The T Stop Inn

The career of Mark Bliss ACK unfolds like a cold war adventure novel with a daring escape from behind the iron curtain leading to starting over as a refugee in Australia and an incredible career in cinematography. Starting down under with music videos and commercials his work eventually lead him back to Europe where he has had an incredible run of work for over a decade, recently leading him to the red carpet of the Cannes Film Festival.

Dr Mike Seymour shares his insights into how Artificial Intelligence and Machine Learning technology will change the way that every department in film production works over the next two years.

Martin Ruhe ASC talks about his recurring collaborations with George Clooney and the NETFLIX science fiction epic THE MIDNIGHT SKY.  Martin discusses the practicalities of the ambitious film including the choice of ARRI ALEXA 65 & DNA Prime Lenses, shooting on an Arctic glacier, LED volume in studio, the lighting approach and working with Clooney's dual roles as director and star. Martin also talks about the virtues of shooting single camera, doing his own operating and how he grounds the visuals in the story and character while working film style with digital cameras as well as working with legendary colorist Stefan Sonnenfeld at Company 3.

Ben Allan ACS CSI and Clara Chong discuss the realities of editing and grading in Da Vinci Resolve on the new M2 iPad Pro.

From "Dances With Wolves" to working with Tom Cruise, Angelina Jolie, Jim Carey, Eddie Murphy, Renee Zellwegger and Arnold Schwarzenegger, this is an inspiring and hilarious rollercoaster ride through Hollywood and the world of big movies. Dean Semler opens up about experiences and insights from one of the most remarkable careers of a generation.

In Part 1 of this special, Dean Semler AM ACS ASC explains how he got his start in the industry, his early experiences in TV and shooting documentaries and then the making of MAD MAX: ROAD WARRIOR, DEAD CALM, COCKTAIL, YOUNG GUNS, LONESOME DOVE, K9 and DANCES WITH WOLVES and shares some of the best things he learned along the way.

Steve Arnold ACS talks about his experience shooting the hit Aussie film "RAMS" with Sam Neill, Michael Caton and director Jeremy Sims. Steve tells us about the process of testing and comparing the full range of Panavision Anamorphic lenses, creating custom LUT's for the film and how he works to get a much of the look as possible captured in camera. This episode was recorded with a live audience at the United Cinemas Opera Quays in Sydney as a special event with the NSW ACS.

Greig Fraser ACS ASC discusses his Emmy Award winning work on "The Mandalorian" and the realities of working with the LED Volume virtual production system the made the series practical.  He also talks about "Lion", "Zero Dark Thirty", "Star Wars: Rogue One" and "Dune" and looks back at some of his early work including the Palm d'Or winning short film "Cracker Bag".

Mihai Malaimare Jr is an extraordinarily talented Romanian cinematographer who has worked with some of the best directors in the world, including Francis Ford Coppola and Paul Thomas Anderson. In this episode he talks about his work on JOJO RABBIT, how he collaborated with Taika Waititi and how he used an incredible quirk of mathematics to frame the film in a 1.85:1 aspect ratio while using anamorphic lenses.

Mark Lapwood ACS has had built an international reputation as a visually inventive and collaborative cinematographer working on big budget TV commercials and feature films all around Asia and India as well as in Australia and New Zealand.  Mark has also managed to find a very rare balance of this work with his passion projects in documentary and time-lapse.  In this conversation Mark explains how he did it and what he expects from the future.

Clara Chong and T STOP INN host Ben Allan ACS CSI respond to requests from film industry professionals around the world who are suddenly working from home because of the COVID-19 global pandemic. Talking through their experience over the last decade of simultaneously running a production company and raising a family by bringing more and more of the film making process, literally... "in-house". Clara and Ben talk through the challenges and opportunities of working from home as film makers and how we can all make the most of the current situation.

Matt Town is one of the top Post Production Supervisors in the world with credits including MAD MAX FURY ROAD, LEGO BATMAN and THE GENTLEMEN and now Post Production Manager, EMEA International Original Features at NETFLIX. Matt shares rare insights into how everything from monitor calibration to debayering is being done at the highest levels of the industry and where things are going next. Matt's passion is joining the dots between the shoot and post-production throughout the process and his observations are essential information for any cinematographer who wants to keep control of their pictures.

