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Erika Addis becomes ACS National President



Erika Addis is the new Australian Cinematographers Society (ACS) National President after Ron Johanson OAM ACS stepped down from the role he has held for 15 years.

Addis is the first female national president since the society was founded in 1958.

“I very much want to build on Ron Johanson’s achievements, particularly that of putting the ACS onto the world stage by successfully joining ACS into IMAGO, the international association of cinematography societies,” said Addis.

“I also want to grow the ACS’ online presence with increasing depth and variety of content on the website and in social media, grow the diversity and inclusivity of the ACS and ensure good governance is in place.”

Over the last decade Addis has been closely involved with the evolution of the ACS from being a white, male dominated organisation, to one which is working towards being a more inclusive and diverse society.

“One of the figures that shows that change is the number of accredited women in the ACS – accreditation being the highest recognition the ACS bestows. Between 1958 – 2012, six women out of hundreds attained accreditation,” Addis added.

Between 2012 – 2021, twelve more women have achieved that recognition. Visibility of women in the ACS has increased greatly in this decade, and that creates a richer and more inclusive environment, particularly for young emerging cinematographers.

Johanson guided and oversaw the ACS play a more active role with First Australians and as a group, impacted internationally via IMAGO.

“I desperately wanted to have the old boys’ club tag vanquished and I think we have achieved that. I’m very proud to have been and to continue to be a part of a society that recognises individuals and forges amazing relationships and friendships with our members and our fantastic sponsors,” Johanson said.

Reflecting on his reasons for finally stepping down after 15 years Johanson said, “It has been a great honour and I’ve really enjoyed my time as national president. I’m also very proud of what the ACS has achieved during my tenure, but the simple fact is it’s now time for a fresh face at the helm. I’m delighted that in Erika we have our first female national president and I will be supporting her and the ACS in every way possible moving forward as I continue in the role of sponsors’ and sponsorship manager.”

On nominating for and having been elected ACS national president Addis said, “The time feels right, both for me in my career trajectory and for the ACS in its history. I am proud and humbled to be charged with the responsibility of leading the ACS. The purpose of the ACS is to nurture the knowledge and understanding of cinematography and all those who practice it. I look forward to working closely with all the ACS team and especially Ron Johanson OAM ACS, to further this work. I acknowledge Ron’s considerable legacy and support, that has enabled me to take on this role. 2022 is the tenth anniversary of the formation of the ACS Women’s Advisory Panel, and throughout those ten years Ron steadily worked to ensure the integration of the WAP into the fabric of the ACS. The Society can all rightly be proud that the WAP recently evolved into the Diversity, Inclusion and Reconciliation working panel in 2021.”

Erika Addis started her cinematography journey working as a lighting assistant on The Fourth Wish and clapper loader on Stormboy for the South Australian Film Corporation. Three intense years followed studying cinematography under Bill Constable at the Australian Film and Television School in Sydney.

Documentaries were her passion and they dominated much of Addis’ career. The body of work is impressive: Serious Undertakings, My Own Flesh and Blood, For All the World to See, Emily’s Eyes, Father’s Footsteps, Brazen Hussies, For Love Not Money, The Tightrope Dancer and more. 

About the Australian Cinematographers Society

The Australian Cinematographers Society was established to: 

  • Further the advancement of cinematography in all fields and give due recognition to the outstanding work performed by Australian cinematographers.  

  • Keep members abreast of technology, new equipment and ideas through meetings, seminars and demonstrations.  

  • Provide a forum for cinematographers to meet with other members of the industry to discuss and exchange ideas, promote friendship and better understanding of each other’s industry role.

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NEP Group Selects Sony NXL-ME80 Media Edge Processors for Broadcast TV



Leading broadcast services provider NEP Group has selected Sony NXL-ME80 media edge processors to enhance its production capabilities.

The acquisition of multiple Sony NXL-ME80 processors will also reduce network costs for remote production and transmission across multiple locations across Australia and New Zealand.

It’s the first product to include Sony’s new HEVC Ultra Low Latency encoding technology, combining high compression ratio, very low latency and high picture quality.

The NXL-ME80 is ideal for remote production, enabling the connection of a camera to a venue’s control room. Multiple cameras situated at a venue can also transmit high-quality, ultra-low-latency and low bit rate video to a remote station, thus making remote production more accessible.

