mike Johnson and the new web address is www.fromevideo.webs.com Once again the Frome Film and Video Makers hosted the Frome Five Minute Festival at the Catholic Hall, Frome. This year it was later because it was Easter on the weekend we normally

have it. Perhaps in the near future Easter might be fixed. There was a law passed in the 1930s to fix the date apparently so it’s still early days for a decision I suppose. Weymouth Movie Makers - England Weymouth Movie Makers held their 2016 Penny Cup Competition. They had 17 very good entries this year and all the films were spoken highly of by the judges.

Bristol Film & Video Society - England On April 7th the theatre at Bristol's Create Centre was full for an event organised by Allie Dillon, an archivist at

the Bristol Record Office. Two new BFVS films had their first showing to a large public audience. The auditorium was packed to capacity and more people had to be turned away for the screening of the Bristol themed documentaries. “Bristol Through a Lens” is a compilation of club archive of the city whilst “Bristol Revisited” weaves footage taken from a recently restored club film made about Bristol and its industries in 1956 with various aspects of the city as it is today.

Tiverton Camcorder Club - England After a period of relative inactivity, Tiverton Camcorder Club has

achieved several successes in recent months. In November 2015 eight club members teamed up to film two dramatic Hatherleigh Tar Barrel Pulls at Hatherleigh Carnival, and films of these Pulls have since been published and shown. More recently, Roger Gunn was “Highly Commended” in Weymouth’s Penny Cup for his film about the Granite Railway on Dartmoor. Roger himself took a lead role, acting as “reporter” in a film that starred Tiverton farmer Mark Blake on screen as the narrator. The movie was filmed in and around Haytor Quarry on the moor where granite was extracted for several decades in the 1800s (it was even used for the old London Bridge). Because iron rails were too expensive, local granite was used to build the railway tracks needed to transport blocks to the Teign river and thence the world. This unique railway system can still be seen across the landscape around Haytor.

Teign Film Makers Club - England The first meeting in March, hosted by Peter Hiner, was filled with video productions of all types. The club is now into its competition season and first to appear on the screen were entries for the “four minute competition”. As the name implies, entries have to be of approximately four minutes duration. There were seven entries on a range of subjects. The films are judged by the audience on

the night and it is customary to announce only the top three results. Newly introduced this year was the “best drama” category for “story” films, as opposed to non-story or documentary style videos. Gloucester Film Makers - England The 49th Annual Gloucester Inter-Club Competition was held in St. George's Church Centre, Brockworth on 19th March at 2 30pm. Clubs from Bristol, Tewkesbury, Stonehouse and Stroud, Cheltenham, Glouces-ter and Worcester were represented and 11 films were shown. The host club was Bristol who, as well as running the event, won The Ray Toleman Trophy with their film Requiem for Caffeine. This was a well directed, acted and scripted film. It told the story of a group of ladies who met weekly in a support group trying hard to overcome their addiction to tea drinking. This film also won The Vale Trophy for best sound. Incidentally Bristol won the best film in 2015. Will it be 3 in a row next year?


Make Movies - Make Friends

Isle of Wight Video Camera Club - United Kingdom Looking around me at the weathered faces filled with lines of wisdom, it seemed as though some had been in our video club for decades … so what didn’t they know about film making? As one ages, life teaches us moderation and patience and that was indeed a blessing, for I was about to open my mouth and I didn’t quite know what was going to come out of it. The history of the Isle of Wight Video Camera Club, was a patchwork of great works in the past, to small 10-minute films in the present … and it seemed to be the right time for a step-change. A documentary was already planned and we all know that good sound is es-sential in any film if it is to make the grade, so it was decided to achieve just that, but recording sound separately was now quite rare.

Stonehouse & Stroud Video Unit - England We actively progress I’m pleased to report, especially with Young People…. As they “grow older” however there’s always the tendency for some to become involved in other interests, some very “age

old” I add! I can vividly remember myself in my teens! Of course that’s another story not publishable in the pages of such a widely circulating publication such as this! However, having no loss of memory does help very much to un-derstand the changing motivations of young people, prepare for them and to communicate on an equal footing with them. Something I really enjoy, often great fun.

Reading Film & Video Makers - England Pleased to announce that our Chair Karen Cripps was re-elected at the AGM and agreed

to run for a 4th year. Laurie Joyce has agreed to once more run the popular "6 weeks Introduction to Film Making Course" which has been very successful in increasing our membership at the start of each of the last 5 seasons. So, the publicity to promote the course will begin in earnest now. This will be a NO budget marketing plan using our website, Facebook, Meetup.com, and Twitter. Last season, one new member, Nichola Priestly, brought Graphic Art skills to the club and had design this excellent poster to promote our upcoming course. Judging by past results, around 15-20 will typically sign up with a mix of ages, and ex-perience. Let's hope so! Source the above reports from England were taken from SoCo Newsletter

Newcastle & Hunter Valley Cine Society - Newcastle NSW Our May meeting began with a half hour presentation by member Noel Kidd, including the screening of a documentary.

This was followed by the screening in this year’s “Theme Competition”. The awards were: Equal First - Neville Coulton “A Boy From Maitland & the 1914 – 1918 War” Equal First - David Waters “Billshock” Third - Russell Davies “Reaction of Water on Landscapes and on the Environment” The June meeting consisted of our AGM in which all of the previous appointees were reappointed for an-other year and a new member, Paul Embleton, was appointed as projectionist. The rest of the meeting con-sisted of a show reel of some movies from WCCMM. At our July meeting, entries in the “Open Competition” were screened. The awards were: First - Neville Coulton “We Will Remember” Second - Robert Farquharson “Introduction to the FAMM Convention” Third - David Waters “Stranded”


HOME MOVIE DAY & 16x16 Deadline Friday September 16th 2016

CALL FOR ENTERIES

DVD& Bluray can be sent in NTSC or PAL, but must originate from 16mm transfer. ( any original 16mm Films must be registered by Post, to avoid being lost). NO ENTRY CHARGE, but if you want your Disc or Films returned then you must send stamps or International Postal Coupons for Return Postage. Entries not returned will be put into the Moving Image Coalition Archives. 16 x 16 c/o MIC, P.O. Box 92, Glenroy, Melbourne, VIC, 3046. AUSTRALIA. Entry Forms seehttp://www.innersense.com.au/mic/festivals.html

SUNDAY September 18th 2016 16 X 16 WORKSHOP “PROCESSING 16mm Kodachrome Movie Film” and Black & White 16mm.

Afternoon Session 3pm to 5.30pm The Workshop will include information about types of Movie Cameras available, how to use your camera, covering technical subjects like Animation, slow motion, different film stocks available, and Lighting tech-niques. This Workshop will include all students using a 16mm camera, which is provided on the day. Then Hand Processing, into Black & White . The Experimental results will then be screened. Students are en-couraged to bring their own 16mm camera and Exposed 16 K40 or B/W Film to be processed. All involved will receive a DVD copy of their films made on the day. HOME MOVIE DAY & 16 X 16 FILM SCREENING

Evening Session 5.30pm to 7pm Presentation on 16mm filmmaking and home movie preservation, and screenings of short 16mm Films sub-mitted by Filmmakers from Australia, America and Europe. Location Craigieburn, Melbourne, VIC, Moving Image Coalition, Mob/SMS 043 803 6718 Ph 03 9306 1842 [email protected] Also Same Day as Australian Photographic Collectors Society Market. (9am to1pm) Box Town Hall, Box Hill, Melbourne, VIC. www.apcsociety.com.au

Sunday 18 September 2016


Welcome to MOVIE LINK. This column will carry Links to Club Movie Sites whether it be on their own Club Website or YouTube etc where you will be able to view the latest production which has been unloaded to the site.

