NSW Creative Industries – Case Study

(1) THE BACKGROUND

CIIAP coverThe NSW Government appointed the Creative Industries Taskforce to lead the development of the vision, long-term strategy and actions positioned to drive the growth of the creative industries over the next 10 years.  Our brief was to turn this 80 page draft document into an audio visual supplement to sell it’s core vision.

The Film Bakery was contracted to look after the creative, production and post-production of the Launch Video.  The video was to be launched on June 6, 2013 by NSW Deputy Premier and Minister for Trade and Investment Andrew Stoner at the official launch of the Creative Industries Action Plan.

 

 

 

 

(2) THE PROPOSAL

Ben & I prepare any proposal by initially brainstorming, then as our ideas are fleshed out, I start to work out images and structure so a story and focus can be formed.  While I tend to rely more on gut and instinct to guide me after doing my initial research, Ben uses logic and has a real skill in being able to break down complex jargon into simple, layman’s terms.

Maureen & Matt @ Screen NSW wanted to make sure the economics of the creative industries was highlighted – it’s bigger than mining and is a major industry for the future for us in this region – so Ben recognised that a tagline that reflected both the boundless nature of creativity and allude to the relationship to mining & agriculture would be critical in selling this message.

A Launch Video is a teaser.  We need to sustain a viewer’s attention and get them revved up.  The goal duration was 3 minutes, so the video was an overview, an overall glimpse that could translate the key messages of the Draft Document.  The in-depth analysis was the document itself.  This said, we wanted to video to feel complex and layered – but most importantly, real.  As creatives who live and work in NSW, we wanted to represent a true picture of real working creatives – not just the highest echelon or ‘celebrities’ – as its creatives like us that represent the majority of the creatives represented in the document.

By focusing on the people behind the creative industries, we were also bringing to the fore a behind the scenes look into the creative process – something that the average person will most likely not have seen.  Highlighting the people also meant that we were putting a human face to our tagline – something that would hopefully resonate a lot more with viewers.

(3) THE PROCESS

script structure

My script structure notes

Any process begins with a script.  From a script, I like to work out a script structure to figure out the flow of the project.  Because the ‘script’ for this particular project had no dialogue, the story was built on text.  My next step is to work on an animatic because it helps me really identify what shots/scenes are necessary in telling a story. With this project, because we were planning on simultaneously producing, shooting and editing in order to complete the project in time, an animatic was critical.

While our proposal gave the overall feel of where the video was going, the animatic helps work out specifics.  The Industry Action Plan Draft Document became a bible as I went through and highlighted the key points and worked out what would work into a story structure.  I find working out a structure based on a three act principle works best.  Broadly, Act 1 sets the scene and lays out the foundation, Act 2 propels the story forward, while Act 3 is the piece de resistance.

In the animatic, Act 1 became Education – how creativity begins and is nurtured.  Act 2 were the inspirations within NSW – the people, the locations etc while Act 3, the main crux of the video – highlighted the true world class nature of the various creative industries.

I source visual references from the internet or reference scrapbooks I’ve accumulated over the years, and cut these into animatic that give flavour to the overall journey of the video.  Most of the main visual references were already researched for the initial proposal, but there are also additional images required to fill in moments and segues etc.  Timings inevitably change as visual references are static whereas we are shooting moving pictures, but an animatic provides an invaluable guide to rough timings and helps me plan the type of shots I wanted.  By seeing approximate framings, I can also work out where I need to work in a CU or where I need to go wider.

The other major factor in working with an animatic is that I can work in music to set the tone and style of the video.  We wanted to inspire and evoke an emotional response, so I needed tracks with heart, rhythm and most importantly, a build.  I ended up cutting together 3 difference pieces of music to help navigate the journey.

Ben and I decided early on that we also wanted this to be cinematic – which meant a substantial soundscape built from sound effects, musical cues and accents but no dialogue – so we would need to make sure we recorded background atmos at each of our locations.

(4) THE STYLE

in and around cbd

2 man crew
Photo: Vanessa Liew

We knew this would be an extensive shoot where we would need to be low impact.  We’d have to be in and out of locations quickly to ensure we shot as much as were hoping to so equipment size and transportability were critical factors in deciding what to shoot on/with, so we decided we should just be a 2-man crew.

While I tend to favour the Steadicam on my shoots, because we wanted to contain crew and equipment, we decided to keep it just the two of us, which meant I had to decide between going Steadicam on a single lens or going with camera, tripod and a small choice of lenses.  I decided for this project, it was more important to have a variety of lenses to shoot with, which meant I had to create movement within a shot rather than rely on the movement of the Steadicam to bring a shot alive.

We ended up shooting on three different formats – the Sony F55, the Canon 1DC and the Canon 600D (the latter primarily for timelapse).

Where this proved trickiest was in the featured creatives section in Part 3: World Class towards the end where I highlighted individual and group creatives.  I wanted to shoot this with slight slowmo at 50 fps, so that the viewer had longer to take in each face and movement was heightened.

(5) THE SHOOT, EDIT & SOUND DESIGN

Initial Wish ListIn order to control the sheer volume of ‘mini shoots’ we were planning, we were simultaneously working on everything!  Our schedule was constantly changing with dates and times changing, and we were always juggling shoots to make sure we could fit everything in without doubling up on creative sectors or types of shots.

We realised that in order to best control all the elements of the shoot, we would also need to produce so we would be dealing directly with the people we would be shooting.  Ben & I shared the producing load.   I also worked simultaneously on writing, directing, editing and sound design.  Ben then started the initial process of laying out the groundwork for the colour grade and sound mix as I completed ‘moments’ within each section.

To assist us in securing locations, Screen NSW put us in touch with Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations. I had prepared an initial Wish List of locations and shots before I even began the Animatic as we knew that time was going to be our biggest challenge, and even if the list was unrealistic, having something out there showed which direction we were going with the project.

shot listThe right locations manager on any project is a crucial part of bringing a project together, but because of the sheer scope of the shoot, we ended passing Luke & Dulce a couple of things that were borderline location/production, which they not only took on board, but ran with.    Their can do attitude helped us enormously, and the foresight they showed in securing permits with flexibility of shoot days as well as from several vantage points, meant we could concentrate on getting the best shot.

We ended up shooting in almost 70 separate locations across NSW.  While the creative hub of NSW was most definitely the area between Fox and Ultimo recognised in the Draft Document, we also shot in Crows Nest, North Sydney, Chippendale and Ryde and travelled to regional NSW including The Blue Mountains and Newcastle.

We used our iPhones to record audio – Ben had installed Tascam’s PCM Recorder app on my phone, but because we had so little time, I found it quickest just to use the Apple Voice Memo app and hold out my hand as close as I could without being in frame of shot.  Although they’re not perfect location recordings, it’s amazing how well it handles spot effects and how they work as part of the mix.

BHS iphonsThe shoot took the good part of three weeks to complete – we were literally shooting the day before we presented the first cut.  Each shoot on its own was simple – we used available lighting except for a handful of shots and were mostly in and out of a location within 30 minutes including set up time – but it was a mad dash in and around NSW as we knocked off shot after shot then went back to the office to work the footage into the edit and add sound design.