“The NXL-ME80 media edge processors are high-quality, multi-channel encoders utilising Sony’s ultra-low latency compression which makes them ideal for live production applications,” said Sam Scally, NEP New Zealand Technology Manager.

“They work with both ST-2110 and SDI interfaces and we are successfully using them on a current remote hub project.”

For the project, NEP is transferring 16 streams from their main live cameras using two NXL-ME80 units on diverse 5Gb links utilising the -7 functionality at 45Mb per stream. The NXL-ME80 units are managed from the NEP hub at both ends.

“The NXL-ME80s form part of a remote production system where we have 13 cricket venues around the country connected back to our Auckland CBD hub facility. We operate on links as low as 1Gb/s,” added Scally.

The NXL-ME80 is part of the Sony Networked Live ecosystem which optimises live production by flexibly utilising on-premise, cloud, hardware or software resources to meet specific requirements.

Acting as a gateway between LAN and WAN, the NXL-ME80’s advanced technology achieves ultra-low latency, high picture quality and low bit rate, resulting in efficient network bandwidth usage for remote production and video contribution, reducing network costs for transmission across multiple locations.

“The NXL-ME80 also supports multiple streams to cater to individual live production requirements efficiently,” said Scally.

“With the capability to convert and compress multiple video channels, content transmission with high picture quality is achievable, even with limited network bandwidth.”

In 4K mode, the NXL-ME80 can handle two channels and up to eight channels in HD mode. The selectable interface of SDI or ST2110 on the LAN side also helps easy installation.

When looking for the NXL-ME80, Scally explained that NEP’s requirements were essentially for a high-quality encoder and decoder that could send signals across a small network pipe while working with a traditional broadcast environment using both SDI and 2110.

“We have been very impressed with the quality of the NXL-ME80, as they enable us to transmit high quality images from remote locations with relatively low bandwidth.”

NEP is using its new NXL-ME80 units in a number of different environments, one of which is covering international and national cricket matches remotely.

“We are sending signals from cameras and third-party providers capturing cricket around the country with SDI out of our existing trucks,” Scally continued.

“They are sent to an NXL-ME80 in our Auckland hub where they are decoded to SDI, then encapsulated to 2110. We are using the ME80s in conjunction with a Sony MLS-X1 switcher.

“By using this workflow, the NXL-ME80 gives us excellent picture quality and they have been very reliable.”

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Triple Base ISO and More: Canon Throws the C400 into the Cinema Mix



Canon has just announced the C400. It’s a full-frame 6K cinema camera with RF mount and triple native ISO. The new CMOS sensor is backside-illuminated and it can record up to 6K/60p Cinema RAW Light. And there’s a lot more to brag about but is it enough?

It’s certainly a camera that will keep many shooters in Canon’s wheelhouse and might even tempt Sony users to jump ship. It certainly resembles the much older FX6, and although the Sony model is much cheaper, it’s missing a lot of specs and horsepower the C400 boasts.

EOS C400: A$13,500.00 RRP (A$12,999.00 general price)

SONY FX6: A$8,199.00 (general price)

The C400 works a cinema camera or ENG/live broadcast shooter. Despite its size, it packs a lot of options for TV and/or filmmaking into that tiny body.


Shooting documentaries in various lighting conditions can be challenging even with dual native ISO. Sometimes 12800 is too much and that’s where the C400 has you covered with triple ISO levels of 800, 3,200 and 12,800. This is available when shooting in Canon Log. To avoid ‘chasing’ low light settings, Canon also has an automatic switching mode that detects ambient lighting and adjusts the base ISO level to match.


At the heart of the EOS C400 is a new 26.7MP 6K full frame backside-illuminated, stacked CMOS sensor (BSI), connected to a DIGIC DV7 processor. Rolling shutter isn’t a real concern with faster readout from the sensor. You’ll also get a sharp image from the 6K oversampling for 4K and plenty of post production flexibility with 16 stops of dynamic range.

Super 35mm and Super 16mm are also options – cropped.


Canon is bringing its Dual Pixel CMOS AF II to its cinema EOS system with virtually 100% coverage across the sensor. C400 users will be able to select face | eye | body and animal detection and tracking. This is a bonus for solo shooters.


The C400 has a mechanical ND filter with (2 / 4 / 6 / 8* / 10 stops*) * with extender.