MOVIE LINK

Wollongong Camera Club Movie Makers www.wollongongcameraclub.com/video-catalogue Click on the link & that will take you to the Video Catalogue then choose the video you wish to view & click on that title Brisbane Movie Makers www.bmm.org.au Southwest Video Club www.youtube.com/user/SouthwestVideoClub Ringwood Movie Makers http://www.ringwoodvideo.org.au/ Then click on Movie Page make a selection

Tasmanian Movie Makers http://tassiemoviemakers.wordpress.com/ Milton Ulladulla Videographers Club http://www.muvc.org.au/news.html Gold Coast Video Camera Club http://www.gcvcc.com/ Then click on “Watch Sample Video” Victoria Video Club - Canada http://victoriavideoclub.tripod.com/id92.html Edinburgh Cine & Video Society - Scotland http://www.ecvs.co.uk/ Then click on “Showcase”

Newcastle Video Moviemakers Inc Present

2017 NEWCASTLE NATIONAL

VIDEO FESTIVAL

Check out the NVM Website for entry forms and more information at:

www.nvm.org.au

CLOSING DATE: 7 September 2017


BASICALLY VIDEOGRAPHY

by Ian Simpson

We all, at times, like to make bold statements. Perhaps it is an expression of our hopes, perhaps it is a motivator for change and perhaps it is just pompous words. Our PM forever will be remembered for his first few words in office when he made the statement that, “it never has been a more exciting time to be an Australian”. This was both an expression of hope and a motivator for us to get our country to engage in all that is required to produce a prosper-ous, decent and fair society for the many decades to come. I see a similar need to express these sentiments in re-gard to the future of FAMM. A future that will only be exciting if we welcome change; it will only be prosperous if we each become implementers of that change. Although the structure of FAMM has not fundamentally changed since the days of its forma-tion in the cine era of movie making, it has successfully absorbed the technological changes from film to video tape to digital files. Also club newsletters moved from paper editions within the club to electronic files that are web based and accessible by all. Even this very magazine you are reading has not only world-wide contributors, but a world-wide readership. Something our editor could only have dreamed of back in the cine days. So FAMM to some degree has embraced change over the years, but with the ever increasing pace of change and more and more developments in technology, now is the time for FAMM to embrace more change. Changes that will fundamentally alter it; changes that may be initially hard to accept or even difficult to implement. What are these changes you ask? If you ask each club member then you will end up with a multitude of suggestions for change. So perhaps a better way than just brainstorming change for FAMM is to use another trick of business consultants. Why not ask ourselves what should FAMM look like in the year 2020. I asked myself this question and have put down some of my thoughts, not for egotistical reasons nor for thinking I have some predictive ability to see the future, but as a means of getting all the readers of this magazine to not only start thinking about needed changes but to actually draw up plans for their implementation. Imagine FAMM in 2020 As FAMM is a body where the “members” are the individual clubs not the individual members of these clubs, then anything that is done should relate to the member clubs. Hence any activity or action has to be at the club level. The well known example of this is the biennial convention. The aim of any change in FAMM should be to ensure its purpose and traditions are not lost in the change. Whilst the purpose of any change should be to fully integrate FAMM into the technological and social revolutions of the 21st century. So what is my image of FAMM in 2020? The Biennial Convention The tradition of the biennial convention would continue as a physical get together of members of the affiliated clubs, at least for the present. However, with increasing developments in fast broadband, these conventions would transmute to virtual conventions. A member club would still be charged with organising the event but now it would be an internet affair. Here speakers could appear on the programme from anywhere in the world. The Five Best Videos would be viewed and judged on the FAMM site, (say) Vimeo. There would be no more costly convention fees, members of each club could convene locally with a large screen and Skype-like confer-ence facilities. Business matters could also be conducted in this manner. Six Monthly Video Challenges In the period between the biennial conventions, all of the clubs in FAMM would participate in a six monthly video challenge. Each club, in alphabetical order, would be charged with both the nomination of the topic for the video challenge and for organising judges. A video from each club would be uploaded to the FAMM site and the arranged judges would assess each video and report the results on the FAMM site. Then for the next six month challenge, the next club alpha-betically would decide on a topic and organise the internet judging, and so on. The technology is available now to set up national or even international competitions on the internet using (say) Vimeo. Potential judges would be nominated from each club to form a pool from which a few would be chosen to judge each video challenge. The judges would be sent links to the videos to assess, either as a competition or just as a critique.

“It has Never been a More Exciting Time to be a Member of FAMM”


Interactive communications In regard to communications between clubs, FAMM would have an interactive social media page that allows club officials from each club to communicate with each other with an immediacy similar to that of Facebook. The site would provide notifications to relevant club officials when new information is uploaded to the site and club of-ficials, in return, in a blog type atmosphere, can discuss both business and general interest items with other club officials. The FAMM interactive site would have other benefits in that, for example, it would allow a club which had a good speaker to share that presentation with other clubs. A video of the presentation would be uploaded to the club website with the notification of that link sent to both the FAMM and clubs’ websites. Similarly after every club competition, the club would post links to the winning videos, with notifications automatically sent to the other club sites. Thus all club members can see the standard be-ing achieved by members of that club and this may inspire the members of other clubs to improve. The important point is that when general information and links are up-loaded to the FAMM website they will trigger automatic notifications to all the member clubs’ websites. Each club would have their own individual interactive social media site which would allow the club members to communicate with each other. It would be the platform for informing of club events, it would display a club newslet-ter and would allow members to discuss the latest equipment, movies, progress in the current club movie production and seek help from other members to solve technical and artistic problems. The individual club site would also in-clude an interactive archive of members’ videos. Further when each new post is put on the club website automatic notifications would be given to all members so they can be continuously informed and kept up to date. Interactive Library and Archives The same interactive FAMM website would also be the source of the FAMM library of media to help clubs and members improve their movie making skills by storing and lending tutorials to clubs. If for copyright reasons these were one use only material, then the system would only allow one club at a time to access the tutorials. The FAMM site would also include a catalogue of all Five Best winning entries which any club member could ac-cess via an online link. The catalogue would be listed both alphabetically by title and also ranked by year so that members could readily find the wanted movie to view. How the FAMM of the 21st Century is Organised In this it is “back to the future”. FAMM is run by a club for a two year period, convention to convention, and then the responsibility is passed onto the next club. This rotation process could be geographically based, as of old, or al-phabetically by club name. The virtual convention could also be a “back to the future” event, being organized over the Easter break to enable working members to participative or it could be over a three day long weekend. What will the new FAMM look like? It will appear to the internet browser as an active, interconnected, dynamic organization participating in all current technology. Just the site that a newbie to movie making would like to join and learn how to get the best from this media of movie making. The public image of the FAMM site would contain just enough information and sample vid-eos to encourage the newbie, whilst the rest of the site would be restricted to the member clubs and their members. Importantly the site would be regularly updated with information and videos so that the cautious, casual browser will see it as a dynamic site and hence encourage them to join a local club.

If all of this seems too Science Fiction, the software to achieve these aims already exists and is being successfully used. The only weak link in the chain is universal high speed broadband. We have to wait on the Federal Govern-ment’s implementation plan for that! So (to modify a few lines of a poem by Henry Lawson):

Let us raise our glasses and drink to future days, When videos of wondrous beauty set all the Clubs ablaze, And yours and mine are active Clubs, all through these future years.


The Winds of Change have been blowing, heralding, sadly the demise of once-active amateur video clubs where their members happily made movies, entered contests, attended "Conventions" and welcomed into their folds new faces as older members retired form "active duty". Somehow, a number of once thriving clubs have found themselves with membership so diminished that they could no longer attract new mem-bers - so much so, that some clubs have just had "to call it quits". A Warning Sign: If a Club no longer is making movies, it will almost surely "fade to black." Add in an-other factor; an "aging membership". Making Club productions just takes stamina that many old-timers no longer possess. Where are the young movie-makers to fill the ranks ? The life-blood of the Club lies in having fun and camaraderie making movies. The "exercise" creates "Club Glue", providing that energetic impetus that regenerates vitality. The Big Change: There's a kind of seismic shift in the composition of what I call the "revival brand" of Video Club. It's happening emphatically right before our eyes. The "new" dimension relates particularly to the younger age of the members. Don't get me wrong there are Clubs that have been around for a long time and are still making movies. Survivor clubs are better able to attract new younger members if they're still churning out new movies and they've kept up to date with technology. Youngsters probably find that up-grading into new technology is easier for them as they've grown up with electronics in home, school and work. Costs of equipment for their uses is available to match young people's wallets. And larger items, like a crane, can be acquired through pooling members contributions. Finding a couple of dedicated members who are willing to learn through experience, and who are willing and able to set up and juggle the large "beast", (the crane), must be considered. That Reserve of Energy: Moreover, it is this younger age-group that can still hack the hectic and sus-tained pace of a "week-end Shoot", for example, as us oldies could once more readily do, way-back. On location, right after work or school, Friday night, all day Saturday and Sunday ending in a humungous packing up chore - for example. Meals on the run. Replenish stores of energy when you get home. School or work on Monday. The youngsters' reserve of energy is more rapidly restored. But for us retirees, a few early nights to bed follows the weekend orgy. The New Brand: This "new brand" of Club isn't really totally new. In every English-speaking country that I know there are organisations that have worked outside of the traditional amateur status which is depend-ent on a mantra of, for example, "no financial gain allowed" for making movies for any purpose. And, there is practically no market for "Shots", however well-made, within regular TV. These sharp-shooters build portfolios for presenting to potential employers "in the business." In our city of about 100,000 people, one newly created Club has its membership formed largely of "young cats", some still in secondary schools. Although many of these "start ups" began producing what initially looked like "amateurish" stuff, their sights are now set on building skills needed for entry into a profes-sional field. I've noted that, without exception, their movies show mastery over many of the required tech-nical skills and all of the sub-groups have nuclei of small teams. There's a lot of sharing of talents and at any one time, several groups making several movies. The big thing that I see in their movies is an attempt at bringing a "freshness" to the themes they choose.


