SEPTEMBER NEWS
Dear Cinegirl Community,
As the leaves change colour and the air turns crisp, we warmly welcome you to the autumn edition of our newsletter. It's a season of transformation, much like the exciting changes happening here at Cinegirl.
We want to extend a special shout-out to our incredible Cinegirl Partners initiative, a programme that's all about nurturing collaboration and celebrating diversity in the world of film and television.
With your support, we're building a stronger, more vibrant community where talents and ideas flourish.
Here's to a season filled with warmth, inspiration, and cinematic adventures 🍂🎥
Warmest regards,
Francesca R Zerenghi
Editor-in-Chief
FESTIVAL FEVER
The BFI London Film Festival sweeps into town from 4-15 October and there are plenty of exciting premieres to look forward to.
Opening this year’s festival is Emerald Fennell’s highly anticipated psychological thriller Saltburn. Other highlights from female filmmakers include Molly Manning Walker’s How to Have Sex, Sofia Coppola’s Priscilla and Catherine Breillat’s Last Summer.
Among the industry sessions are Spotlight events with Walt Disney Animation Studios’ chief creative offer Jennifer Lee, See-Saw Films’ Emile Sherman, Iain Canning and Helen Gregory, and Charades’ CEO Carole Baraton.
This year’s programme has 232 movies, shorts, XR works and series, 42% of which are made by female and non-binary filmmakers.
In our upcoming issue, we are delighted to present an exclusive interview with Kristy Matheson, the newly appointment Director of the London Film Festival. This remarkable conversation will provide you with unique insights into the curation of the festival, highlights, and the art of bringing exceptional cinema to the heart of London. Stay tuned for the next issue of Cinegirl as we bring you this extraordinary dialogue with the visionary woman behind one of the most prestigious film events in the world.
SPECTACULAR SUMMER SEND-OFF by Carlotta Beck Peccoz
At Shoreditch Art Club on 25 September, the Girls in Film (GiF) community kicked off the autumn season with a bang at their recent ‘Girls in Film Just Wanna Have Fun’ party.
“We were very excited to throw this party tonight to welcome everyone back to London after the summer and to enjoy being together again, making new connections for a new year of filmmaking” said Becs Rainey, the driving force behind GiF.
It was indeed a fantastic way to bid adieu to the sun-drenched days and dive headfirst into the new season, with both familiar faces and fresh friendships and connections. Surrounded by dazzling video installations, the stellar DJs line up kept the energy soaring. The event was sponsored by Pretty Bird, Spindle, No8 and CAMP.
Thank you GiF - looking forward to the next party!
DATES FOR THE DIARY
Enjoy a European mini-break and catch some awesome movies at these autumn festivals.
Aesthetica Short Film Festival
8-13 November, York, UK, and online
Marking its 13th edition this year, Aesthetica champions the art of short form film. Highlights of the filmmakers’ programme include Mastering Cinematography with Oona Menges, Breaking into Directing with Jennifer Sheridan, and Adapting Stories with Terri White.
EnergaCAMERIMAGE International Film Festival
11-18 November, Torún, Poland
It’s been the ultimate destination for cinematographers for over 30 years: Camerimage welcomes the industry’s brightest lights to one of Poland’s prettiest towns for a week of celebration. Watch the latest releases and enjoy a packed seminar line-up, as well as lots of evening shindigs for meeting and mingling.
LGBT Film festival
9-17 December 2023, Ljubljana, Slovenia
The oldest festival of its kind in Europe – not to mention Slovenia’s oldest international film festival – the LGBT Film Festival highlights the best and brightest in LGBT filmmaking from around the world.
SOFT SKILLS AND CONFIDENCE BUILDING – AN ACO TRAINING DAY BY Zoe Goodwin-Stuart ACO
"I'm a very strong believer in listening and learning from others." - Ruth Bader Ginsberg
The inception of this one-day course came from a round table with some of our female membership. ACO President Peter Robertson and full member Danny Bishop ACO held the meeting with some of our female camera operators to discuss some of the challenges and difficulties that can happen on set and how it hard it can be navigating crews and personalities and asserting oneself in high-pressure situations.
After this in-depth conversation some of the main points that came from our members were, the importance of communication, conviction, and confidence. All these skills are integral to working on in a high-pressured film or tv environment. Imposter syndrome can creep in and make us questions our decisions, skills and ultimately our performance on set. Working with any new team, asserting yourself and building good relationships with your fellow crew are imperative to making yourself heard and respected as an operator. But these skills are not easily learnt and can prove extremely difficult to implement especially if you are stepping up.
