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Videocraft is proud to announce its platinum sponsorship of Driving Oz with the Black Dog — an incredibly important year-long campaign to raise money and awareness for Lifeline Australia and mindDog. We have been incredibly lucky to be able to collaborate with our industry partners Sony Australia and Avid Technology to be able to put together a video and photography production package to help Paul and Kirstine and their family document their travels to the remote areas of Australia, raising awareness of these two important organisations.

So what's in the Driving Oz's case of production gear?

Why do we need to help Lifeline Australia and MindDog?

A piece of Hollywood returned to Canberra with the 16th year of Lights! Canberra! Action! film making festival. Filmmakers are given a list of ten items to include in their movie, with only ten days to shoot, edit and produce a seven minute film exploring a certain theme. The screening of the top twelve finalists took place outdoors in the Senate Rose Gardens at the Museum of Australian Democracy, with the awards winners announced immediately after the screening. Videocraft were proud to support the Best Student Film Award which was won by William He and Henri Scott for their film The Righteous - Something's wrong in the City of Right, and it's been left to a detective to uncover the truth. The film took out a number of awards on the night - Congratulations to William and Henri. EoR Media Award for Best Art Direction - William He Most Memorable Performance - Henri Scott Best Use of Theme - William He, Henri Scott Videocraft Award for Best Student Film - William He, Henri Scott  

Videocraft were excited to support the City of Greater Dandenong with the inaugural Short Cuts Film Festival, an exciting new community initiative. Celebrating and supporting the development of the dynamic local film industry, the festival presented films by an array of artists. Providing a platform for local community members, emerging artists, and accomplished industry professionals to showcase their talent and share their stories. After being inundated with entries, finalists were selected from amazing range of short films. Films were entered in three categories: Open, Emerging, Student/Community. Videocraft supported each of these three categories with prizes. The finalists were screened at a gala screening at Drum Theatre on 3 June and winners were presented with their prizes. All the finalist films will be available on the big screen in Harmony Square throughout June.

2016 Winners

o Lighting - Changed 98% of our lighting to LED lights and we expect a 14187 kWh reduction in energy use for the upcoming year.

The tenth annual Australian Screen Editors Guild 'Ellie' Awards to be hosted by Julian Morrow will take place on Saturday 5th December 2015 at the Paddington Woollahra RSL in Sydney. Videocraft are proud to be sponsoring the Screen Editors Awards for its fourth consecutive year and wishes all the nominees the best of luck on the night!The nominees for the twelve categories are:Feature FilmDany Cooper ASE, Holding the Man Ben Joss, Is This the Real World Nick Meyers ASE, Paper Planes David Ngo, One Eyed GirlShort FilmAgnes Baginska, Milkmaid Danielle Boesenberg, The Aquarium Christine Cheung, Red Rover Graeme Pereira, SweatDocumentary FeatureAnna Craney, Wide Open Sky Paul Elliott, Uri Mizrahi& Steven Robinson ASE, Putuparri & The Rainmakers Lile Judickas, The Killing Season (The Prime Minister & his Loyal Deputy) Jane Moran, Only The DeadDocumentary Short FormAndrew Cooke and Antoinette Ford, Changing Minds, Ep 2 Wayne Hyett ASE, Uranium Ep 3 Steven Robinson ASE, Sperm Donors Garth Thomas and Anna Craney, Pitch BattleTelevision DramaMark Atkin ASE, Glitch Nicholas Holmes ASE, Redfern Now: Promise Me Nicole La Macchia, Catching Milat Nathan Wild, The Doctor Blake Mysteries, Series 3 Ep 3Television ComedyJulie-Anne DeRuvo, Please Like Me, Series 2 Gabriel Dowrick. Soul Mates, Ep 4 Annabelle Johnson, Upper Middle Bogan Series 2, Ep 7 Que Minh Luu, Maximum ChoppageTelevision FactualRoger Carter, How I Met Your Father Zac Grant, Making Australia Great: The Story of our Longest Boom Alexis Lodge and Paul Watling, Struggle Street Caspar Mazzotti, Life on the Reef, Episode 3Reality TelevisionMatt Cluett, Masterchef Australia Series 7, Ep 14 Andrew Cooke, Go Back to Where You Came From Series 3, Ep 1 Karen Crespo and Robin Crago, Masterchef Australia, Series 7, Ep62 Adam Druce and Tess Jenner, The Bachelor Australia Series 3, Ep 1Television Current AffairsLisa Domrow, Landline: The Big Dry Andy Finn, The Feed: Unattended Death Garth Thomas, Foreign Correspondent: Symphony in Soweto Tim Wilson, Australian Story: Just Call JamalCommercialBernard Garry ASE, Vodafone ‘Piggy Sue’ Marty Gilchrist, 2015 St. Kilda Film Festival ‘Don’t underestimate the Shorts’ Graeme Pereira, ICC Cricket World Cup –‘Greatness is Contagious’ Stewart Reeves, David Whittaker and Peter Barton, QANTAS ‘Coming Home’Music VideoSasha Dylan Bell, ‘That Sugar Song’ Brad Hurt, SBCR aka The Bloody Beetroots - ‘The Grid’ Bryan Mason, Mio – ‘Back to You’ Jessica Mutascio, We are the Brave – ‘Your Ghost’Open ContentDavid Banbury , The Lost Tools of Henry Hoke Graeme Pereira, Mr Black “Summer” David Scarborough, Wastelander Panda: Exile Ep 5 Scott Walmsley, The Victims Guide to KidnappingThe 2015 ASE ‘Ellie’ Awards and Accreditation Evening Saturday 5^th December 2015 Paddington RSL, 220 Oxford Street, Paddington, NSW For tickets go to:http://www.moshtix.com.au/v2/event/the-ellies-2015-the-australian-screen-editors-guild-awards-accreditation-di/81575For other enquiries please contact:office@screeneditors.com.au  