I've viewed a significantly large sample of these youngsters' finished products made by local Clubs. True, they often focus on what interests their age group. And some of their "stuff" comes over as "old hat". We can't put old heads on young shoulders. But, a BIG but I note over the past five years, here in my home town, there has been a maturing and re-focussing that recognizes and reflects an understanding of their new and emerging experiences of growing up. Teachers of Humanities in High Schools recognise that their courses reflect this observation. That's what much of the Humanities is about. Granted there's little that is completely "new" in the world of the Fine Arts. Themes and points-of-view are still being re-worked. Although the human environment changes over the centuries, what drives the human endeavour remains strikingly timeless. Often the freshness and impact and film-making skills brought to a youngster's production earns him credit. "Same old, same old", true, but in new clothing. Our fair city of some 100,000 citizens now boasts of two active and productive Video Clubs. Where Are We Now? What has struck me after viewing these young cats' movies, the one outstanding quality that the youngsters exhibit, shows an enviable command over presenting a structured, seldom flawed end-product. As an "old moviemaker", I mightn't place a great value on the content of their Movies, but I'm im-pressed with skills of how well they do what they do. Some of them aren't shy of expressing their plans to find a way to belong to a professional movie-making or-ganisation. Nothing wrong with a "dream". And I note that our local youngsters' clubs aren't shy, either, about seeking funds and grants to produce more ambitious movies. If they can't afford the fees for using professional copyrighted music, for example, they've found quite respect-able local music talent within their clubs to fill their needs. And I've noted at one of the general meetings, that at any one time, a visitor can observe several movie-making projects under production simultaneously . Festival of Celebration: In our fair city, once a year judges select the best movies entered in a local competi-tion open to international competition. The local University theatre attracts audiences to view selections of award-winning entries. That this competition is able to attract international entries attests to the calibre of the movies submitted. Filling the theatre's seating for three nights, speaks for itself, granted that a proportion of the audience is people of the same age-groups as the movie-makers. I would be surprised if this phenomenon isn't observable in your home town. I leave you, dear readers, to look inside the bastions of your own clubs. My observation is that if your club is still actively making Club oriented or Lone Ranger movies, and generating "Club Glue", and modestly winning just the occasional award, your ship shouldn't sink. How to make this happy outcome happen, is as it always was; keep making movies - specially ones requiring a team effort. Make Movies.

In the Autumn 2016 #31 edition of Australian Film & Video we spoke about the “TV Channel Dilemma” with regard to the issue of not receiving vision from 7flix, channel 76 on some televisions because the signal was being transmitted in the MPEG-4 format. Well all is not lost, because on 3 June 2016, 7flix became available to more televisions as the channel switched to the MPEG-2 format.

Which means if you were unable to receive the transmission before, then you should be able to receive it now.


© Tech Topics with Joe Leon - Spring 2016 All Registered Names, Trademarks, Logos and Images appearing in this

article are subject of Copyright to their respective Copyright owners.

Note: All Images have been enhanced for clarity. Quick Launch Toolbar for Windows 7/8/8.1/10 ... Go to the Microsoft site shown below for more in-formation on how to enable Quick Launch. https://support.microsoft.com/en-us/kb/975784 %AppData%\Microsoft\Internet Explorer\Quick Launch Right-Click on the Task Bar and select New tool-bar. Next enter the information as shown above as shown in the example below. When next you Right-Click on the Task Bar you’ll see that the Quick Launch Toolbar has been en-abled. If you Click on it, then it will be disabled and to Restore it the procedure above will have to be repeated to get it back. If you have a lot of Program Icons on the Desktop, then Quick Launch is ideal to move them to Quick Launch as shown in the images at right and at bot-tom right. The image at right shows Program items as entered and bottom right image shows the items sorted according to my preferences. Quick Launch is basically a Menu for your Programs.

To Sort Program items simply drag them and place them in the desired order that suits you. It then takes only 2 Clicks to Run any Program.

Click on the Quick Launch Icon shown at left and when the Menu opens, Click on the se-lected Program item that you want to Run.

Once the Program items have been added to Quick Launch, the corresponding Program Icons on the Desktop can be deleted which leads to a much tidier and cleaner Desktop. Summary: The Quick Launch Toolbar is located on the Taskbar and is a convenient way to open programs. You can Add or Remove Program

Icons on the Quick Launch Toolbar so that you have easy access to the Pro-grams that you fre-quently use.

Adding a Program to the Quick Launch Toolbar… Click the Icon of the program you want to Add (you can find most Program Icons on the Start Menu or the Desktop), and then Drag it to the Quick Launch Toolbar whose image is shown at left. The Quick Launch Tool-bar works just as well on Windows 7 / 8 / 10. Use the same procedure to Install Quick Launch Toolbar on all versions of Windows as men-tioned above.

JPL


© Tech Topics with Joe Leon - Spring 2016 All Registered Names, Trademarks, Logos and Images appearing in this

article are subject of Copyright to their respective Copyright owners.

The image below shows the Most Visited tab and is fairly self explanatory. It also shows a popup window with available options. It’s like a history of your most visited sites.

Right Clicking on the Bookmarks Toolbar as shown in the image below right it’s dead easy to create New Folders for the Toolbar and then Renaming them as required. Once done then it’s a simple matter to just drag and drop the site Icon like the Video Ezy Icon to the Cinemas Folder as shown below in which all the items in it have been renamed while in the News Folder the items have not been Renamed and it’s up to the user to decide to Rename or Not. To Rename a Folder or Item, Right Click on it, se-lect Properties and Rename it in the popup win-dow. The 1-3 popup windows are shown for clarity only and only one is available at any one time.

JPL

Mozilla Firefox Internet Browser ... There are many versions of Internet Browsers available including Microsoft’s Internet Explorer and Edge Browser. Non Microsoft Internet Browsers are available from other providers like: Mozilla Firefox, Google Chrome, Opera, Apple Safari just to name a few. The reason I chose Mozilla Firefox is that accord-ing to the Internet it’s the top Internet Browser available and it’s fairly easy to configure and all are free of charge. Mozilla Home Page: https://support.mozilla.org/en-US/ Right Click on an empty area as shown in the im-

age above by the red Asterisk ( * ) and you will be given an option to Enable or Disable the Menu Bar and/or Bookmarks Toolbar. Other options in Cus-tomize options are available as Additional Tools and Features.


By Ian Simpson

Fujifilm starts to take video seriously Fujifilm make mirrorless cameras that take sharp and colourful still images but poor high definition video. For a while this was not an impediment, but now all its competitors are producing similar styled cameras that can shoot extraordi-nary good video. So finally Fujifilm had to follow suit and it has done this with a vengeance in its new camera the X-T2. With an APS-C sensor containing 24.3MP, the X-T2 can shoot 4K resolution video, providing any shot is not longer than 10 minutes. If you want to shoot longer scenes, up to 30 minutes, you have to purchase the optional battery grip (very odd?) The other weakness of Fujifilm previous cameras was the slowness of their auto focus system. Effectively you had to shoot in manual focus mode when capturing video. The X-T2 claims to have a better more reactive focus system with its larger num-ber of focus points and the use of a hybrid system. We need to await independent tests to see if the X-T2 can deliver successfully sharp video footage. Corsair’s Very Fast SSDs Corsair’s new Neutron Series XTi solid state drives offer all that the videomaker could ever wish for. They are designed for consistent fast performance so as to handle all the high data rates from 4K video. To achieve high read and write speeds, the XTi uses a dedicated quad-core controller. But it is not only fast it is energy efficient too. Corsair claims a power consumption that is 95% less than a standard hard disc drive. Unfortunately this speed and capacity does not come cheap. It is estimated that the 1.92 TB drive will cost about $1200. Panavision’s 8K Camera In the professional cinema field, one of the most exciting and spectacular devel-opments of 2016 is the release by Panavision of its 8K capable video camera. Panavision, famous in the cine days for their professional cameras, has joined forces with the companies, Light Iron and RED, to produce the Panavision Mil-lennium DXL camera which they claim is “the most advanced digital camera ever made. It’s a super computer with modular accessories and superior RED electron-ics.” Light Iron’s input was for a colourist to design the colour science of the camera. Though capable of 8K recording, at present these files would be sent to the archives, whilst 4K and 2K files are used for broadcast requirements. If this sounds a bit too futuristic for us amateurs, be aware that Panasonic is already planning 8K cameras for the domestic market. NVIDIA introduces the GTX 1060 Video Card Once upon a time, not so long ago, computers were simple tools; the processor did all the work and the video card just had to image simple screens of words, numbers and generally still images. Back then you worried about the processor’s speed and whether your hard disc could keep up. Now with complex games and video editing, the processor needs a bit of help to get the tasks down. Now the video card comes to the rescue with additional processing power and additional memory. To make a faster video card Nvidia had to reduce the size of the transis-tors from 28nm to 16nm. Once this was achieved they were then able to pack more transistors onto the same card size and importantly the video card uses less power and hence does not run as hot as the older models. Da Vinci Resolve 12.5 Those with modern fast processors and video cards, the new, free to download, Da Vinci Resolve 12.5 Lite editing software is worth a try. It now recognises more file types than before so you may like it.