Steve Windon ACS ASC talks about shooting 2nd Unit of CROCODILE DUNDEE going Hollywood with RAPA NUI, THE POSTMAN, SONIC THE HEDGEHOG, THE FAST & THE FURIOUS and many more films as well as what it was like growing up in cinematography, how to get an agent and learning how to play the Hollywood game the right way.

Murray Lui brings his unique perspective to everything he shoots, coming from a tiny island in the Torres Straight and having developed a passion for classic cinematography techniques. This mix combines with his technical skills and calm creativity to create the indelible imagery of TOP END WEDDING and ROSEHAVEN among many others.

Siggy Ferstl is one of the world’s most experienced and respected colorists and he explains how his recent work on the Disney, Willem Dafoe film TOGO has used the newly expanded toolset of Da Vinci Resolve to break new ground in what is possible for color grading films and the new possibilities in the collaboration between a colorist and cinematographer.

Marcus Hides ACS is one of Australia's most experienced drama cinematographers.  Currently one of the team of cinematographers shooting "Home & Away" for the Seven Network as it rolls into its 33rd consecutive year of production this week, he discusses the show's shooting schedule of 46 weeks per year and the recent switch from ENG style cameras to Super-35 Digital Cinema cameras while continuing to shoot at an incredible pace.

After graduating from film school, Bonnie Elliott ACS quickly established herself as a force to be reckoned with in the cinematography world.  She talks about her recent work and how she became one of the busiest and most popular cinematographers in Australia.

John Seale continues his discussion about how to help actors do their best work, he explains the trick he's learned to make stars and directors want to work with you again and again and how to protect your future career when you're under pressure to get the shot. He also talks about building technical confidence, how to work in service of the story and why he's coming out of retirement again next year.

Legendary cinematographer, John Seale talks about his early career as a highly sought after camera operator, then becoming Director of Photography and moving into the Hollywood system. He shares behind the scenes stories of working with directors like Sydney Pollack, Peter Weir and George Miller along with stars like Dustin Hoffman, Angelina Jolie, Tom Cruise and Charlize Theron. John also explains his approach to lighting, composition and camera movement and how to help actors and directors do their best work.

Anna Howard ACS talks about balancing drama, documentaries and commercials as well as rising up through the camera department in the Australian industry. She also discusses mental health, mentors and the complex issues around equality and diversity in our industry.

Martin McGrath ACS talks about his recent film RIDE LIKE A GIRL which has opened in the #1 spot at the Australian Box Office.  Marty discusses his creative and technical approach to the film as well as collaborating with Director Rachel Griffiths, A-Camera Operator Jessica Clarke-Nash and Editor Jill Bilcock ACE ASE.   Marty also talks about his work on the iconic MURIEL'S WEDDING and BLUE MURDER as well as how his career began with an early morning coincidence at Caulfield Race Course in Melbourne when he was a teenager.

Tristan Milani ACS talks about returning to the Australian industry from the US and returning TV Drama with "Secret Bridesmaids' Business" which is premiering on the Seven Network this weekend.

Susan Lumsdon has a diverse background on many of Australia's most well loved TV shows, such as "The Chaser's War On Everything", "Gardening Australia", "GP", "Mother & Son" as well as documentaries about subjects like Antarctica and The Dead Sea Scrolls.  Having now made the move to features, Susan has just completed the film "RISEN", partially shot in the super-freezing winter of Canada's Calgary.  In this episode Susan tells us how they made it work and how her decades of TV experience turned out to be the perfect preparation.

Checco Varese ASC talks about shooting "It: Chapter 2" as well as Amazon's "Tom Clancy's Jack Ryan" and being the go-to guy for pilot season.  We discuss the dynamics of the husband & wife, cinematographer & director relationship and how to juggle parenting and filmmaking along with where our industry is at and where it's going.

Peter James ACS ASC talks about how he got started in the industry, worked his way up to being a cinematographer and the remarkable five decades since.  He discusses his 13 film collaboration with legendary director Bruce Beresford, including the Best Picture Academy Award Winner "Driving Miss Daisy".  Peter also talks about technology, visual references and the differences between shooting dramas like "Black Robe" and comedies like "Meet The Parents".