The biggest surprise shooting was that my initial framings were too CU for the nature of the video.  Because we were talking about the scope and ‘world class’ nature of the Creative Industries, by framing too tight, it started to feel a little claustrophobic and small.   We were able to flag this early because we were shooting & editing at the same time, so as soon as we finished the first shoot, I realised the wide shots were working far better than the CU’s I had initially envisaged, so we could adapt easily and quickly.

Adding sound design before picture lock off is definitely risky as if one shot changes, the sound design already prepared for that shot is wasted, but because of (a) the animatic and (b) the tight schedule, we were confident if there were shots that needed to be changed, the impact on sound design would be minimal as they would necessarily be similar themed shots as the structure was set.  I used a combination of original sound effects we’d recorded, original foley as well as sound effects from Apple and a couple from freesound.

audio bin

Audio bin from FCP showing some of the audio we recorded on our iPhones

 

Interestingly, it was only after the edit started to come together, that I realised that we needed one more element that I hadn’t included in the animatic – a finale montage of sorts where you saw the culmination of all that creative work.  Because much of the world-class section were the at-work shots, with certain sectors – particularly performing arts and the screen sector, it felt like you needed to see the result.   The montage I felt also helped add the emotional journey of the build, and the ‘choir’ music further heightened the emotional response.

 

 

v3-1-1

v3-1-1 of the edit. As you can see I had sound design files all over the place – as I finished each pass, I’d push these audio tracks futher down so that Ben would know as he was mixing that the top files were the most recent sound design tracks I’d inserted.

The other surprise in the edit was decreasing the visibility of locations in favour of people – I had initially used the Sydney skyline for the curtain call finale section but in the process of editing realised that people made it more powerful.

Ideally, we would have played around with the text a little more to make the font more interesting with layers, shadows and texture, but there was also something nice about  letting the creativity of the people be the focus rather than funking up graphics & animation.

(6) THE SHOTS

rev shot list

My revised shot list by the end of the shoot

In addition to my animatic, I also compiled a list of the type of shots I was looking for, so I could always have in my head a visual to prompt me in situ.  I also compiled another list as we went further into the shoot as shoot elements were forever changing and needed to be revised.  The most complex was the section on featured creatives – any change in the original plan meant I would have to rework who would be featured and in what grouping – as well as how that impacted on that particular sector of the creative industries.  There were many changes as availabilities fluctuated and locations had to be rethought!

 

The Finished Video

PART 1: EDUCATION

1a crayonA small child drawing with a crayon is the first image of the video because all creativity begins small – by creating a story where creativity evolves through childhood, is nurtured with study and encouragement before those skills are unharnessed into fully fledged grown up creativity.

I chose the specific blue to reflect the colour palette of the Creative Industries branding – which was that shade of blue and white.  However, when we went to shoot the crayon shot, we realised that drawing on white didn’t quite have the right impact, so we swapped the paper for black cardboard which we felt made it a more ‘creative’ and interesting shot.

In choosing the various creative works for this Education section, we worked together with Maureen & Matt at Screen NSW to chose a range of creativity that reflects the type of creative industries education has led to today.   Arts & Crafts were chosen for Pre-School, performing arts for High School and industrial design for University.  I chose High School over Primary School as I felt it was more important to show the early beginnings of creativity, then the next step as something voluntarily chosen which by age meant more High School than Primary School.

1. Pre-School

1b Preschool

NOTE: All frame grabs/captures are ungraded in this case study

robot2

The Final Robot created by the KU Frances Newton Preschoolers
Photo: Angela McLean

 

We chose KU Frances Newton Pre-School in Darlinghurst as we were familiar and impressed with how cultivated creativity in their preschoolers.

Georgie, Angela, Saskia and Anne are tremendous teachers – nothing is ever forced or taught as ‘right’ or ‘wrong’, the children are simply encouraged to join in and try something to see where their choices end up.

The craft the preschoolers are working on is building a robot.

BHS preschool2

Photo: Saskia St. Clair

 

 

 

 

 

 

 

 

 

2. High School

1c High School

The students were performing “Babble 2” from Sam Shephard’s play Savage/Love.  Brenton Fletcher, the drama teacher said it was interesting working with the students on such a sophisticated play as many of the students had yet to experience love and passion,  so he had to find ways to help them discover other ways to communicate the intensity of expression in the play.

Notable alumni include actors Abe Forsythe, Virginia Gay, Emma Lung, Hanna Mangan-Lawrence, Alyssa McClelland and Jessica Tovey, fashion designer Dion Lee and Joffrey Ballet dancer Alexander Stuart.

3. University

1d Uni

The Fabrication Workshop, facilities for Faculty of Design, Architecture & Building @ UTS was amazing.  A vast basement space where students can operate on the latest technology including a 3D printer and professional equipment for metal-working, wood working, plastics, welding and spray painting among others.

The students we featured were part of Berto Pandolfo’s class and were working on their final presentations.

PART 2: NSW INSPIRES

BHS car

Ben changing lenses in the car

Most of this section was shot walking up and down the Sydney CBD.  Luke & Dulce had organised shooting permits that covered a ten day period between the 14th and 24th May to allow us flexibility in our schedule that proved a godsend.  There were certain restrictions such as shooting Angel Place after 11am and shooting Chinatown only when vehicles weren’t permitted in the mall, but overall it was a wonderful way to be able to capture the best shots.

We tried driving at first but between trying to find accessible parking and parking fees (!!) we realised this was slowing us down, so we quickly switched to packing our gear and a few key lenses determined by what we were shooting that day into rolling LowePro camera case that we could walk with.  We started down the bottom end of George St at Central Station then walked up to Circular Quay then back again using Pitt St, finding the best shots along the way.

In order to maximise time, I also tried to look for opportunities to fill in any other shots from Part 2 or Part 3 that might fit – I wrote a list of these including a shot for ‘Your Ad Here’ in World-Class Advertising, something to fit Technology in Part 2 or flags (including the Aboriginal flag).

History

2a History copy

We tried to show old architecture inspiring new architecture with the Museum of Contemporary Art & The Powerhouse Museum, but it didn’t quite work in the edit as it felt too subtle.

signI also originally began this section with the sign in The Rocks.  I loved this shot but unfortunately it got dropped in the final edit.   What I also loved is that I found the reference pic online and used this in my animatic – but when we got to The Rocks to shoot, we had no idea where this sign was.  What’s worse is that no one at The Rocks official Information Centre had any idea either.  It was only after we rechecked our permit that Luke & Dulce had organised for us and realised that the ‘Jack Mundy Place’ permit we got was in fact the laneway location of the sign.  Another case of making sure you pick the right location manager!

 

 

 

Tall Ship leaving Campbell Cove, Circular Quay

Ben and I were trying to work out the best location for a non-cliche shot of the Opera House when we saw preparations for the Tall Ship about to leave Campbell Cove.  We quickly set up and got the shot.  But the tall ship left port backward before moving forwards past the Opera House.  I actually reversed the shot for the video and if you look carefully you can see a couple of people walking backwards – but we loved how the shot worked so beautifully in that it showed 3 different points in history.

Statue of Queen Victoria in QVB Forecourt, Sydney

BHS QVB

Ben lugging gear up through QVB carpark

We were racing to get the car out of parking as we passed the statue, so it was literally set up the sticks, point and shoot.