8K video has arrived and it is RED Way back in the early 1960s I was amazed and transfixed by the big screen sharpness of 70 mm film as presented in the movie, Lawrence of Arabia. With the coming of the digital era, one of the goals of video was to reach the resolution of film. It has taken many decades but now we have exceeded the resolution of 35mm film and are well on the way to meet that of 70mm film. Just recently RED announced its new 8K Super 35 sensor given the name “Helium”. The consequences of going to higher and higher resolutions starts with the lens and goes all the way to data storage. Higher resolutions require better and better lenses; a larger chip so that all those pixels are reasonably sensitive to light; a faster computer processor to handle all the data in real time and finally a large enough and fast enough storage medium. In an interview with Red Shark News, Phil Holland, an expert on RED equipment commented, “For me the RED Dragon and Helium sensor technologies are about giving filmmakers choices. RED has come through with their prom-ise in creating a digital film alternative.” Sony sells Vegas Pro to Magix Sony has sold its suite of media products; Vegas, Movie Stu-dio, Sound Forge and Acid to the German software company Magix Software GmbH. Perhaps, in hindsight, this move by Sony was predictable as it had shown a growing lack of inter-est in these products. Also Sony has “a new kid on the block”, namely the Catalyst suite of software. Magix say they will continue to develop Vegas. Magix is the market leader in multimedia software in Germany and other prominent European markets. Samsung’s UFS Cards are faster than a speeding MicroSD Card The Universal Flash Storage 1.0 Card Extension (UFS) is not only faster than the fastest microSD card but comes in large capacities; 32GB, 64GB, 128GB and 256GB. Samsung says the speed of their UFS cards are comparable to some SSDs. As electronic devices such as smartphones demand faster and faster speeds in data handling then UFS cards may become more and more in demand. After all 4K video on a phone demands speed and how about downloading a full HD movie in 10 seconds to your smartphone. Panasonic’s 4K Blu-ray player available in Europe The popularity of 4K video has been growing slowly and now almost every new camera is released with that capability. So you can shoot 4K and you can show 4K on a TV screen and now you can play 4K discs. The Panasonic UB900 model plays 4K/UHD high dynamic range discs. Also the Panasonic will play files from external hard drives and will play high resolution audio files. Like all entry products its price is as high as its performance. Digital Bolex to End? The internet site, Red Shark News, reported that Digital Bolex was to stop produc-tion of their innovative, cloud funded cameras. This is the camera that brought back the “pistol grip” of the Super 8 cameras of the cine era. Also, like the cam-eras of old, you pull the trigger to start and hold it in whilst videoing and then re-lease it when you want to stop. Much smoother than press on and press off.

By Ian Simpson


UNICA is an international organisation whose aim is to promote friendship between nations through film. It is 78 years old. At present there are around 30 members, consisting of organisations representing amateur film makers in a specific country. The IAC is a member. Each year there is a week-long UNICA Festival where the member organisations present a programme of films in friendly competition. An international jury discusses the films in public, and then awards medals. The Festival takes place in a different country each year and are organised by a team from the host country. In addition to the film shows and jury discussions, the hosts organise outings to local places of interest or cultural events. Any film enthusiast can attend a UNICA festival. The languages of UNICA are French, German and Eng-lish and the official programmes, speeches, discussions are translated into all three languages. The rest of the time, the visitors communicate with each other in whatever language works - frequently English. You are likely to find familiar faces from the IAC there, as well as lots of English speakers from other lands, so you will definitely be able to find someone to talk to even if you can only speak English. UNICA 2016 This year the UNICA Festival is in Suceava in Eastern Romania from Fri 19th to Fri 26th August. It prom-ises to be a special event. Suceava, a city of around 100,000 people dates back to the 1300s. It has a 14th century fortress, several medieval churches and interesting museums. The festival organisers have planned one full day and one half day excursion. These are opportunities to see some of the beautiful countryside of the region, known as Bucovina. Bucovina is also famous for its painted monasteries. How to Take Part Everything you need to know is on the Festival website: www.unica2016.ro. (Click on the Union Jack image top right if it does not display in English.)

A Quick Guide To


You Need To 1) Book your Flights (This is ex the UK) Until recently there were two options: fly to Suceava via Bucharest or fly direct to Iasi airport which is about 170km away from Suceava. As you will see on the Festival website there are not many scheduled flights into Suceava from Bucharest, but the organisers have persuaded TAROM to put on an extra flight from Bucharest to Suceava on Fri 26th Aug and a return flight to Bucharest on Sat 27th Aug. Wizz Air has just announced direct flights from Luton airport to and from Suceava beginning in August. There are direct flights to Iasi from many places in Europe. If you travel to Suceava airport, the Festival will provide free transport into the city. From Iasi, the organisers can arrange a bus transfer at a cost of 25 Euros. 2) Book your Hotel The Festival website lists a range of hotels with information on prices, distance from the Festival venue and how to book. Prices include breakfast. Be sure to mention the UNICA Festival when you book. You may find it easier to phone the hotel you choose to make the initial contact. 3) Register with the Organisers Follow the menu item "Registration" on the Festival website to download the registration form. The "Congress Map" referred to is actually a ticket to attend the events that have a charge attached. The film shows themselves are free. The chargeable events are listed on the form so that you can pick and choose but these are the heart of the social side of UNICA. If you can afford it, it is definitely worth paying for the lot. The ticket for all events costs 200 Euros, rising to 220 Euros after 1st July. (This "early bird" price is to encourage early registration.) Be sure to send your completed form to the email addresses listed and let them know how and when you will arrive and depart.

Questions Send an email to me, the IAC webmaster, at [email protected] and I will do my best to help. I hope to see you there. Jan Watterson

Source: Jan’s article first appeared in the SoCo Newsletter UK

The UNICA Medal


ADRIAN "OZ" OSBORNE has been working as a caricaturist at functions and events since 1992, during which time he has drawn over 38,000 portraits at private, corporate and government events, nationally. Each caricature takes around 2 minutes (based on A4 size, B&W art), not only delivering a high quality of work, but value for money. Stationery can be arranged to individualise your function or promote information about your product in an innovative way - framed on a wall or stuck on a fridge, you couldn't ask for a better form of promotion. Using the latest audio-visual equipment, SPLAToons can enhance your display by projecting the artwork onto a screen or a wall as it's being drawn, or broadcasting it LIVE on the Internet. This guarantees the attention of an audience, and that means effective promotion of your product or event. Other services include cartoons and caricatures for print, from in-house publications to the Internet, that will help you stand out from the crowd. So surprise friend or foe, with a caricature for that special occasion, or immortalise your family or staff with a group portrait, from SPLAToons - Cartoons & Caricatures. A Caricaturist at your next Event? Each cartoon takes under 2 minutes, ie around 25-30 drawings per hour. Stationery can be arranged with your company logo and promotional details, to remind your guests of that special occasion. All prices in-clude the design and production of A4 colour stationery and plastic pockets for the finished artwork.. Cartooning Workshops Adrian "OZ" Osborne delivers cartooning workshops with an emphasis on the importance of developing personal communication skills, while his colourful and lively delivery caters for a spectrum of age groups and abilities. His presentation is designed to demystify drawing by demonstrating cartooning and caricature with a com-bination of live cartooning demonstrations and storytelling that will inspire new ideas and ignite confi-dence, while encouraging students to step outside their comfort zone, and expand their own drawing talent (even those who claim they "can only draw stick figures"!) At the completion of the cartooning workshops, the students are invited to share their artwork with the group – thereby encouraging pride in their own work and respect for work of others. Ultimately Osborne’s workshops demonstrate the importance of rediscovering the confidence and strength that comes from doing what you love, and that one of the most powerful tools in your life could be the pen in your hand.