President of The American Society of Cinematographers, Kees van Oostrum ASC talks about the organisation's 100th Anniversary and their vision for the future. He talks in depth about the challenges and opportunities for cinematographers around the world including the issues around diversity, inclusion, education, ACES & the CDL, where we're at with cameras, lenses and display technology and his personal approach to the craft along with how the ASC is forging into the next hundred years, guided by the spirit of their motto... Loyalty. Progress. Artistry.

Mandy Walker ACS ASC talks about shooting the new live-action "MULAN" for Disney on the ALEXA 65, "HIDDEN FIGURES" on 35mm, collaborating with great directors like Niki Caro and Baz Luhrmann and how she prepares for a big film including camera and lens testing and creating custom LUTs.

Mark Toia talks through step by step, how he became one of the most successful TV Commercial Directors in the world, constantly travelling the globe doing multimillion dollar ads. Throughout his directing career, Mark has continued to be his own cinematographer initially on 35mm film and then making the transition to digital with RED. He has now used that success to be able to make a feature film called "ROBOT 4" with total creative and technical control.

Fabian Wagner ASC BSC discusses his work on high end TV dramas including "Sherlock" & "The Crown" and he sets the record straight on his dark photography on "Game Of Thrones: The Long Night".

Ben Allan ACS CSI and FXGUIDE's Mike Seymour are at Apple WWDC 2019 to see the new Mac Pro and discuss the significance of this new machine and the associated technology.

In the wake of the global controversy about the extreme darkness of some scenes in episode 3 of the final season of HBO's "Game Of Thrones", Ben speaks to cinematographers and colorists to discuss the question that has been bothering the world... How Dark Is Too Dark?

Shane Mario Ruggieri is the in house colorist at Dolby Laboratories in California. He's one of the world's most knowledgable people on the subject of High Dynamic Range. Shane speaks passionately about the technology and its creative potential.

Matthew Allard ACS is a brilliant cinematographer but he's also a founder of NewsShooter.com and he joins us en-route to NAB 2019 to talk through what we should all be looking out for this year.

Clara Chong is a director with over 25 years experience across TV Commercials, Documentaries and Drama.  She discusses the relationship between director and cinematographer as well as the role of the director and how she uses technology to be better prepared and more efficient on set.

Tom Gleeson started in the Australian Broadcasting Corporation's legendary training program, one that produced many of Australia's most successful cinematographers.  The technical knowledge Tom accumulated there gave him an edge when he went freelance and he has managed to stay ahead of the curve with technology ever since.  We talk through the journey from film and analogue tape to digital and then the technical revolution that has happened over the last decade and where things will be going next.

Frieder Hochheim changed what was possible for cinematographers to achieve when he created the Kino Flo fluorescent lights which finally made it possible to work quickly and in tight spaces with beautifully soft light.  He worked closely with colour scientists at Kodak to solve the complex problems with the way that the colour spectrum output by traditional flouro lights was captured by film.  He's now using the same rigorous science to solve the challenges of how the spectral response of various digital cameras and different LED lights can produce unpredictable colour results.  In the process, he's discovered some game-changing things about LED lights and digital cameras.

Simon Raby NZCS talks about his amazing career and his role as President of the New Zealand Cinematographers Society.  With a background in low budget local films, Simon was catapulted into big movies shooting 2nd Unit for Andrew Lesnie ACS ASC on the "Lord Of The Rings" Trilogy.  He recently shot the complex VFX blockbuster "Mortal Engines" and talks through the techniques and approach he uses and how he works with the VFX and Post Production teams to get the look right.

Nicola Daley ACS is the 8th woman ever to be accredited by the Australian Cinematographers Society and talks about making the move from documentaries to features and then to TV drama and working in Australia as well as back home in the UK.  She also discusses techniques she's been using like creating stylised colour looks using old colour correction filters like the 80A and 85 and why she prefers this to creating the look in post.

ARRI's Sean Dooley takes us deep into the workings of the newly announced Alexa Mini LF and what to expect from the camera that so many cinematographers have been waiting for.

Introducing The T-Stop Inn.