 

 

 

 

 

 

 

 

 

Museum of Contemporary Art Australia – Australian Flag, NSW State Flag & Aboriginal Flag from Circular Quay

We finally found the right flags with the right amount of wind to have it flutter nicely in frame after three days – and they were the flags on top of the Museum of Contemporary Art Australia.

Martin Place clock tower – from Pitt St

We took this shot as it was a nice shot, then ended up elaborating on it by whip panning from the ‘old’ of the clock tower to the ‘new’ of the city buildings.  In the end, it was the simple static shot – sped up to show movement in the clouds – that worked best.

NSW Art Gallery

We wanted to knock off the Art Gallery shot & St. Mary’s Cathedral shots at the same time since they were in the same area, but we ended up having to come back again for St Mary’s in the afternoon as there was no light on the cathedral and we were vehemently against shooting just to get a shot – we wanted the shot.

At the Art Gallery, we got there before it opened, so we were also faced with massive tourist coaches outside the gallery which didn’t exactly look pretty, so we decided to tilt the angle and ended up with a far more interesting shot in the end.

Again, because we weren’t using Steadicam, we had to use movement to get to the right frame so the right momentum would build in the edit.

People

2b People

 

BHS people

With our group of people in the city at lunch hour

I had originally worked in ‘Culture’ in my animatic, but after discussions with Maureen & Matt about how this overlapped with non Creative Industries art, I changed this to ‘People’.  People do inspire and even for us, there have been so many people in NSW that have inspired us, but to show this visually was a little tricky.  Eventually, I decided it was the wonderful melting pot of people that inspired – and that this was best represented by groups and individuals.

We took advantage of weekday lunch time and weekends to try and capture the best people and backdrops.

 

 

 

Technology

This was one of the biggest challenges of the shoot as we were forever asking each other how do we show technology in a way that isn’t just an iPhone, tablet or laptop?  We ended up asking our contact at every shoot what they had in the way of technology and I think in the end we came up with a much more visual and accurate picture of the way technology is used in the Creative Industries.

1. #MCA_Now Instagram pics by visitors and gallery staff displayed on several screens throughout the Museum of Contemporary Art Australia 

2. Renishaw PH10T at Miller Tripods

3. Cyberworlds: computers and connections at Powerhouse Museum

4. MCR @ Southern Cross Austereo

Locations

BHS Blue Mountains

The drive back to Sydney (why we didn’t get the shot in Parramatta!)

From the get go, we knew indigenous and regional elements were important to the project, so we tried to factor this into our timeline as early as possible.   We tried to work in the Northern Rivers, Western Sydney, Casula as well as some other key regional areas, but it ended up proving logistically impossible.  We got as far as having a permit to shoot Church St, Parramatta on the way back from the Blue Mountains, but we faced torrential rain and heavy mist so had to nix the shot.

 

 

 

 

1. The Three Sisters, Echo Point, Blue Mountains

BHS Echo Point

Shooting the Three Sisters – literally seconds after we got the shot

We got up at dawn to try and get an iconic shot of the Three Sisters, but after three weeks of having the best luck with the weather, Mother Nature decided to make it a little harder for us.  Between the mist and the rain, it was impossible to see anything, let alone a scenic shot.  We went away and came back a couple of hours later, but the mist was even worse.  Finally, we headed back to base camp in Blackheath, and got a little rest.   Suddenly in the afternoon, the sun started to come out so we raced out and jumped in the car to head back to Echo Point, but as we drove, the mist started to get worse again.  By the time we reached the Three Sisters, the mist had clouded over again, but because it was no longer raining, we decided to stick it out just in case.  We set up, pointing at the Three Sisters, waiting….waiting…waiting….

While the original plan was to shoot real time, given the mist, we decided we might get a better shot time-lapse.  The mist almost but not quite revealed the scenery, so after a couple of minutes, we decided to point the camera at the mountains instead where the mist was swirling dramatically, figuring at least we’d have gotten a great shot.  Just as we ticked over a couple of seconds into that shot, I noticed that the mist was dissipating on the Three Sisters, so Ben swung the camera back around and we managed to get our shot – all two seconds (which we ended up slowing down in post to fit).  If we’d gotten there a couple of minutes later we would have missed the shot again as it started raining again.   So, this two second shot took three attempts and until 4:45 in the afternoon to put in the proverbial can.

2. Timelapse Circular Quay (from east, day)

BHS Chinatown2

Night shoots

 

We shot all night timelapse one evening racing from one part of Circular Quay to the other so as we could get the maximum amount of light change per location.

 

 

 

 

 

BHS Rocks

Shooting in and around the CBD

 

4. Centrepoint Tower

I’ve always loved the view from ground level looking up at Centrepoint Tower from Pitt St.

5. Taralga farmland, Southern Highlands NSW

6. Circular Quay (from west)

7. Timelapse Blue Mountains (day)
 
BHS night time lapse
8. Sydney Harbour Bridge (night)
The temperature dipped as the sun set, making us wish we were more rugged up.
BHS Newcastle

A dapper Ben (he was coming from a function) shooting in Newcastle

 

9. Newcastle Industrial Skyline (Kooragang Island) dusk

10. The Rocks laneway

 

 

 

 

 

11.Timelapse Sydney Opera House  (night)

BHS city

Shooting city timelapse at night

 

 

 

 

 

 

 

PART 3: WORLD CLASS CREATIVES

World Class Advertising

3a Advertising

Ideally, we would have loved to have also included a brainstorming session or client presentation, but client confidentiality and timing made this shot too tricky.

1. “Your Ad Here” VFX by The Film Bakery

We decided storyboards and the idea of a generic ‘Your Ad Here’ would add an interesting visual element.   This was by far the hardest shot to figure out a location for.  I was dead set on wanting a location that said city.  It’s not exactly what I had in mind, but after about six attempts, it at least said city billboard.

BHS Engine

Ben setting up to shoot Cal Gardiner @ Engine

2. Joshua Edwards drawing storyboards @ Engine

3. Cal Gardiner & Chris Seeto discussing advertising storyboards @ Engine

2. & 3. Production House, Design studio and Visual Effects facility, Engine has worked extensively in Advertising for over 20 years.

4. Hayley Smith working on advertising layout @ Serpent & The Swan

 

 

 

 

World Class Built Environments

3b Built Environments

1. Georgia Darling, Angus Bruce & Louise Smith @ Hassell Studio

1. & 3. Hassell has won over 750 design awards and is ranked as one of the 2012 BD World Architecture Top 100, combining expertise in architecture, interior design, landscape architecture and planning with integrated sustainability and urban design capabilities.

BHS Angel Place

We shot Angel Place during the day and at night.
Photo: Meredith West

2. Angel Place at night

We wanted to make sure that this section also included an example of the many World-Class Built environments within NSW.  We finally decided on Angel Place as it really is magical and transports you to another place right in the middle of the city.  The addition of Angel Place really added another dimension to creativity within the city and the sheer beauty of the birdcages as you walk underneath is a fantastic experience.

3. Angus Hardwick @ Hassell Studio

 

 

 

 

 

World Class Design

3c Design

Because the design industries are broad and incorporate graphic, fashion and industrial design, we wanted to make sure we included elements of this for the design section.