Send us a picture of yourself, client, friend or foe and become immortalised on your own bottle of wine, by Australia’s #1 Liquor-Licensed cartoonist! Visit www.cartoonwine.com for details


HAVE YOUR CARTOON DRAWN BY EMAIL OR MOBILE PHONE! So you can't get to the studio? Email your photos to [email protected], or MMS or Videocall them from your mobile to 0413 311 744, and we can return your artwork by post or email! A LIQUOR LICENSED CARTOON STUDIO! Send us a picture or yourself, friend or foe and become immortalised in caricature on your own bottle of wine, by Australia's only Liquor-Licensed cartoonist! Amaze your clients, friends and loved ones with your personal greeting on a bottle of quality Australian wine - available in red, white or port. With the event name, your company logo and contact details on the label, it's the ideal gift for that special client or fundraiser for your club or group. Got your own wine? We can provide the labels. So if you are ever in Beechworth Victoria make sure you play a visit to Adrian’s SPLAToons Studio at; 62 High Street Beechworth.

DRAWING CROWDS SINCE 1992

AUSTRALIA WIDE

BOOKINGS & ENQUIRIES: Phone 0413 311 744

or email [email protected] (Tell them you read about SPLAToons in AF&V)

A caricature of the Editor by Adrian.


In fact, do you know what a codec is? No, it’s not related to ingrown toenails, a codec is a CODER/DECODER. If there’s no word, invent one! And it’s an important subject and becoming more so. The whole subject can be quite complex, not to mention confusing, but for anyone who has pretensions of being more than a baby-on-the-lawn movie maker, some acquaintance with these critters is essential. So, this little item aims to be a non-complex, non-confusing bit of a look at something that does not get a lot of attention around average dinner tables. Let’s start at the beginning — Your camera Your camera, as you probably know, is really a camcorder. A camera — recorder. They are really two separate bits, so let’s consider them that way. The camera bit takes in light, converts it to an electrical sig-nal, then passes it (through some processing) to the recorder. Now we are in trouble. Where do we put it all? Our poor camera manufacturer has a dilemma. There is just so much data! The camera has to be small and light, and has to record for hours on something cheap like an SDHC card that can be purchased in up-per Slurpobia. What to do? Heh! Heh! Throw most of the data away, of course. If you happened to be co-conspirators from Panasonic/Sony some years ago, you would gather around a pot of Saki and dream up a new recording format. What they came up with, similar to others before them, was AVCHD (Advanced Video Codec High Definition). This format is flavour of the month, so we will consider this one. It is part of the H264 group and is a long GOP format. That's a Long Group of Pictures. Basically, it relies on the fact that not everything in every frame of video is new. Take a look at this pic. If the person were walking, what would differ over the length of a shot? Probably only the per-son’s movement. The sky, paddock, trees would likely be still— they would not change. So, our compressor takes a group of (typically) 16 video frames. The first one records a complete frame, another frame predicts what will be in that next frame (tricky!) and the other 14 frames record only the changes and dis-card everything else. Two of these GOPs account for over a second of video. That’s compression! I have seen estimates where around 70% of the video information is dis-carded. The whole story is rather more complex, but that’s all you need to know. It sets the scene for the main part of the story. One more vital fact— AVCHD and similar codecs are designed for storage (yeah!) and deliv-ery. This appears to be based on some Sony figures I once saw that stated that only 2% of video camera users ever edit their material — they simply plug it into their TV to watch. For this, the codec does a very, very good job. But the world is changing and the capture codecs don’t fit it very well. AVCHD, for example, is not a good codec for editing. In the first place, you need a pretty fast computer as all that compressed data needs to be decoded on the fly as you shuffle things around, or you get jittery pictures or worse. But there is more … A typical AVCHD recording could be around 15 Mbits a second, but could be lower. My Pana AF-100 re-cords (yes, AVCHD), up to 35 Mbit/s. This is an unusual “high quality” variant but is the best I can get. The higher the bit-rate, the more detail can be captured in the picture. Now remember, the picture we get is

By Neal Reville


a monochrome (black & white) one coloured in. So we really capture two things — the luminance values (B&W) and the colour values. Our eyes are much more sensitive to luma values than they are to colour val-ues and it is on this that we judge the sharpness of a picture. Consumer level cameras (and some higher up the scale) devote only 8 bits to colour capture. [note that 8 bits are captured per colour, and red, green and blue (RGB) amounts to a total of 32 bits.] So, where is the problem?? The problem comes when we want to edit our masterpiece. Let’s look at the colour first ... Our 8 bit colour depth is pretty satisfactory for viewing our pictures. But there is so little colour informa-tion available that it won’t take much pushing around if we want to do colour correcting, grading or even compositing. An easy-to-see defect comes in adjusting a gradient. These occur surprisingly often. A sweep of blue sky is almost always a gradient. Have a look at these pics. Yes, on the left is a pretty extreme example — but easy to see. Right? On the right it’s more typical. You may even feel it’s OK. But, in other situations, it would be less acceptable. When trying to colour-correct a scene, banding and other anomalies pop up all too often. Can you see them here? I can, in the original. As the picture gets larger, the banding becomes more noticeable. A couple more ex-amples of “blockiness” and other picture break-up.


How do we avoid this happening? After all, it means we have little scope for improving our scenes in post? Fairly simple, really. We provide more original data. There is a group of codecs used in higher-end cam-eras that avoids most of this angst. I mentioned AVCHD and it’s ilk do not edit well. These “other” codecs do provide more data. To name some of them: ProRes, in it’s various formats (from Apple), DNxHD, again in several styles (from Avid), Cineform, currently owned by GoPro, to list the most common as well as others from such as Grass Valley (Edius). To illustrate, probably the most popular, ProRes 422 operates at up to about 200—220 Mb/s (it’s variable bit-rate), a far cry from the 15 - 35 Mb/s of AVCHD. On top of that, these codecs (normally) use 10 or 12 bit colour information rather than 8, so colour han-dling is much smoother. How do we get to use these codecs? Two ways. First, if you are a real enthusiast and don’t mind bread and jam, in some cases, buy a better-than-average camera. Something like a Black Magic Mini-Ursa (and support Australian industry). Some-thing that falls in the 3, 4, 5K range. Or, a Pana GH4. Or, a GoPro. They (and others) all record natively in an appropriate format. Or, like me with my Pana AF-100, have an HD-SDI/HDMI output that bypasses the internal AVCHD recorder. I don’t pretend this is anything like a full listing. Why does it matter? It matters depending upon how good you want your results. And because the movie world is trending that way. What way? The Cinematographer is no longer king of the heap. Yes, he/she still has to capture the images, but is no longer responsible for the finished quality. That responsibility now falls to the colourist/CGI operator, or the DIT— Digital Imaging Technician. More and more, post-shooting material needs to receive the attention of a colourist. In a trend already well established among still photographers, movie cameras will be shooting Raw (and/or Log) format. Low contrast, low saturation originals that will have to be colour processed. Here’s a before and after example. All this corresponds to a move to high dynamic range images. We have heard of this before! By sheer coincidence, as I am writing this I saw the first TV advertisement for a High Dynamic Range TV set — from Samsung. $5K, I think it was. We won’t have one, it won’t fit! This has become much longer than I first intended and it has only really scraped the surface. I hope, though, it gives some an ink-ling of what is going on in areas they don’t normally frequent. It’s not really all that difficult, just a matter of working through it before the next Big Thing comes along. Now, what would that be? Smell-O-Vision? I remember my Father talking about a pro-posal to introduce that into theatres when I was a child. And that’s getting back a bit!