In 2015, Videocraft became the first National sponsor dedicated solely to Australian Cinematographers Society CineKids Program and Awards. Videocraft and the ACS will work closely together to further promote and develop ACS CineKids in order for it to reach a broader group of eligible children, who will benefit from participating as a member of ACS CineKids.

PLONK, the comedy series, shot by Aaron Smith (www.aaronsmith.com.au) in Nov/Jan using Videocraft gear, launched online this week. Aaron emailed the Videocraft team to say... "I am really happy with the pictures from the C300 and the colourist was really impressed with the Canon Log picture profile." he continued, "The visual style and production model of PLONK blended comedy, drama, documentary and tvc conventions. Shooting in country towns, vineyards and wineries across NSW, we needed a large sensor camera system, versatile on set, simple to use in the field and capable of capturing our featured locations and performers at their best. The Videocraft package of Canon C300s and L-Series lenses delivered above expectations. Recoding in Canon Log captured the full spectrum of landscapes and lighting scenarios, delivering images full of detail for the grade. Videocraft's equipment and the personal service provided the perfect camera package for the job." Watch it here https://www.youtube.com/roadtoplonk Like it here https://www.facebook.com/roadtoplonk Drink it here http://www.wineselectors.com.au/plonk (featuring wine from the series) The team here at Videocraft found EP 3 leaving us in stitches its worth checking out! A barrel of laughs! PLONK: Episode 3 Hunter Valley to Mudgee