1. Sheridan Tyler, Fashion Stylist at work with tape measure

Since costume design and fashion stylists are front and centre these days, it felt important to include a fashion stylist as prolific and well regarded as Sheridan Tyler whose resume includes X Factor,  Australian Idol, Celebrity Apprentice, Big Brother and My Kitchen Rules.  One of my favourite shots of the project.

2. Lauri Smith & Hayley Smith, Fashion Designers at work @ Serpent and The Swan

Designed by two sisters from Sydney, their label Serpent & The Swan has become renown for their unique, handcrafted, animal-inspired trimmings on their garments.  They presented what was described as a “mesmerising installation of their latest collection” at MBFWA 2013.

3. Industrial Designer: Michael Abelev @ Miller Tripod

Miller Professional Products has a long history at the same location in NSW.  Miller’s award winning camera support products are exported around the world and are still designed and manufactured in NSW.

4. Graphic Designer: Vince Frost @ Frost Design

Frost Design is a cutting edge design agency working across Advertising, Graphic Design, Fashion and Built Environments.

World Class Creative & Visual Arts

 3d Creative copy

This sector includes museums and art galleries including the Sydney Opera House, Sydney Festival, Sydney Writers’ Festival, Biennale of Sydney (every two years) and the Sydney Film Festival.

1. Hany Armanious @ Museum of Contemporary Art Australia

As we were featuring world-class examples of creative & visual arts, we decided to focus on modern and contemporary works so shots 1 & 3 at the Museum of Contemporary Art Australia worked beautifully.  Shot 1 also incorporated the Sydney Opera House, the national icon of Australia so worked with double meaning.

2. Painter/Sculptor: Swetik Korzeniewski 

We literally bumped into painter/sculptor Swetik Korzeniewski at the traffic lights at William Henry St as we were walking back to the car from The Powerhouse Museum.  Swetik noticed the 50mm Cinema prime lens on the Canon camera Ben was holding which led to a discussion about what we were working on.  Swetik offered up he was a painter & sculptor and if we were interested, his studio was less than 200 metres away.  We had been searching for a representation of a fine artist, so we jumped at the opportunity.  Having taught architecture for over 40 years at the University of Sydney, University of Newcastle and the University of New South Wales, Swetik founded Pillaga Arts in Bowral as a studio before opening up in Ultimo combining architecture with the visual arts.

3. Stephen Birch @ Museum of Contemporary Art Australia

This piece of art incorporated international pop culture with Spiderman but with a eerie yet humourous sculpture that played with scale and context as well as using a distinctive range of materials.

4. Photographer: Mike Seymour @ fxphd

BHS fxphd

On set with fxphd

 

Top level visual effects artist and world wide industry educator Mike Seymour recreating a recent shoot in the fxphd studio.

 

 

 

 

 

5. Amanda Hawley & the Sydney Film Festival team @ Sydney Film Festival 

SFF3

 

With the Sydney Film Festival revving up to its opening night on the 5th June, their offices in Surry Hills were a thriving hive of activity.

 

 

 

 

SFF2

 

 

 

 

 

 

World Class Music

3e Music

Music includes music recording and productions.  So much of music – as with all the creative industries – is high tech, so emphasis was placed on new technologies used in music as well as the ‘classics’.

1. Carlo Giacco, Film & TV Composer at work with digital cello

Carlo is an award winning music composer and producer whose credits include the feature films “Like Minds”, “December Boys” and “15 Amore” as well as the popular TV food series “Food Safari”.  Carlo has also worked with Hollywood film composer Howard Shore on the  Director’s Cut of Lord of The Rings: Fellowship of the Ring.

2. Daniel Brown, Post Production Background Engineer @ Trackdown Studios

2. & 3. Trackdown studios has been one of Australia’s leading audio post and music facilities for over 30 years.  Trackdown’s recent music projects include The Great Gatsby, I Frankenstein, and Walking With Dinosaurs 3D.  Recording and mixing projects include The Voice (Series 2), Delta Goodrem, Ryan Tedder, Coldplay, Will.I.Am and The Saints.

3. Orchestra at work @ Trackdown Studios

4. & 5. Technology in music at work

6. Piano at work in music

My mother will be happy my years of training in classical piano playing finally pays off for this 9 frame shot.

World Class Performing Arts Production

3f Performing

NSW is home to 46% of Australian music and theatre production establishments including the Australia Chamber Orchestra, Bangarra Dance Theatre, Brandenburg Ensemble, Company B, Musica Viva, Opera Australia, Sydney Dance Company and Sydney Symphony Orchestra, the Sydney Theatre Company and The Bell Shakespeare Company.

With so many of the creative industries overlapping – necessarily – it was important to show differentiation between each sector, so we grouped orchestra into Music, and decided to feature theatre, live performance, and dance for this section.

1. Rehearsal “Belong” Totem SP footage courtesy of Bangarra Dance Theatre Australia

Artistic Director: Stephen Page

1. & 2. As a dance fan – particularly contemporary dance – my biggest regret with this project was not being able to shoot the Bangarra Dance Theatre and the Sydney Dance Company.  It inspires and moves me watching dancers create complex stories fueled with emotion and passion.  I’ve always wanted to bring more of the human side of dancers to the fore – to show faces, in performance, letting us, the viewer in on the dance they are creating in collaboration with their fellow dancers and their choreographer.

2. “Sharing Spaces” A Day in the Life.  Footage courtesy of Sydney Dance Company

Artistic Director: Rafael Bonachela

3. Georgia McKay in props room @ Sydney Theatre Company

BHS STC

Ben doing double duty as producer at STC

 

 

Fortunately, we were able to shoot at the Sydney Theatre Company at short notice and Tim McKeough was gracious enough to also allow us to grab a quick shot in the Props Room – which we hadn’t organised up front.  An impressive array of all manner of props used for performances at the STC, the room was pure theatre and added another layer to this section.

 

 

 

 

4. Singer/Songwriter: Paul Winn

From a family of professional musicians, and a graduate of the Sydney Conservatorium of Music, Paul Winn regularly performs live both solo and with his band, the Paul Winn Band.  Paul is in production on his third studio album and has also composed and recorded original music for feature films, documentaries and TV Commercials.

5. Bryte Cameron working curtains @ NIDA, Parade Theatre

BHS NIDA

Ben with NIDA Parade Theatre’s Lighting Director Tom Davies. Tom & Bryce really helped make our finale shot.

 

 

Bryte is responsible for giving us the money shot of the project (the curtain call).  Working at NIDA’s Parade Theatre, it was wonderful seeing someone who clearly loved what they do – nothing was too hard.  NIDA were wonderful in allowing us access to their theatre with our group of actors, so I wanted to impose as little as possible.  The set up I had worked out was for our actors to take a bow holding hands – as if it was the end of a play.  Bryte offered to raise the curtain on the actors – which made for a much more dramatic and dynamic shot.