Source: First appeared in BMM Newsletter


Why 4K Ultra HD May Fail 9.5mm & 16mm the first home movie format to buy or hire in the 1920’s, Projected screenings were to be enjoyed by the whole family. Then in the 1930’s entered 8mm film, which is smaller and has 4 times less quality. Followed by B/W TV in the 1950’s, and colour TV in 1960’s, with Beta & VHS Video in 1970’s. The point is, movies started on Large Format High Quality, then went to very low quality like Video Tape, it took nearly 50 years. Why would the masses choose Video with such poor image quality, over a High Quality Large Picture Image, like Film. Its Convenience, tape was cheaper, could be easily played, recorded and changed, now more people were watching more movies longer. In 2000 DVD was fully released and proved successful, phasing out VHS. By 2007 came Bluray then 2010 3D Bluray did they replace DVD, no, virtually no one uses Bluray Discs, in laptops, Cars or Portable Movie Players they all use DVD in fact you can still hire and buy more choices on DVD then Bluray, since Bluray has not captured the masses, so it will be with the new 4K Ultra HD, even though quality for Video home cinema is improving less people are using it. Where I live Half the Video Hire places have closed down, those that are left went into smaller premises, hardly any one Buys or Hires Disc movies now. Why, Free to air Channels have quadrupled as well as Foxtel, people watch video mainly on the Internet like Youtube, T Box or Netflix or illegally download pirate movies and swap via Memory Sticks, or stream Video Live. The result is more people are watching movies on the laptop, iPad or Mobile phones. So from 1970’s to now is close to another 50 years and it’s not about quality but convenience, the internet can be picked up any were any time, more people are watching there phone like nothing before, at home, work, car, tram, train, bus, shopping centre, and on the park bench and in bed. Its about convenience, no going to the shop to buy expensive Bluray, 3D Blurau or 4K Ultra HD Discs, or hiring movies and worried about late fees, now you can watch what you want now straight on your phone and at any time 24/7. Sadly collecting material items with the younger generations have lost value, almost gone are books, magazines, CD’s, DVD’s, Bluray’s and 4K Ultra HD will be the last Disc Format. Now reading, listening to music and watching movies downloaded or pasted and copied on Memory Card & Sticks. Since blank Bluray discs are no longer sold, you can only find blank CD & DVD’s. The only reason for 4k Ultra HD disc, is it’s a last ditch attempt to bring back blank Blurays. In 1990’s Mini Disc or MD was to replace CD it failed, then again ten years later with Hi MD it also failed, so it will be with 4K Ultra HD on a Triple Layered Bluray disc. The most majority of new TV’s being sold are not big curved screens, but little TV’s that fit in your pocket like a phone, its all about convenience for the masses. While Tape and Discs have lost there value, selling for a few dollars 2nd hand, with film, home movies are still fetch-ing hundreds of dollars, and full length feature films in Su-per 8 and 16mm are fetching thousands on eBay. Film is an investment for the future and Tape/Discs are outdated. See 7 x 50 foot 8mm films fetches over $500. http://www.ebay.com.au/itm/US-West-Harvard-1937-Germany-23-8mm-home-movies-1930s-1953-Kodachrome-/231933376618?_trksid=p2047675.l2557&ssPageName=STRK%3AMEBIDX%3AIT&nma=true&si=t6D%252BOeriP35vktqWY8KBf5S6rEE%253D&orig_cvip=true&rt=nc Also See Home Movie Day http://www.centerforhomemovies.org/hmd/

Rodney Bourke.


For those of you who don’t know, Sony Creative Software has sold off most of its software range to MAGIX Software GmbH as of 20th May 2016. There have been rumours circulating for some time about Sony abandoning most of its software and therefore being the “end of the road” for said software. The software titles sold to

MAGIX include: Vegas Pro software including Vegas Pro, Vegas Pro Edit, Vegas Pro Suite, Vegas Pro Production Assistant, and Vegas Pro

Connect

DVD Architect Pro and DVD Architect Studio

Movie Studio software including Movie Studio, Movie Studio Platinum, and Movie Studio Suite

Sound Forge software including Sound Forge Pro, Sound Forge Pro Mac, Sound Forge Mac, and Sound Forge Audio Studio

SpectraLayers Pro

Audio Master Suite and Audio Master Suite Mac

ACID software including ACID Pro, ACID Music Studio, and ACID Xpress

Sound Series Production Music and Sound Series Loops & Samples

ACIDplanet Web Site and Music Assets

CD Architect

Noise Reduction Audio Plug-in

The purchase included the customer database, technical support database and forum database. You would have already received an email from Sony Creative software, allowing you to opt out of having your details transferred to MAGIX Software.

Various forums and journalists around the web seem to have a generally positive attitude to this move and have suggested that Sony had backed off on development of these software titles in recent times. A fresh team and company may be just what is required to give the listed software a new lease on life. It appears, that MAGIX Software plans to continue developing the software range, and has announced the release of Vegas Pro 14 at the end of September this year. This new version of Vegas Pro would feature:

HEVC/H.265 support 4K Smart Upscaling Native ProRes support and much more!

Some users will find Native ProRes support to be a welcome improvement. More details are to be pub-lished before the new version is released.

Changing specific colours using the “Colour Corrector (Secondary)” plug-in in Vegas.

The “Sony Colour Corrector (Secondary)” plug-in is very powerful and quite useful in various situations such as changing a sandy landscape to look orange as if the landscape were on Mars, changing the colour of someone’s hair or clothing, or changing the colour of a flower which is the subject of this article.

The selected clip shows a golden yellow lantana flower blowing in the breeze. You can also see out of focus flowers in the background, under the green leaves. The aim is to change the colour of the flowers to a mauve colour, including the out of focus ones in the background.

The first step is to import the clip and place it on the timeline. The “Colour Corrector (Secondary)” plug-in then has to be applied to the clip. To do this:

Bits & Pieces with Rob Farquharson


Click the “Event FX” button at the end of the clip to add the required effect plug-in as shown.


Scroll across the “Plug-in Chooser” and select the “Sony Colour Corrector (Secondary) Plug-in.

Click the OK button and the plug-in will be added to the list of plug-ins at the top of the Video Event FX window.

A range of controls are available to Rotate hue (make the colour more reddish or bluish), alter Saturation (the intensity of the colour), Gamma (the overall brightness of the image, with emphasis on the darker regions), Gain (the brightness of the highlights) Offset (a fixed amount of luminance (brightness) added to all brightness levels) and Alpha (which controls the transparency of the clip). If you reduce the alpha value, the clip will appear to fade if you have no other clip on a track below, or the clip below will begin to show through if you do have another clip on the track below.

You can limit the effect of these controls to only a selected colour range by clicking the “Select effect range” button and dragging the selection pen across the appropriate colours in the preview window. You can see the affected parts of the image by selecting the “Show Mask:” checkbox or see the unaffected parts by selecting the “Invert mask:” checkbox.


For more exacting control of the replacement colour, click the “Custom” tab and the following screen appears. Click on the “Select effect range” button And move the pen over to the preview screen. Now press the left button of the mouse and drag across the range of colours to be changed (the yellow flowers). Try to include the full range of yellows from light to dark without including any other colour. Now that the colour range has been selected, move the white spot in the centre of the colour wheel towards the

colour that you want the flowers to become (mauve).

The values for Angle and Magnitude will change as you change the colour. The colour of the flowers on the preview screen will have changed as shown, but the flowers in the background aren’t quite perfect, with some yellow still showing. You can check the range of colours that were selected by clicking on the “Show mask:” checkbox. You can also see the areas that are not affected by clicking on the “Invert mask:” checkbox. The effect of the masks is shown on the preview window. Over the page you will see examples of this.

“Custom” tab“Custom” tab


Examples of the masks are shown below. With “Show mask:” selected. Only the selected colours (the yellow ones to be changed) are shown in white. Unselected colours are shown in black.

With “Invert mask:” selected. The selected colours are shown unchanged (yellow) and the unselected colours are shown in a complementary colour (blue). It is clear that the effect needs to be fine-tuned, and that’s where the “Limit saturation”, “Limit luminance” and “Limit hue” controls come in handy. The values for these controls have been set automatically by the software when you selected the range of colours to be changed. The Limit Saturation Control

The “Low:” slider controls how saturated the new colour (mauve) will be in the lower luminance (lower brightness) parts of the image. The “High:” slider controls how saturated the mauve colour will be in the higher luminance (higher brightness) parts of the image. The “Smooth:” slider controls how much the filter blends the pixels outside of the selected range of colours with those that were selected (0 for no blending, 100 for maximum blending). The Limit Luminance Control

The “Low:” slider controls which of the lower values of luminance (brightness) the new colour will appear on, not how saturated it will be. The “High:” slider controls which of the higher values of luminance (brightness) the new colour will appear on, but not its saturation. Again, the “Smooth:” slider controls the amount of pixel blending between the affected and unaffected parts of the image. The Limit Hue Control

The “Centre:” slider selects the hue colour to be changed (yellow) and the “Width:” slider selects the range of hues on either side of the selected colour (yellow) that will be affected by the colour change. The “Smooth:” slider again affects the blending of the changed pixels with the surrounding pixels.

Experiment with these controls to get the best effect, with or without using the masks. Tip: A quick way to change the colour of the yellow flower to white is to reduce the colour saturation to 0 as shown on the control to the left. The effect is shown on the next page.