Videocraft recently sold their first F65 camera to Peter Beeh, the Sydney-based cinematographer who specialises in commercial, aerial, documentary and factual programming. Beeh said, “I have had a long time interest in the development of high end tools for digital cinematography. Traditionally the price point for such tools has meant there was near zero likelihood that buying the highest end cameras would be a viable business proposition for independent owners. Developments in the market and rapid advances in technology have completely changed this landscape in the past few years.” Beeh, a long-standing Videocraft client, approached NSW State Manager Andy Liell to discuss the F65 after having debated the camera with several industry colleagues. Beeh continued, “When Sony announced the F65's price point I realised that it could be viable for an independent owner. After much research and analysis of original footage I weighed up all its strengths and weaknesses and that’s when I called Andy (Liell) at Videocraft for his professional opinion.” Liell and Beeh discussed the many creative possibilities that an F65 would bring the cinematographer. Liell also liaised closely with Sony to ensure all of Beeh’s technical requirements would be met. Beeh added, “I've had a long relationship with Videocraft and have relied on them heavily in the past for supply and support. In the case of the F65 I asked Andy 15 million annoying little questions - as all overly particular cinematographers such as myself would. Andy was very patient, essentially assisting me in determining detailed specifics about the product, in order that I could assess whether it would suit my needs. Beyond that, as a professional operator, I rely on ongoing support after an initial sale. This is an absolute prerequisite to professional sales in my opinion and Videocraft provide this kind of support better than most.” According to Beeh Videocraft’s close relationship with Sony and their high levels of service and support were a big part in his decision to buy the F65. The supplier client relationship is something he also feels underpins a successful industry. Beeh added, “It goes beyond service and support. It's also about relationship. Sure I'm a good customer and that helps buy more goodwill. But sometimes, if there is a situation where I can return a favour, I'm happy to. I think this sort of two-way relationship is really valuable in our industry. For example, sometimes something goes wrong where it's no one's fault but my own, or I might need some one off something to get out of a bind. While Videocraft has no obligation to help me out, I know that if they can help, they will. That's also reassuring.” Since taking delivery of his F65 Beeh has used the camera with excellent results. He added, “So far I have used the camera on several TVCs. It's performed admirably and hasn't skipped a beat. I've also used it to shoot background plates for an overseas production and we've shot some fashion. Lots of need for good skin tones and in particular the need to accurately reproduce colour in garments. We've done a whole series of lifestyle type shots for another project. Everything you can imagine. Indoor moody, to outdoor sunny, to dusk lantern light. To make shots like this sing it's essential to have tools with wonderful dynamic range and an ability to perform brilliantly in very, very low light. The F65 does all of the above and more.” Beeh also took time to reflect on aspects of the F65’s workflow that were particularly appealing and why commenting, “What Sony does really well is to make robust systems that go from camera to post to finished master. The F65 is the only blue chip digital camera which at the flick of a switch offers 4K RAW recording, or high quality 10-bit HD recording. All this with a frame rates ranging from 1 to 60 fps and the ability to go to 120 fps soon. To Sony's credit they have also been very active in supporting the development of post production software and systems in order to make the system as user friendly as possible.” Beeh, like many of Australia’s cinematographers, has a busy and varied workload. In amongst the many shoots he has now completed with his new Sony F65 he pointed out exactly why it was such a special camera and why he was so happy with his choice to purchase it. Beeh concluded, “What I feel when I look at the pictures I'm making is that I see images that are taking another step away from looking 'electronic'. This camera has an amazing ability to resolve subtlety in colour. I see nuances in colour that I've never seen before. Reds and all its related shades are wonderful, and those all important skin tones are beautiful. The mechanical shutter is a corker. It completely resolves any issues with rolling shutter artifacts. The resolution is a major selling point for the camera. Put images of the F65 on a test chart and you'll find no other camera can come anywhere close to resolving the same number of lines. The F65’s sensor also generates very little noise for a device that carries something like 18 million pixels - the noise that is there is very, very fine. So, I confess, I'm now a 4K convert. As part of the mechanical shutter assembly Sony has been able to throw in a bunch of ND filters as well. I love this. Most modern cameras are very sensitive to light and heavy amounts of ND in front of the lens has presented its challenges with digital sensors. Now, when I'm shooting outdoors we can roll in three, four, five or six stops of ND at the push of a button. Such a time saver and it's all IR corrected. It’s safe to say that I’m delighted with the Sony F65 and Videocraft’s sales, service and support.”