 

 

 

 

 

6. Indigenous performers @ Waradah Aboriginal Centre

BHS Waruda

Ben filming Lead Song Master Peter Williams

 

 

We shot the Waradah Aboriginal Centre on the same day as the Three Sisters & the Blue Mountains – where the iconic Three Sisters were covered in mist and rain for most of the day.  Director Farid Nayer allowed us to film one of their live shows which included Aboriginal dance and music. The performance, led by Lead Song Master Peter Williams, was a vibrant and energetic show that invited the audience to experience and interact with the performers.  Farid pointed out the large photographer of the Three Sisters on the wall after the show as the view that was being missed that day.

 

 

 

World Class Publishing

3g Publishing

Publishing was another challenge to shoot as we wanted to make publishing visually interesting.

1. Carol Major, Writer @ Varuna The Writers’ House, Katoomba, The Blue Mountains

The classic writer shot.  After reading the Draft Action Plan, the Writer’s Retreat in the Blue Mountains stood out as a potentially visually scenic backdrop for publishing.  Jansis O’Hanlon, CEO of Varuna, The Writers’ House allowed us to shoot in the Eleanor Dark’s garden studio which was almost never available (it had only just been vacated 2 hours before we arrived).

2. Billie Iveson carrying magazines @ Russh

3. Photographer James Mullins & Model Tessa May @ Russh

We wanted to focus on creatives at work, so we decided to broaden publishing by showing a fashion magazine at work.

4. & 5. Rebecca Slater @ Allen & Unwin with E-book

E-books are a major part of publishing today, and one of the most popular means of viewing an E-book is on a tablet.

World Class Screen Sector

3h Screen

As creatives working in television and film, this was our sector – but it also included electronic games and interactive entertainment.

1. Behind the scenes on “Brothers In Arms” TV Mini-series

2. David Wakely, Director of Photography operating Panavision Panaflex

BHS ACS

Behind the Panavision Panaflex with ACS National Secretary David Wakely ACS
Photo: Pieter De Vries

 

 

I finally got to visit the ACS Clubhouse and had the double bonus of working with David again (our first job was a McDonalds TV Commercial years ago) and running into Pieter De Vries (who I’d met while working at National Geographic Channel Australia).

 

 

 

 

 

 

3. Behind the scenes on Westpac Rescue Helicopter cinema commercial

4. Joel Osis, VFX artist @ Engine

Joel was at work on a top secret project that involved a seriously complex node structure in Flame.  He had clearly been working on the project for a while as when he got up to shake our hands, his hands had the distinctively clammy feel of a VFX artist working around the clock and hadn’t seen much daylight.

5. & 6. Interactive Games:  Footage courtesy of Bubble Gum Interactive

Bubble Gum Interactive is the rapidly growing independent game development studio behind award winning games such as Jetpack Jinx and Space Heroes Universe!

World Class Radio

3i Radio

BHS Austereo

The fire in Pitt St. that led to 1200 being evacuated

 

 

Some behind the scenes drama, when, on the way to our shoot at Austereo, we saw the area around World Square engulfed with smoke from the blaze in a multi-story building in Pitt St.

There were around 50 firefighters at the scene and the around Pitt St and Liverpool St were closed.  We wondered if our shoot would be cancelled as we headed up the lifts, but fortunately, the Austereo building was not affected by the blaze.

 

 

 

 

 

1. Radio Announcer Ellie Mobbs at work

We were hoping to shoot at DJ at work, but were surprised to be allowed to shoot a DJ live on air.  Ellie didn’t miss a beat as she kept an eye on the countdown, and expertly operated her console.

2. & 3. Radio technology at work @ Austereo

4. Radio Production: Michael Snitch

This was our bonus radio shot – we were literally walking down to Triple M when we walked past Michael in post.  Craig popped his head in to ask if we could shoot – which made a great balance within our radio section.

Individual Creatives

3j Individual

With the featured creatives section, we wanted to maintain a balance of the various industries.  In directing these creatives, I wanted everyone to be real, and not too self-conscious – in spite of having them look directly at camera! – so it was a matter of figuring out in situ what would be a natural thing for each creative to do so that the movement would look dramatic at 50fps without looking hokey.

  1. For Adriana, we had her check correspondence on the computer behind reception.
  2. For Mike, we had him aim the camera at our camera.
  3. For Carol, we gave her a book and mug of steaming tea as props (a little more set up – but the house was too beautiful not to shoot an exterior of)
  4. Stewart has years of experience as a musician/composer and as a theatre performer (“Looking Through A Glass Onion” with John Waters, “My Leonard Cohen”, “Belly of a Drunken Piano”, “Satango”, “Tom Waits for no Man” among many others), so he needed little direction.  It was more a matter of getting Stewart to look into camera at various points as he played so we had a choice of the best moment.

1. Adriana DiPerna @ Southern Cross Austereo

2. Mike Seymour, Photographer

3. Carol Major, Writer

4. Stewart D’Arrietta, Musician/Composer

Small Group Creatives

3k Small Group

With groups, especially with the bigger groups, it was tricky to coordinate timing for everyone to look into camera at the same time.  We averaged between three and five takes to get most shots.

1. Lauri Smith & Hayley Smith, Fashion Designers @ Serpent & The Swan

We asked Lauri and Hayley what backdrop they liked most in their studio, and they chose the vintage drawers that we ended up using.  I had them turning from the drawers to face camera.

2. Michael Abelev, Kamlesh, Rudy Pineda & Jie Xu (Industrial Design) @ Miller Tripod

Apologies to Rudy & Kamlesh for spoiling their acting debut but I overestimated the action on this shot so was unable to show them all turned around.

3. Jess Blanch, James Mullins, Miriam Nichterlein & Billie Iveson (Publishing) @ Russh

We shot this in the stairwell of the Russh office building.  I kept the action to a simple look to camera from chatting amongst themselves.

4. Jim Poe, Nashen Moodley, Claudia Santangelo, Paul Struthers & Luci McCulloch (Creative & Visual Arts) @ Sydney Film Festival

The Sydney Film Festival office was heaving with activity, so we decided the couch with the SFF signage as a backdrop would be the most visual.  Craig provided a proof of the Festival Program as our prop that everyone pretended to study and discuss before looking into camera.

Medium Group Creatives

3l Medium Group

1. Erin Farnell, Laura Cunneen, Ashleigh Crabtree, Bradhly Le, Ciaran Acton & Evan Whiteside (Built Environment) @ Hassell Studio

Even though it was a quick shot, I really wanted to shoot the creatives at Hassell around an architectural model.  I’m not sure you even recognise that it’s a model on one viewing, but hopefully it’ll be picked up on multiple viewings.

2. Amy Milne, Valerie Wong, Rebecca Slater, Louise Carnegi, Elisabeth Morgan, Patrizia DiBiase-Dyson, Christine Farmer, Lara Wallace, Clare Keighery (Publishing) @ Allen & Unwin

Prior to arriving at the Allen & Unwin offices, I was a little worried about how to sell this shot as ‘publishing’.  A perfect backdrop of books, books and more books.  We added a few more on the table just to push the point across.

3. Vince Frost, Adam Longo, Grace Kiernan, Lily Sharp, Katherine Monk, Angela Florio, Angela Moscoso, Katie Bevin, Justine Lesmana, Andy Suter, Matthew Johnson, Graziela Machado, Charlie Bromley, Joanna Mackenzie, Bridget Atkinson, Catriona Burgess, Charlotte Brady, Carlo Giannasca, Ant Donovan, Marla Minow  @ Frost Design

Miya had requested we shoot the wall emblazoned with the Frost Design motto “inspiring ideas to life”.  Given this was a great representation of design and branding, we were more than happy to oblige.