The white effect is quite pleasing and very natural looking, preserving the range of luminance (brightness) values. Back to the task at hand, you will find that you have considerable control over selecting the replacement colour (mauve in this case). As well as using the colour wheel to do this, you can also select the colour from the preview screen

by clicking the “adjustment colour eyedropper tool” and clicking on a colour on the preview screen. You can also use the “complementary” colour eyedropper tool to click a colour on the preview screen

and thus select its complementary colour. Since the mauve colour I wanted was not already on the screen and there was no satisfactory complementary colour, I decided to stick with using the colour wheel to achieve the target colour. I was happy with the results achieved with the settings shown to the left, with the final result shown below. A word of warning. Keep in mind that all examples of the selected colour (yellow) will be converted to mauve in the selected clip, so if someone with a yellow shirt walks into shot, they will end up with a mauve shirt! All is not lost, as this can be avoided with the use of masks, but that’s a subject for a future article. As with any of the FX filters available in Vegas (or any other NLE for that matter) “practice makes perfect”. Until next time, happy movie making. Rob Farquharson.


Image by Ian C Griggs

The Roxy Theatre is listed on the State Heritage Register for NSW; classified by the National Trust, and listed as a heritage building also by Parramatta City Council. It is also listed on the Register of the National Estate. To be listed on four such registers already makes it a unique, important, and irreplaceable heritage building. This submission is about a vision for the future of the new Parramatta, and restoring the Roxy for use as a major live theatre, the centrepiece of Parramatta, in order to give the people of Parramatta and the Western Suburbs a future centre of community, social and cultural importance. The Roxy was built in 1930 in a Spanish baroque style, and much of this still exists within and outside the building, apart from the original proscenium arch, which was removed in 1976 when three cinemas were incorporated into the theatre. With the proscenium now gone, there is the opportunity to build a wider, lar-ger stage, using part of the car park at the rear, and for the Roxy to be the stage venue for major theatre presentations for the Western Suburbs of Sydney, not to mention as the cultural centre of the growing Par-ramatta itself. In 2015 various plans were floated regarding redevelopment, and these were met with hostility from some 15,000 comments on various Facebook sites dedicated to Saving The Roxy. The theatre has a strong con-nection to people, children and adults alike, as it is seen as being synonymous with Parramatta and a build-ing of major heritage significance, as well as the 20th century phenomenon of going to the movies. No other centre in Australia has a theatre of this style of architecture. Parramatta Council and the State Government now have an opportunity to acquire the Roxy, and restore it in line with their recent statements concerning the needs of the people of the West.

THE ROXY THEATRE A Vision for the Future of Parramatta

The Restoration and Re-Use of the Roxy Theatre

Prepared by Les Tod, OAM Hon. Secretary, Parramatta Branch, National Trust of NSW

April 2016 ©


As Parramatta CBD redevelops over the next decades, with the restored Roxy as its centrepiece and heart, it will become a city of culture and social interaction rather than one of streets of high rise glass buildings with coffee shops on every corner. The Roxy would also bring life to the CBD at night, and help the spread of cafes, restaurants and other commercial activities which would benefit from its presence. In 1993 the Newcastle Civic – a fabulous Henry E White designed classical style picture theatre, built in 1929, underwent an $8m refurbishment to give it major stage facilities, extend foyers, install bars upgrade public areas and substantial structural alterations. The result has been seen as a major live theatre of the Hunter region, and gives Newcastle CBD a cultural heart. In 2015, it was announced that the historic 1892 Victoria Theatre in Newcastle, closed as a cinema in 1966 and little used since, is to be restored and reopened as a theatre by the operators of the successful Enmore Theatre. If Newcastle can retain and upgrade its live theatres, why cannot Parramatta do the same?

Newcastle Civic - Image by Les Tod

Toowoomba Empire prior to restoration, used as TAFE storage - Image by Eric Burn


Toowoomba in Queensland, has also restored a huge derelict picture theatre, the 2,000 seat Empire. Built in 1911 but destroyed by fire in 1933, it was rebuilt using the side walls. It closed as a cinema in 1966 and was used as a TAFE workshop. In 1997 it was fully restored as a major live theatre, with full stage facili-ties, new foyers, licensed bars and a restaurant. So successful has it been, that a small adjacent church be-came an annex playhouse, and in 2014 a 350 seat black box theatre was built at the rear.

The magnificent Toowoomba Empire after the restoration - Image by Les Tod

Toowoomba Empire showing the new fly tower, new side additions for foyer space, and the new glass foyer area at the front of the theatre adjacent to the right [out of picture] is the Church Theatre.

Image by Les Tod

In 2014 the Castle Hill Entertainment Centre was demolished to allow for a new rail link, so The Hills dis-trict also has no major theatre. Nor does Blacktown, nor Liverpool, nor Richmond or the Blue Mountains. Overseas, Cleveland, Ohio, in the United States, has set about a rare restoration project involving some five theatres over 25 years and at a cost of$US503m, which has resulted in a total rejuvenation of the Cleveland city centre, brought people back to the city, as well as associated commercial enterprises. Similarly, Detroit has restored its historic Fox Theatre which has given new life to its CBD.


The Roxy is a Parramatta icon. It makes a major contribution to the streetscape, is of aesthetic significance, and has a special and strong association with the community for both social and cultural reasons. The Roxy Theatre is important in exemplifying the early symbiosis of film theatre and social interaction. The building is important historically for its close association with the expansion of mass entertainment in Parramatta in the first half of the 20th century, and survives as a rare and important evidence of the increas-ingly sophisticated expectations of interwar cinema audiences. The present owner, Palace Hotels, in 2015 floated a proposal to construct a 20 storey apartment tower over the top of the Roxy, with legs to support that building standing in the forecourt area, and an extension at the rear. The upstairs cinema would be retained but the foyer would become an arcade of shops with access for the apartments above. Another proposal emerged to demolish the theatre except for the façade and build a glass pyramid. The reaction to both these proposals on Facebook was fast and negative.

The Roxy as it is today, the former dress circle converted to a 600 seat cinema, but disused once the hotel

occupied the stalls and foyer level. Photos - the late Ron Israel


The issue of the future of the Roxy is bound up with the Government and Council’s proposals to redevelop Parramatta as a future city to rival Sydney CBD. But to do this, both need to look closely at the retention of heritage buildings, otherwise they will be creating a soul-less city of steel and glass towers, and one com-pletely lacking in tourism. A city is a collection of buildings reflecting the architectural styles of its history. What distinguishes one city from another is the quality of its built environment which give a city its character. If a city is to retain its special quality and not become indistinguishable from another, then its Council and State Government must fulfill their duty as custodians to protect its heritage. Heritage itself should not be seen as a drawback, but as an opportunity. With a revamped Roxy, large scale productions such as Les Miserables, Cats, Phantom of the Opera and many others would be possible. The former stalls and stage area, stripped of most of its original decora-tions, can easily be re-instated from photographs, (as was the Plaza Theatre in Melbourne some years ago) but on a larger, modern scale. The Roxy would also be a cultural selling point for the thousands of apart-ments planned for Parramatta over the next 20 years. Theatre tours are also an option. The Sydney State and Capitol Theatres, the Sydney Opera House, Toowoomba Empire and Newcastle Civic all offer guided tours. They can be a tourist attraction in them-selves. It is well known that Melbourne benefits to the tune of approximately $230 million p/a due to its heritage theatres and their stage attractions: the Regent, Plaza, Forum, Princess, Comedy, Athenaeum and Her Maj-esty’s all contribute to the State’s tourism dollar. The Roxy could similarly do the same for Parramatta, al-beit on a lesser scale. A land swap with part of the Council car park at the rear of the theatre could see the Roxy transferred to State/Council hands at virtually no cost. The owner/developer would then have the bonus of a site for its tower without heritage restrictions or protests from heritage groups. Council could tender for the restora-tion of the Roxy under an extended lease, as Sydney City Council did with the Capitol Theatre and Ipoh Gardens Ltd, or it could choose to restore it using State and Federal grants, and operate it itself, as Newcas-tle City Council does with its Civic Theatre. The State Government of NSW is quite aware of the cultural facilities – or dearth of – in Sydney’s western suburbs. It regularly makes announcements regarding its concerns about the western suburbs being over-looked and neglected. Here is a rare – and once only opportunity – to acquire the Roxy and make it the cen-trepiece of a new Parramatta, while also adding badly needed facilities to the City and its surrounding ar-eas. Parramatta has already become the demographic centre of Sydney and by mid-century almost eight million people will live in Western Sydney. The future of Sydney, it has recently been stated, will be determined in the West. The Government and Parramatta City Council need to show some vision and leadership and make the Roxy once again, Parramatta’s showpiece theatre and give the people of the western suburbs an outstanding cul-tural icon. The Roxy should be a priority in terms of arts and cultural expenditure and part of the State Government’s entertainment and arts precinct planned for the area around the new Powerhouse Museum. Prepared by the Committee of the National Trust, Parramatta Branch as a discussion paper. All correspondence to the Hon Secretary, PO Box 431 Parramatta NSW 2150.