So, for the first time, in September a “Soft Skills and Confidence on the Floor” course was born. I threw myself wholeheartedly into the planning and execution of this course as it is a skillset I am personally incredibly passionate about. Therefore, I set about building a framework for our attendees. Our ACO patrons Shift 4 couldn’t have been more supportive of the idea and were more than happy to accommodate us and provide us with all the lighting, camera, and grip kit we required. Not only that but we were given full use of their incredible new space.
We invited some of our female membership to apply for four places on the course. Initially, for Associates only but opened to junior operators due to people’s work commitments. Each attendee was sent a script, call sheet and tone book, all to help them feel more like this was a real shoot. Based on experience I placed them as either A- or B-camera operators for the day. We split the day into a morning and afternoon session with 2 operators in each group. Joined by Ilana Garrard ACO, who took on the role of director with script supervisor Angelica (Jelly) Pressello at her side. We began the day with a crew rehearsal from our actors run by our 1st AD Brittany Smith.
“After rehearsal, our first call was to start mapping out camera positions on the back of our sides,” said Chai Rolfe. “Naturally, Kerry took the lead as A-camera operator, opening with a developing wide shot on the dolly that takes in most of the room, leaving me to do the classic B-cam thing of trying to find a good shot whilst staying out of the way.
“Immediately, the crew snapped into action to get everything as it should be. Plans started changing, conflicting ideas started coming in. This was all by design to create a sort of stress-testing environment to see how we each dealt with difficult situations. With the noise levels and constant movement of kit, people, props, it certainly felt real.”
“What was unique about this day was that a full cast and crew had been put together to make it as real of an on-set experience as possible,” noted Kerry Arthur. “Which in turn meant you were also learning from all departments, reinforcing what is important to all of them and how to keep a happy set while doing the best you can - something that is very important to me.
I found the day to be an invaluable experience in fine-tuning my on-set presence for running the floor as an A-camera operator. With the curveballs that our two directors Ilana and Jelly would throw at us, it helped us think on our feet in terms of how to adapt with changing shots and the importance of clear communication.”
Our DP for this course was recent Owen Cant, a recent graduate from NFTS. It was a collaboration which also brought a great dynamic to the day. With two camera teams, a grip team, three cast members, make up, costume and standby props to navigate, as well as the curveballs thrown at them throughout the morning, they dealt with all the challenges extremely well. We took time to mentor and give advice when required but wanted them to develop the skills required so the challenges were difficult, but they came through them very well. After a busy morning we broke for lunch after completing three separate camera set ups.
The afternoon began with our next two operators, who had been observing during the morning and the development of the scene. The day progressed with more challenges and with needing to turn around on the scene and various changes to the “vision” of our in-character directors we proceeded to complete another four set ups. Various curveballs from make-up, costume and continuity were thrown at the operators during this session.
“Kerry and Chai were a joy to watch,” said Teresa Adamson. “Their confidence developing shots gave me the push I needed. I felt energised and ready for the challenges ahead when the second team, Dora and I stepped on to the floor.
“The shots we created were important and so are the processes in between. The communication, knowing when to communicate and how to do so.
“Each set up brought new challenges and relationship building. This should be a constant stream that runs through every team.”
At the end of the shooting day with the scene complete. A Q&A session with myself and Ilana Garrard was next. The floor was open to any questions from our operators. We also opened it up to all the crew and cast to share their thoughts, observations, and advice. The conversations that developed were extremely interesting. We discussed what our operators learnt from the day and shared not only their thoughts about the course but their experiences in their careers thus far. The safe space we created to learn and develop on this course led to an open and honest conversation on all sides. The outcome of which was not just a combined agreement that working on set in the role of operator is collaborative at its heart. But just the physical skills of operating but the communicative, interpersonal skills or “soft skills” when running a floor, setting up a shot, discussing with a director, working in harmony with your DP and generally formulating good working relationships with all departments including your cast members.
“The thing I mostly got out the day was a boost to my confidence, as by the end of the day I realised I knew more than I thought I did,” commented Kerry Arthur. “Having this day to a run a floor surrounded by such friendly and supportive people and getting to meet new crew was a great way to spend a day.
She said: “Having done a few ACO training days now I would emphasise how much they have helped me as a new operator, adding to my skills and allowing me to meet fellow operators to discuss our experiences. The support and kindness of everyone has bolstered me in what can sometimes be a difficult environment.”
“The day was a hugely enjoyable and memorable way to show or remind us what else lies in an Operators figurative tool-bag; not the tech side this time, but how to develop great relationships with crew and actors, communicate confidently, develop resilience and find order in what can be an extremely challenging environment,” added Chai Rolfe.
Teresa Adamson concluded: “Never forget the importance of your team. As an operator, sharpening your soft skills is vital to your success.”