Curtain Call Creatives

3m curtain call2

I wanted to make this finale shot dramatic but not overly sophisticated.   The brief I gave Emily Stewart, who graciously helped us coordinate all of the actors for the scene was jeans and white T-shirt – a la Tennessee Williams.  Emily teaches acting at The Actor’s Pulse, an acting school specialising in the most modern version of the Meisner Technique.     The brief I gave the actors was to imagine this was the last night in a several month long run of a play.  Exhilarated, exhausted, relieved and energised.

Jim Melcraft, Joseph Collins, Gustavo Barbosa, Kiah Carter,  William Hartanto, Tania Starr, David Hopkins, Lidia Onufrei, Zenia Starr, Emily Stewart, Charles An (Performing Arts & Production) @ Parade Theatre, NIDA

Finale Montage

3n montage

(L to R, 1st row, then 2nd row, then 3rd row)

1. “Hello Elle Australia”, Mercedes Fashion Week footage courtesy of IMG World & Rightster UK

2. Orchestra footage @ Trackdown Studios courtesy of Trackdown

3. “Spirit” footage courtesy of Bangarra Dance Theatre Australia

4. Actors in rehearsal @ NIDA Parade Theatre

5. “Sharing Spaces” A Day in the life Ep 1 footage courtesy of Sydney Dance Company

6. Hayley Smith, Fashion Designer at work @ Serpent and The Swan

7. Elyssa Haratsis & Georgia McKay@ Sydney Theatre Company, Walk of Posters

8. Behind The Scenes on “Brothers In Arms”, A Screentime production

9. Performers at Waradah Aboriginal Centre

10. Hayley Smith, Fashion Designer at work @ Serpent and The Swan

11. Behind the scenes on Westpac Rescue Helicopter cinema commercial

12.Tom Davies, Lighting Director @ NIDA Parade Theatre

13. “Sharing Spaces” A Day in the life Ep 1 footage courtesy of Sydney Dance Company

14. “Serpent & The Swan”, Spring/Summer 2013/14 Mercedes Fashion Week footage courtesy of IMG World & Rightster UK

15. Hassell Studio model architecture

16. Orchestra @ Trackdown Studios footage courtesy of Trackdown

17. “Romance Was Born”, Spring/Summer 2013/14 Mercedes Fashion Week footage courtesy of IMG World & Rightster UK

18. Lauri Smith & Hayley Smith, Fashion Designers at work @ Serpent and The Swan

Special Thanks to:

Kate Hurst @ Hurst and Co.

19. “Spirit” footage courtesy of Bangarra Dance Theatre Australia

20. Behind The Scenes on “Brothers In Arms”, A Screentime production

21. “Sharing Spaces” A Day in the life Ep 5 footage courtesy of Sydney Dance Company

 

(7) CAMERAS, COLOUR GRADE & SOUND MIX

Please refer to Ben’s separate blog about Cameras, Colour Grade & Sound Mix

 

(8) AFTERWORD

duration: 5 weeks from animatic

Simultaneously produced, shot, sound designed and edited by a 2-man crew from idea to delivery across almost 70 locations throughout NSW.

114 x shots

24 x graphics & animation

2 x VFX shots

188 stereo channels on mixer including effects buses and sub-mixes

2 days of colour grading

3 days of audio mixing

 

(8) CREDITS

SCREEN NSW

Maureen Barron, Chief Executive
Matt Carroll, Director Production Attraction & Incentives

THE FILM BAKERY

Clara Chong, Writer/Director
Ben Allan ACS, Producer/Cinematographer

 

All photos & Screen Captures by The Film Bakery unless otherwise noted.

 

Extra Special Thanks to:

Kazuko Minamoto-Cho & Jacinda Hendrikx

 

PART 1: EDUCATION

1. Preschool

Location: KU Frances Newton Pre-school, Darlinghurst

Director: Georgina Senescall

Teacher: Angela McLean

Preschoolers: Evie Armstrong Reading, Coco Bayard, Lucas Chen, Georgina Corish, Penelope Corish, Alexander Durbin, Milla Everitt, Theo Hendrikx, Darren Huang, Meadow Jalibat,  Milo Johnson, Willem Knippers, Max Springett-Kely,  Anastasia Tracey & Ava Upton.

Special Thanks to:

Georgina Senescall, Angela McLean, Saskia St. Clair & Anne Parish @ KU Frances Newton 

Haydn Murray, Manager, Marketing and Communications, KU Children’s Services

2. High School

Location: Newtown High School of the Performing Arts

Drama Teacher: Brenton Fletcher

Students: Laura Stewart, Iris Higginbotham, Tamasin Schmiga, Nahiedlli Portillo-Baskett, Lauren Olofsson, Audrey Mitchell, Tennesse Baz-Jeffrey, Bryn Chapman Parish, Tallulah Nunley-Brown, Jessica Black & Lily Weston

Special Thanks to: 

Nilaufer Rajwar, Relieving Deputy Principal, Newtown High School of the Performing Arts

3. University

Location: Fabrication Workshop, Peter Johnson Building @ UTS

Students: Andrew Huynh, Katrina Sum, Sandy Woo, Jayson Fong, Bryden Ellens, Shane Chandler, Kenny Som, Nancy Stevens, Nicole Isaacson

Special Thanks to:

Berto Pandolfo, Director Industrial Design, Senior Lecturer, Faculty of Design, Architecture and Building, Univeristy of Technology Sydney

 

PART 2: NSW INSPIRES
History

1. Tall Ship leaving Campbell Cove, Circular Quay

Special Thanks to:

Scott Eager, Venue Hire Event Coordinator @ Sydney Harbour Foreshore Authority

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

 

2. Statue of Queen Victoria in QVB Forecourt, Sydney

Special Thanks to:

Fiona Walker, Film Liaison Officer @ City of Sydney

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

 

3. Museum of Contemporary Art Australia – Australian Flag, NSW State Flag & Aboriginal Flag from Circular Quay

Special Thanks to:

Kelly Stone, Public Relations Manager @ Museum of Contemporary Art Australia

Fiona Walker, Film Liaison Officer @ City of Sydney

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

 

4. Martin Place clock tower – from Pitt St

Special Thanks to: 

Fiona Walker, Film Liaison Officer @ City of Sydney

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

 

5. NSW Art Gallery

Special Thanks to:

Karla Davies, Public Affairs & Community Relations Manager @ The Royal Botanic Gardens & Domain Trust

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

 

 People

1. Belinda Boutsikakis, Adam Abboud, Arthur Paras, Amber Clarke & Meredith West

Special Thanks to:

Belinda Boutsikakis

2. Jamie Lee

3. Michael Doyle & Richard Justin Burford

 

TECHNOLOGY

1. #MCA_Now Instagram pics by visitors and gallery staff displayed on several screens throughout the Museum of Contemporary Art Australia

Special Thanks to:

Kelly Stone, Public Relations Manager @ Museum of Contemporary Art Australia

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

 

2. Renishaw PH10T at Miller Tripods

Special Thanks to:

Michael Abelev @ Miller

 

3. Cyberworlds: computers and connections at Powerhouse Museum

Special Thanks to:

Fiona Bennett, Event Sales Manager, Commercial Development @ Powerhouse Museum

Matthew Smith, Venue Manager Operations @ Powerhouse Museum

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

 

4. MCR @ Southern Cross Austereo

Special Thanks to:

Tim Stuart & Craig Borg, Vision Production Manager @ Southern Cross Austereo
LOCATIONS

1. The Three Sisters, Echo Point, Blue Mountains

Special Thanks to:
Jeff Allwood, Facilities Liaison Officer @ Blue Mountains City Council

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

 

2. Timelapse Circular Quay (from east)

Special Thanks to:
Fiona Walker, Film Liaison Officer @ City of Sydney

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

 

3. St. Marys Cathedral

Special Thanks to:
Fiona Walker, Film Liaison Officer @ City of Sydney

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

 

4. Centrepoint Tower

Special Thanks to:
Fiona Walker, Film Liaison Officer @ City of Sydney

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

 

5. Taralga farmland, Southern Highlands NSW

Special Thanks to:
Livia Bartoletti & Andrew Dawson

 

6. Circular Quay (from west)

Special Thanks to:
Fiona Walker, Film Liaison Officer @ City of Sydney

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

 

7. Timelapse Blue Mountains

Special Thanks to:
Jeff Allwood, Facilities Liaison Officer @ Blue Mountains City Council

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

 

8. Timelapse Sydney Harbour Bridge (night)

Special Thanks to:
Fiona Walker, Film Liaison Officer @ City of Sydney

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

9. Newcastle Industrial Skyline (Kooragang Island) dusk

10. The Rocks laneway

Special Thanks to:
Fiona Walker, Film Liaison Officer @ City of Sydney

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

 

12. Timelapse Sydney Opera House – night

Special Thanks to:

Fiona Walker, Film Liaison Officer @ City of Sydney

Luke Torrevillas, Location Manager & Dulce Aguilar, Location Assistant @ ecomlocations

 

PART 3: WORLD-CLASS

 

World-Class Advertising

1. “Your Ad Here” VFX by The Film Bakery

2. Joshua Edwards drawing storyboards @ Engine

3. Cal Gardiner & Chris Seeto discussing advertising storyboards @ Engine

4. Hayley Smith working on advertising layout @ Serpent & The Swan

Special Thanks to:

Calvin Gardiner @ Engine

Kate Hurst @ Hurst and Co.

 

World-Class Built Environments

1. Georgia Darling, Angus Bruce & Louise Smith @ Hassell Studio

2. Angel Place by night

3. Angus Hardwick @ Hassell Studio

Special Thanks to:

Erin Farnell, Office Manager @ Hassell Studio

Fiona Walker, Film Liaison Officer, City of Sydney

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

 

World-Class Design

1. Sheridan Tyler, Fashion Stylist at work with tape measure

2. Lauri Smith & Hayley Smith, Fashion Designers at work @ Serpent and The Swan

3. Industrial Designer: Michael Abelev @ Miller Tripod

 4. Graphic Designer: Vince Frost @ Frost Design

Special Thanks to:

Adelaida Pecino

Kate Hurst @ Hurst and Co.

Miya Bradley & Vince Frost @ Frost Design

 

World-Class Creative & Visual Arts

1. Hany Armanious

Fountain 2012

marble, polyurethane resin, bronze

Inaugural commission in the MCA Sculpture Series

2. Painter/Sculptor: Swetik Korzeniewski

3. Stephen Birch

Untitled   2005

polyeurethane, synthetic polymer paint, fiberglass, acrylic hair and eyes

Museum of Contemporary Art, gift of the Estate of Stephen Birch, 2008

4. Photographer: Mike Seymour

5. Amanda Hawley & the Sydney Film Festival team @ Sydney Film Festival 

Special Thanks to: 

Kelly Stone, Public Relations Manager @ Museum of Contemporary Art Australia

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

Pilliga Arts

fxphd

Craig Donarski, Marketing Manager @ the Sydney Film Festival & Sydney Film Festival staff: Jess Tanhchareun, Jessica Ellicott, Alicia Emery, Amanda Hawley, Belinda Davis, Claudia Santangelo, Ben Amy, Christine Chahoud, Eliza Ocana, Jenny Neighbour, Amelia Olsen-Boyd, Sarah Yates, Katherine Rogers, Josh Green, Alycia Bangma, Toni Stowers & Keefer Cornwall

 

WORLD-CLASS MUSIC

1. Carlo Giacco, Film & TV Composer at work with digital cell

2. Daniel Brown, Post Production Background Engineer @ Trackdown Studios

3. Orchestra at work @ Trackdown Studios

4. & 5. Technology in music at work @ Carlo Giacco studios

6. Piano at work in music

Special Thanks to:

Carlo Giacco
Elaine Beckett, Director/General Manager & Abbey Smith, Studio Coordinator @ Trackdown

Veronica & Phillip D’Cunha

 

WORLD-CLASS PERFORMING ARTS PRODUCTION

1. Rehearsal “Belong” Totem SP footage courtesy of Bangarra Dance Theatre Australia

2. “Sharing Spaces” A Day in the Life.  Footage courtesy of Sydney Dance Company

3. Georgia McKay in props room @ Sydney Theatre Company

4. Singer/Songwriter: Paul Winn

5. Bryte Cameron working curtains @ NIDA, Parade Theatre

6. Indigenous performers @ Waradah Aboriginal Centre

Special Thanks to:

BDT-Logo-HIRES-03Carolyn Hammer, Digital Media & Publicity Manager & Tiffany Parker @ Bangarra Dance Theatre Australia.

Artistic Director: Stephen Page

Georgia Malone, Marketing Manager @ Sydney Dance Company

Artistic Director: Rafael Bonachela

Tim McKeough, Media Relations Manager @ Sydney Theatre Company

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

Emily Stewart

Johanna Mulholland, Producer, Parade Theatres @ NIDA

Farid Nayer, Director @ Waradah Aboriginal Centre, Echo Point, Katoomba

Peter Williams, Lead Song Master @ Waradah Aboriginal Centre, Echo Point, Katoomba

 

 WORLD-CLASS PUBLISHING

1. Carol Major, Writer @ Varuna The Writers’ House, Katoomba, The Blue Mountains2. Billie Iveson carrying magazines @ Russh

3. Photographer James Mullins & Model Tessa May @ Russh

4. & 5. Rebecca Slater @ Allen & Unwin with E-book

Special Thanks to:

Jansis O’Hanlon, Chief Executive Office, Varuna The Writers’ House

Jess Blanch, Editor in Chief, Russh Magazine

Edwina Johnson @ Allen & Unwin

 

World Class Screen Sector

1. Behind the scenes on “Brothers In Arms” TV Mini-series

2. David Wakely, Director of Photography operating Panavision Panaflex

3. Behind the scenes on Westpac Rescue Helicopter cinema commercial

4. Joel Osis, VFX artist @ Engine

5. & 6. Interactive Games:  Footage courtesy of Bubble Gum Interactive

Special Thanks to:

Bob Campbell, Managing Director @ Screentime

Australian Cinematographers Society Clubhouse

Reinhold & Jamie-Lee Habeler@Concept Creative Communications

Calvin Gardiner @ Engine

Aaron Wilson & Paul Gray @ Bubble Gum Interactive

 

World Class Radio

1. Radio Announcer at work

2. & 3. Radio technology at work @ Austereo

4. Radio Production: Michael Snitch

Special Thanks to:

Tim Stuart & Craig Borg, Vision Production Manager @ Southern Cross Austereo

 

Individual Creatives

1. Adriana DiPerna @ Southern Cross Austereo

2. Mike Seymour, Photographer

3. Carol Major, Writer

4. Stewart D’Arrietta, Musician/Composer

Special Thanks to:

Tim Stuart & Craig Borg, Vision Production Manager @ Southern Cross Austereo

Mike Seymour@fxphd

Jansis O’Hanlon, Chief Executive Office, Varuna The Writers’ House

 

Small Group Creatives

1. Lauri Smith & Hayley Smith, Fashion Designers @ Serpent & The Swan

2. Michael Abelev, Kamlesh, Rudy Pineda & Jie Xu (Industrial Design) @ Miller Tripod

3. Jess Blanch, James Mullins, Miriam Nichterlein & Billie Iveson (Publishing) @ Russh

4. Jim Poe, Nashen Moodley, Claudia Santangelo, Paul Struthers & Luci McCulloch (Creative & Visual Arts) @ Sydney Film Festival

Special Thanks to:

Kate Hurst @ Hurst and Co.

Jess Blanch, Editor in Chief, Russh Magazine

Craig Donarski, Marketing Manager @ the Sydney Film Festival

 

Medium Group Creatives

1. Erin Farnell, Laura Cunneen, Ashleigh Crabtree, Bradhly Le, Ciaran Acton & Evan Whiteside (Built Environment) @ Hassell Studio

2. Amy Milne, Valerie Wong, Rebecca Slater, Louise Carnegi, Elisabeth Morgan, Patrizia DiBiase-Dyson, Christine Farmer, Lara Wallace, Clare Keighery (Publishing) @ Allen & Unwin

3. Vince Frost, Adam Longo, Grace Kiernan, Lily Sharp, Katherine Monk, Angela Florio, Angela Moscoso, Katie Bevin, Justine Lesmana, Andy Suter, Matthew Johnson, Graziela Machado, Charlie Bromley, Joanna Mackenzie, Bridget Atkinson, Catriona Burgess, Charlotte Brady, Carlo Giannasca, Ant Donovan, Marla Minow  @ Frost Design

Special Thanks to:

Erin Farnell, Office Manager @ Hassell Studio

Edwina Johnson @ Allen & Unwin

Miya Bradley & Vince Frost @ Frost Design

 

Curtain Call Creatives

Jim Melcraft, Joseph Collins, Gustavo Barbosa, Kiah Carter,  William Hartanto, Tania Starr, David Hopkins, Lidia Onufrei, Zenia Starr, Emily Stewart, Charles An (Performing Arts & Production) @ Parade Theatre, NIDA

Special Thanks to:

Emily Stewart

Johanna Mulholland, Producer, Parade Theatres @ NIDA

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

 

Finale Montage

(L to R, 1st row, then 2nd row, then 3rd row)

1. “Hello Elle Australia”, Mercedes Fashion Week footage courtesy of IMG World & Rightster UK

2. Orchestra footage @ Trackdown Studios courtesy of Trackdown

3. “Spirit” footage courtesy of Bangarra Dance Theatre Australia

4. Actors in rehearsal @ NIDA Parade Theatre

5. “Sharing Spaces” A Day in the life Ep 1 footage courtesy of Sydney Dance Company

6. Hayley Smith, Fashion Designer at work @ Serpent and The Swan

7. Elyssa Haratsis & Georgia McKay@ Sydney Theatre Company, Walk of Posters

8. Behind The Scenes on “Brothers In Arms”, A Screentime production

9. Performers at Waradah Aboriginal Centre

10. Hayley Smith, Fashion Designer at work @ Serpent and The Swan

11. Behind the scenes on Westpac Rescue Helicopter cinema commercial

12.Tom Davies, Lighting Director @ NIDA Parade Theatre

13. “Sharing Spaces” A Day in the life Ep 1 footage courtesy of Sydney Dance Company

14. “Serpent & The Swan”, Spring/Summer 2013/14 Mercedes Fashion Week footage courtesy of IMG World & Rightster UK

15. Hassell Studio model architecture

16. Orchestra @ Trackdown Studios footage courtesy of Trackdown

17. “Romance Was Born”, Spring/Summer 2013/14 Mercedes Fashion Week footage courtesy of IMG World & Rightster UK

18. Lauri Smith & Hayley Smith, Fashion Designers at work @ Serpent and The Swan

19. “Spirit” footage courtesy of Bangarra Dance Theatre Australia

20. Behind The Scenes on “Brothers In Arms”, A Screentime production

21. “Sharing Spaces” A Day in the life Ep 5 footage courtesy of Sydney Dance Company

Special Thanks to:

1. Emily Leiding Weight @ IMG World

Stephanie Atkinson @ Rightster UK

2. Elaine Beckett, Director/General Manager & Abbey Smith, Studio Coordinator @ Trackdown

3. Carolyn Hammer, Digital Media & Publicity Manager & Tiffany Parker @ Bangarra Dance Theatre Australia.

Artistic Director: Stephen Page

4. Emily Stewart

Johanna Mulholland, Producer, Parade Theatres @ NIDA

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

5. Georgia Malone, Marketing Manager @ Sydney Dance Company

Artistic Director: Rafael Bonachela

6. Kate Hurst @ Hurst and Co.

7. Tim McKeough & Georgia McKay, Media Relations Manager @ Sydney Theatre Company

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

8. Bob Campbell, Managing Director @ Screentime

9. Farid Nayer, Director @ Waradah Aboriginal Centre, Echo Point, Katoomba

Peter Willimas, Lead Song Master @ Waradah Aboriginal Centre, Echo Point, Katoomba

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

10. Kate Hurst @ Hurst and Co.

11. Reinhold & Jamie-Lee Habeler@Concept Creative Communications

12. Johanna Mulholland, Producer, Parade Theatres @ NIDA

Luke Torrevillas, Location Manager  & Dulce Aguilar, Location Assistant @ ecomlocations

13. Georgia Malone, Marketing Manager @ Sydney Dance Company

Artistic Director: Rafael Bonachela

14. Emily Leiding Weight @ IMG World

Stephanie Atkinson @ Rightster UK

15. Erin Farnell, Office Manager @ Hassell Studio

16. Elaine Beckett, Director/General Manager & Abbey Smith, Studio Coordinator @ Trackdown17. Emily Leiding Weight @ IMG WorldStephanie Atkinson @ Rightster UK

18. Kate Hurst @ Hurst and Co.

19. Carolyn Hammer, Digital Media & Publicity Manager & Tiffany Parker @ Bangarra Dance Theatre Australia.

Artistic Director: Stephen Page

20. Bob Campbell, Managing Director @ Screentime

21. Georgia Malone, Marketing Manager @ Sydney Dance Company

Artistic Director: Rafael Bonachela

 

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