Colour Images are copyright to the owners, Ian C Griggs, Ian Hanson and Les Tod.



Hi All, From Rodney Bourke. I thought this may be of interest to you on Kodak. http://nofilmschool.com/2016/06/be-filmmaker-not-video-maker-interview-kodak-president-motion-picture-and-entertainment

VALEDICTORY

Harold Barnes Newcastle & Hunter Valley Cine Society 26 June 2016 (1939 - 2016)

Harold was a long term member of Newcastle & Hunter Valley Cine Society (NHVCS) and past away on the 26 June 2016. Australian Film & Video wish to convey their most sincere condolences to his family. Harold’s passion was in making movies and he had made many over the years he belonged to NHVCS. Movies such as; “Barcoo Christening”, “Moods of Flaggy Creek” and “Tamarama to Bondi” to name a few. Rest In Peace Harold.

VALEDICTORY

Don Hawkins Oakleigh Movie Club

Don Hawkins was a stalwart of Melbourne’s amateur movie fraternity. He was a member of more than one club in the Eastern suburbs and served on several committees. Movie Makers have lost a valuable friend in Don Hawkins. Our condolences and best wishes go out to Margaret, the rest of his family and all Don’s friends in their loss.

SHOW AND TELL AT WONTHAGGIE MOVIE MAKERS CLUB Ken brought along a new Viltrox monitor which he is has attached to his video camera to make it easier to view the video he is recording. It gives a bright picture and with the attached shade is a great advantage in shooting in bright sunlight. For the same reason, these monitors are also used with still cameras which only have an LCD screen and no viewfinder.

Source WMMC Newsletter


AUSTRALIAN MOVIE CLUBS & SOCIETIES Queensland Movie Makers Inc www.queenslandmoviemakers.org Sec: David Tacon [email protected] Meet: 1st & 3rd Monday 6.30 pm SOUTH AUSTRALIA The Adelaide Filmo Club Sec: Brian Ming (08) 8522 2479 [email protected] Meet: 2nd Tuesday at 7.30 pm (No Meeting in January) TASMANIA Tasmanian Movie Makers Sec: Don Fitzpatrick (03) 6243 6270 [email protected] Meet: 1st Thursday at 7.30 pm (No Meeting in January) VICTORIA Australian Widescreen Association http://awa.netii.net Sec: Tony Andrews (03) 5952 3042 0409 804 567 [email protected] Meet: 4th Monday in various Private Homes at 7.30 pm October Only 8.00 pm (No Meeting in December) Dandenong Movie Makers Inc Sec: Terry Fenech (03) 9770 4709 [email protected] Meet: 2nd & 4th Thursday at 8.00 pm (No Meeting in January) Melbourne Movie Makers Club Inc Sec: Verna Mills (03) 9499 5128 [email protected] Meet: 1st & 3rd Monday at 8.00 pm Oakleigh Movie Club Inc www.oakleighmovieclub.org.au Sec: John Stevenson (03) 9546 7254 [email protected] Meet: 2nd & 4th Thursday at 8.00 pm Ringwood Movie Makers Inc www.ringwoodmoviemakers.org.au Sec: June Furness 0411 121 861 [email protected] Meet: 1st & 3rd Friday at 8.00 pm 1st Friday December Only 8.00 pm (No Meeting in January) Wonthaggi Movie Makers Club www.facebook.com/wonthaggimoviemakers Contact: Tony Andrews (03) 5952 3042 [email protected] Meet: 3rd Tuesday 5 pm WESTERN AUSTRALIA Western Australia Film & Video Club Inc www.wavideoclub.com Sec: Brian Brown 0417 903 009 [email protected] Meet: 2nd Tuesday at 7.30 pm

NOTE If your Club name does not appear here please email us your club details and logo

AUSTRALIAN CAPITAL TERRITORY ACT Video Camera Club http://www.actvcc.org.au Sec: Judy Tunningley (02) 6230 3383 [email protected] Meet: 3rd Thursday at 7.30 pm NEW SOUTH WALES Milton Ulladulla Videography Club Inc www.muvc.org.au Sec: Tony Mann (02) 4456 5050 [email protected] Meet: 1st Thursday of Month Newcastle & Hunter Valley Cine Society Sec: Gordon Taylor (02) 4933 7359 [email protected] Meet: 2nd Monday at 7.30 pm Newcastle Video Moviemakers Inc www.nvm.org.au Sec: Geoff Peel (02) 4968 0977 [email protected] Meet: 2nd Wednesday at 7.30 pm Shoalhaven Movie & Multimedia Group Inc www.shoalhavenmovie.org.au Sec: David Wastie (02) 4421 3270 [email protected] Meet: 2nd & 4th Tuesday at 7.00 pm South West Video Club Inc www.swvc.org.au Sec: Max Milgate (02) 9823 2209 [email protected] Meet: 2nd Wednesday at 7.30 pm except December & January Sydney Video Makers Club www.sydneyvideomakers.org.au Sec: Ian Scott 0419 239 953 Meet: 2nd Wednesday 7.30 pm & 4th Wednesday 8 pm Wollongong Camera Club Movie Makers www.wollongongcameraclub.com Sec: Dawne Harridge (02) 4228 7936 [email protected] Meet: 1st & 3thThursday at 7.30 pm except January QUEENSLAND Brisbane Movie Makers Inc www.bmm.org.au Sec: Robert Adamson (07) 3263 1059 [email protected] Meet: 1st & 3rd Thursday at 7.30 pm Darling Downs Movie Makers Inc Sec: Peter Hansell (07) 4669 6940 [email protected] Meet: 3rd Friday at 7.30 pm Gold Coast Video Camera Club www.gcvcc.com Sec: Glenda Threlfall (07) 5534 4485 [email protected] Meet: 2nd & 4th Wednesday at 7.30 pm

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HOW THE INTERNET STARTED - ACCORDING TO THE BIBLE

PLEASE DO NOT GOOGLE THIS ONE THEY WILL LIE TO YOU TRUST ME THIS IS HOW IT STARTED

In ancient Israel, it came to pass that a trader by the name of Abraham Com did take unto himself a healthy young wife by the name of Dorothy (Dot for short). Dot Com was a comely woman, large of breast, broad of shoulder and long of leg. Indeed, she was often called Amazon Dot Com.

And she said unto Abraham, her husband, "Why dost thou travel so far from town to town with thy goods when thou canst trade without ever leaving thy tent?"

And Abraham did look at her as though she were several saddle bags short of a camel load, but simply said, "How, dear?"

And Dot replied, "I will place drums in all the towns and drums in between to send messages saying what you have for sale, and they will reply telling you who hath the best price. The sale can be made on the drums and delivery made by Uriah's Pony Stable (UPS)."

Abraham thought long and decided he would let Dot have her way with the drums. And the drums rang out and were an immediate success. Abraham sold all the goods he had at the top price, without ever having to move from his tent.

To prevent neighbouring countries from overhearing what the drums were saying, Dot devised a system that only she and the drummers knew. It was known as Must Send Drum Over Sound (MSDOS), and she also developed a language to transmit ideas and pictures - Hebrew to The People (HTTP).

And the young men did take to Dot Com's trading as doth the greedy horsefly take to camel dung. They were called Nomadic Ecclesiastical Rich Dominican Sybarites, or NERDS. And lo, the land was so fever-ish with joy at the new riches and the deafening sound of drums that no one noticed that the real riches were going to that enterprising drum dealer, Brother William of Gates, who bought off every drum maker in the land. Indeed he did insist on drums to be made that would work only with Brother Gates' drumheads and drumsticks.

And Dot did say, "Oh, Abraham, what we have started is being taken over by others." And Abraham looked out over the Bay of Ezekiel, or eBay as it came to be known. He said, "We need a name that reflects what we are."

And Dot replied, "Young Ambitious Hebrew Owner Operators."

"YAHOO," said Abraham. And because it was Dot's idea, they named it YAHOO Dot Com.

Abraham's cousin, Joshua, being the young Gregarious Energetic Educated Kid (GEEK) that he was, soon started using Dot's drums to locate things around the countryside.

It soon became known as God's Own Official Guide to Locating Everything (GOOGLE).

That is how it all began. And that’s the truth. I would not make up this stuff. Source: By Email

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