The EOS C400 is the first high-end RF mount cinema EOS camera, although the R5C and C70 were also options. The RF lens options include integration with RF prime, zoom, hybrid, cinema and VR lenses. For more flexibility you can use EF-EOS R mount adapters as well as the new PL-RF mount adaptor. A 12-pin lens terminal gives greater control over lens operations.


It’s all about RAW, in particular, Cinema RAW Light. Canon’s scalable 12-bit Cinema RAW Light is available in LT/ ST/ HQ. If you don’t need to use RAW then 4:2:2 10-bit XF-AVC and all-new MP4 based XF-AVC S and XF-HEVC S formats are also options.

The best of the best for PAL regions is: 6K 12bit Cinema RAW light 1780Mbps (50.00P ST).

You can download a full list of codecs and frame rates here.


The box design makes the C400 pretty flexible. It’s easy to build out for a film set tripod rig or strip it down for use on a gimbal. The camera weighs 1550g, 12% lighter than the EOS C500 Mark II.

The side handle grip is connected via USB-C with mappable buttons. The top handle connects to the multifunction shoe and duplicates it at the top. This is where you’ll find the monitor which you can mount directly to the body if you don’t want the handle attached. The display is a 3.5-inch LCD 2.76 million dots, touch panel.

There’s plenty of I/O in the C400, including built in Wi-Fi, G-LOCK/SYNC/RET terminal, ethernet terminal, SDI output, MON output and multiple input terminals. The G-LOCK/SYNC/RET and Ethernet terminals are located on the camera body. Just like the C70 the C400 has two mini XLR audio inputs.

Pricing and availability

The EOS C400 will be available in Australia this September for a RRP of A$13,500 RRP. But as stated above, you’ll find it available for pre-order at A$12,999.00 or less.

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BURANO Firmware Plans Revealed



Sony has announced the BURANO is receiving two new firmware updates over the next year. The updates will include additional recording modes and support for live event production.

The firmware updates – BURANO Version 1.1 and Version 2.0, – will include more recording formats, new de-squeeze options and monitoring updates. Features requested from users have also been included.

The BURANO is the latest addition to the CineAlta family of digital cinema cameras.

BURANO Version 1.1 (late June 2024)

BURANO Version 1.1 includes new features for live event production and the addition of 1.5x de-squeeze display for anamorphic lenses.

It adds S700 Protocol over Etherneti which enables remote control of a BURANO using an RCP (remote control panel). Controllable settings include exposure, white balance, paint, and others (depending on the RCP model).

There’s also support for Multi Matrix Area Indication. This feature allows users to adjust targeted colours during Multi Matrix operation.

It will also allow support for Sony’s Monitor & Control appii version 2.0.0 which enables in demand features such as Multi-Camera Monitoring function for iPadOS. This allows feeds for up to four cameras and precise exposure monitoring including waveform, histogram, false colour and zebra.

Other features: Intuitive focus control and frequently used functions’ control – a similar operation to Sony’s CineAlta cameras using a mobile device such as frame rate, ND filter, sensitivity, look, shutter speed and white balance.

Sony’s Monitor & Control app is free and available for iOS and Android devicesiii.

BURANO Version 2.0 (March 2025 or later)

BURANO Version 2.0 user requests like new recording formats, new 1.8x de-squeeze, and monitoring improvements.

It includes a new 3.8K Full Frame crop that uses nearly the entire sensor and can shoot up to 120 fps. Other new recording formats include 24.00 fps to X-OCN 16:9 imager modes and the following below.

Full Frame3.8K 16:9 ModeUp to 120 fps
Super 354.3K 4:3 Mode (for Anamorphic)Up to 60 fps
Super 351.9K 16:9 ModeUp to 240 fps

Version 2.0 will also add 1.8x de-squeeze setting as well as additional high frame rate (S & Q) modes including 66, 72, 75, 88, 90, 96, 110 fps.

You’ll get monitoring improvements like standardised SDI video output for monitoring across X-OCN and XAVC and an improved on-screen display which places camera status information outside of the image. There’s also View Finder Gamma Display Assist while using S-Log3 for monitoring.

Additional exposure tools are coming – (High/Low Key) derived from the flagship VENICE camera system. There’s expanded white balance memory presets from 3 to 8 and support Active/High Image Stabilisation in Full-Frame 6K and Super 35 1.9K 16:9 imager modes.

And there’ll be breathing compensation plus image stabilisation metadata in X-OCN.

For more details head to the BURANO downloads page at Sony.

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