According to Brian Shirley, one of the founding partners of The Shirley Spectra, one of Australia’s more unique communications companies, the camera equipment he rented from Videocraft for a recent shoot in the Philippines performed extremely well under the severest conditions. Shirley said, “We got a gig shooting footage of some mines in the Philippines to be used in a series of corporate videos. This involved capturing footage on the island of Mindanao and an incredibly hectic schedule. So we went to Videocraft and discussed our best options with Rentals Manager Nick Gleeson. We all agreed the Sony PDW700 XDCAM HD would be the best camera for the job as it captures stunning HD images and is very reliable.” Sony PDW700 and PDWF800 XDCAM HD cameras have become the defacto replacement for the Digital BETACAM and HDCAM formats in Australia with over 400 units sold to broadcasters and freelancers nationwide. The format is widely used and accepted for a diverse range of SD and HD TV productions. Shirley continued, “The Sony PDW700 proved to be very reliable, easy to use, good at low light, easily configured to shoot NTSC 1920 x 1080 and came with a good selection of lenses. We were a 2-man crew - cameraman and director – and had to get as many images as we could whilst we had available light which on mine sites, drilling sites, in forests, plantations, schools and rivers was quite a challenge but the PDW700 coped very well indeed and performed wonderfully.” Since its establishment in 1974, The Shirley Spectra has created a unique range of communications products for a variety of Australian companies and institutions. It is a full-service communications company, providing concepts, research, scripting, production, event design, staging, technical facilities and automation, creative direction and client service over a diverse range of products. Videocraft NSW Rentals Manager Nick Gleeson said, “Videocraft rental cameras also have proven themselves in many varied shooting situations, including extreme heat, humidity and cold environments. Our policy is to help our clients with exactly what they need in the most comprehensive way possible – especially if they are taking the kit overseas. In this instance, with some advance planning, everything went very smoothly and I’m delighted Brian and his team were so pleased with the results.” Brian Shirley concluded, “When you’re a 2-man team bouncing around from place to place in a 4WD you need all the help you can get and thanks to Nick (Gleeson) and the team at Videocraft we were as well prepared as we could have been for this shoot. Videocraft really were excellent. The camera was pre-configured exactly as required, support material was supplied and their technical support, when required, was terrific.”

Recently the Video Production Department at The Salvation Army in Sydney was approached to film a documentary on the Red Shield Defence Service’s (affectionately known as Sallymen) involvement on the Kokoda Track during WWII. A group of Sallymen from throughout Australia took part in an historic hike on which a memorial was laid paying tribute to the Red Shield Defence Service men who bravely served during the war. Richard Cause, Technical Producer of CPR Productions for the Salvation Army Australia East THQ explained, “Given the significance of this event and the historical importance of the Sallyman during the Kokoda campaign, we saw this as an opportunity not to be missed. Having used Videocraft over the years, we thought we'd ring them to enquire about what the team consisting of Peter March (Journalist), David Scarborough (Editor) and myself (Cinematographer) might need to film a documentary such as this. So we were obviously after something that was lightweight, compact but also high quality. It also needed to be able to withstand the very rough conditions of this infamous trail.” Videocraft NSW State Manager Andy Liell recommended the Panasonic HPX172 camera. Cause continued, “We took Andy’s advice and used two Panasonic HPX172 cameras, one we already had and one Andy helped us get through Panasonic Australia. The team first looked at using an alternative, but after researching it decided that the HPX172 was the better option. The first reason for us deciding to take the P2 was quality. The project needed to be shot on the highest quality, yet most compact format. The second reason for us choosing the Panasonic was weight. Being that we were going to be carrying this gear along one of the world’s most grueling hikes, we found the P2 to be the most suitable camera size-wise without compromising quality.” Cause and his team found the cameras to be very light and user friendly. He continued, “Also, having a solid-state format, it was easy to review clips that were shot over the course of each day and not have the hassle of cueing the tapes back up.” The documentary was shot in very high humidity areas, something that brought its own challenges and surprises. Cause explained, “Not recording onto tape, which can be affected by the moisture, was a bonus and another reason we chose the P2. We were also shooting in very muddy, slippery and steep mountainous areas and we found the P2 rugged enough to cope with the occasional bang or drop.” The shoot went particularly well and Richard Cause and his team were very grateful to all those who helped make it happen. He concluded, “We want to thank Panasonic for their support with the second camera and we’d like to particularly thank Andy at Videocraft was really helpful when it came to answering questions in relation to what we would require to take on this shoot. The other thing that really impressed us was Videocraft’s willingness to go the extra mile and help us obtain additional loan P2 cards from ABC TV facilities, which we were otherwise not going to be able to afford to purchase.” The Red Shield Defense Service’s Kokoda Track documentary will be aired in 2010.