5 minute read
LETTER FROM AUSTRALIA•ERIKA ADDIS ACS
WALKING THE TALK
In her new role as the national president of the Australian Cinematographers Society (ACS), Erika Addis ACS aims to walk-the-talk on diversity and inclusion. (See her IF Magazine #192 January 2020 article below charting the work being done to bring about change in the camera workforce and screen industry).
“The ACS started-up in 1958 with the aim of advance the art of cinematography and support Australian cinematographers. The ACS has a unique collegiate structure, which means that the eight state and territory branches we now have are run by, and for, their local members, and put on events including everything from screenings to gear demonstrations to state and territory awards.
Membership is open to everyone, as long as a person applying to join can demonstrate their credentials and experience in cinematography. We also have camera assistants, colourists, gaffers and other colleagues who are members. The egalitarian structure of the ACS is unlike other major cine societies around the world, where entry is strictly by invitation-only. This openness is built into the ACS constitution, consciously chosen by the founding cinematographers.
At the awards level, the ACS recognises cinematography in many areas – not only the work on features and TV series, but also in news, current affairs, documentary, specialist wildlife work, second unit cinematography, and TV station breaks and promos. Again, this broad recognition is by design, acknowledging the artistry and skill in many areas that may be regarded as humble and less glamorous by the industry at large.
Over the last decade, with events such as the #MeToo campaign and #OscarsSoWhite clearly impacting the screen industry here and globally, there has been a change of atmosphere; a shift happening in the industry and in the ACS. In 2012, I was a founding member and chair of the ACS Women’s Advisory Panel (WAP), which we formed to ensure that women’s voices would be heard. That panel reported up to the ACS national executive and saw the participation of women in the ACS clearly grow. The WAP then evolved to become the Diversity, Inclusion & Reconciliation Committee (DIRC) in 2021. The remit for the DIRC is to further-expand the focus of the ACS to reach out to minorities who have experienced exclusion or discrimination – including First Nations, people of colour, disabled, LGBTQI+ identifying and others.
It is an historic change to now have a female national president of the ACS and also female branch presidents; in NSW, Carolyn Constantine ACS and in ACT, Tamara Penniket. The ACS is walking-the-talk in what is still definitely a male-dominated area. The numbers of women accredited in the ACS also chart a clear change. In the first 55 years of the society, only six women achieved accreditation, and in the last seven years 12 have. And, in 2022, our very own Ari Wegner ACS became only the second woman to ever be nominated for an Oscar for cinematography in the 99 years of the Academy Awards, and the first woman to win the BSC Best Cinematography Features for her work on The Power Of The Dog.
The soon-to-be-released, ‘A Wider Lens: Australian Camera Workforce Development & Diversity’ is a world-first comprehensive report into a nation’s camera workforce. Commissioned by the ACS, the research is led by Deakin University’s Dr Amanda Coles. It is an analysis of the major factors which enable and/or constrain career pathways into cinematography.
The figures and analysis speak to widespread
discrimination, with intersectionality between gender, race, class, age and sexual orientation, and industrywide damaging work practices. It’s clear that a film crew member who is both female and non-Caucasian, and perhaps older than average, experiences greater discrimination from the cumulative effect of the intersection of these factors.
The survey also highlights the demands that our industry places on the mental health of its workforce, with long hours and time away from family starting to be acknowledged. It’s worth remembering the closelyaverted IATSE strike in the US last year; perhaps a sign that the pandemic has given us the opportunity to reflect on our work culture, especially as the global industry has rebounded and we have never been busier.
We look forward the report’s imminent release and working with colleagues and partners across the industry to make change for the better happen so that our industry is healthier and more balanced.
In another major project, we are currently partnering with Screen Australia to deliver Credit Maker. This scheme is designed to facilitate female DPs getting their first series drama credit, whilst being mentored by an experienced supervising DP. The ACS is proud to be implementing this campaign that will make change happen, both for the individuals and the industry.
Overall, I see my role is to ensure new generations are getting access to opportunities, and we want them to come into a more inclusive industry, one that cares about people’s wellbeing, as well as artistic achievements. Making our industry more sustainable – so that people not only survive, but thrive – is key to this. With everything I’ve learnt since my early days as a clapper/loader on Storm Boy (1976, dirs. Henri Safran/Ian Goddard, DP Geoff Burton) filming on the Coorong with David Gulpilil and the pelicans, I know this will take determination and time, and I’m proud to be leading the ACS as it walks the talk.”
SOFT LIGHT. PRECISE WHITE.
COLOUR SCIENCE With its innovative light engine, Panalux Sonara produces a broad, even spectrum of variable white light at a high CRI, TLCI, and SSI, from 1600K-20,000K. Render natural skin tones, tune across an array of pastel hues, and accurately emulate select LEE lighting gels. CONTROL Panalux Sonara provides the highest level of creative control with adjustable CCT, HSI, Gel, and x,y coordinate modes. Connect via DMX, LumenRadio CRMX, or EtherCON, or take command with the removable, ergonomic controller with custom UI. FORM FACTORS Available in 4:4, 3:2, and 4:1 form factors, Panalux Sonara offers a low weight, slim profile, and integrated ballast. Refine the fixtures’ wraparound output via softbox, diffusion, or eggcrate, and rig how you like with comprehensive mounting options.