The overwhelming positive feedback from the day resonated through everyone involved. This was made possible by the enthusiasm of every member of the crew and cast as well as our hosts Shift 4. The team there were committed from the outset to not only help physically achieve this training day but, with their amazing space, created an environment where not only could we achieve the shooting of the scene, the aims of the course, but could immerse ourselves in the breakout spaces and have a fully structured and workable day.
“The energy at Shift 4 Cine was incredible, there were so many talented operators chatting, having breakfast and with a smile on their faces,” said Rafael Filomeno of Shift 4. “I could tell they were very happy to be there, to come together and share knowledge with each other. That level energy carried out throughout the day, up until the end. It was a great day for us the space used for what it’s intended to be was extremely satisfying.”
As an association the ACO can only do so much. We do it willingly and with the knowledge that we are giving back to our ACO members, Friends, Associates and Full alike. However, the training and upskilling of any member crew is fundamental in strengthening our workforce and thus future proofing the success of the Film and TV industry in this country. We were able to create an environment for the improvement of the operators who participated in this course. This is fundamental. Courses aimed at working crew members to push them to the next level in their careers. Funding is key and at the ACO we would encourage anyone thinking of helping in this area to please get in touch. As learnt and expressed throughout the days training, collaboration works. Together we can all work towards helping our fellow crew members to not only survive in this industry but thrive.
DIGITAL ORCHARD
Digital Orchard is an industry-leading film and digital service provider that offers unique end-to-end workflow and colour-management solutions, from capture to post.
News from Digital Orchard:
digitalorchardgroup.com / IG: @digital_orchard / X: @DigiOrchard / FB: @DigitalOrchard
SHÉ (Snake) - A film by Renee Zhan wins 'Share Her Journey' Short Cut Award at TIFF.
This BBC Films/NFTS supported-short won the 'Share Her Journey' (best film by a woman) category in the Short Cuts competition at TIFF.
Lensed by Adam Singodia, Digital Orchard were pleased to support the project in post-production with Jo Barker (Cinegirl Winter 22 Profile) providing the final colour grade, supported by post-producer Noé Phillipson. Digital Orchard DIT Ben Chaude Woodman worked on the shoot and VFX supervision was provided by East London collective The Glitch Co, of which Orchard DIT Szymon Wyrzykowski is a member and worked on this short.
SCREEN AND FILM SCHOOL
Screen and Film School is part of BIMM University. We have three exceptional schools, located in the heart of the UK’s most creative cities: Birmingham, Brighton and Manchester. All three Film Schools have brand-new state-of-the-art film studios too – making us a mighty force in the UK film and media world.
News from Screen and Film School:
Keely Pickard is one to watch from Screen and Film School Manchester!
Since joining the school in 2021, Keely has dedicated her time to specialising in cinematography. Due to graduate in 2024, Keely has already made an amazing reputation for herself in the Manchester short film community. As we enter film festival season, Keely is proud to have credits on Lia IRL that is having its premier at Reykjavik International Film Festival and The Witches’ Daughter which is having its world premiere at Bolton International Film Festival.
“Studying at Screen and Film School has allowed my transition from education to work experience to feel extremely smooth,” says Keely. “It has allowed me to grow in confidence and pick up new skills alongside what university has taught me already in the last two years! Working with our industry standard equipment has allowed me to feel prepared walking onto a new set and getting stuck in. I'm looking forward to working on more films and expanding my creative network whilst finding my storytelling passions as a filmmaker in the near future.”
screenfilmschool.ac.uk / IG: @screenfilmsch / X: @ScreenFilmSch / FB: @ScreenFilmSchool
PRIMETIME
Primetime is a global visibility platform and community to help the industry find and hire more women and non-binary folk working above and below the line behind the camera. We have members in 70+ countries, including multi-BAFTA, Emmy and Academy Award nominees and winners.
News and offers from Primetime:
Join for free today at www.primetime.network or take advantage of our Founder Membership which comes with perks such as free Masterclass account, discounts on BAFTA & Academy festival submissions and access to our funds, including the upcoming Empower Fund featuring Jodie Whittaker. New members can also take advantage of our four-year anniversary 40% off Founder Membership until our applications for the Empower Fund close!
primetime.network / IG: @primetime.network / X: @PrimetimeNetwrk
SOLUS MIND
Solas Mind provides professional, bespoke, therapeutic wellbeing support online services to production companies, studios, crew, and creative freelancers. Services include coaching or counselling support, on-site wellbeing practitioners, script consultancies, mental health risk assessments, wellbeing workshops, Mental Health and Suicide First Aid courses. All Solas Mind Trainers, Coaches and Therapists are fully qualified and registered specialists.
solasmind.com / IG: @solasmind / X: @solasmind / FB: @SolasMind
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