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Tasmanian collection - film archive
Wide Angle Tasmania has an extensive archive of films that have been produced in Tasmania over the last twenty years (with over 400 films on DVD in the library). Our most recent project is to digitise the collection to archive, preserve and allow the films to be viewed at the Wide Angle Screen Centre.
We invite you to be part of this project and submit a digital version of the film that you own the copyright in to the collection. You can do this by completing the google form here - or get in touch with us by email/call 6223 8344 or 0478 150 206.
Here is a list of the films currently available in the digital archive for viewing:
Film Title Year of Production Producer Director Wide Angle initiative The Devil You Know 2019 Cathy Allen Ben Morton End Game Instadate 2019 Lauren Watson Lauren Watson End Game The Quiet Boy 2019 Ellis Swinbourne Ellis Swinbourne End Game Wonderfluous 2019 Oliver Potter Oliver Potter End Game Paddy 2019 Rosemary Cann Rosemary Cann End Game Squash Promotional Video 2019 Tom Roberts Tom Roberts End Game Clockumentary 2019 Ursula Woods Ursula Woods Nerve 2019 RED 2019 Jeff Kirkland Nerve 2019 Shake and Dance 2019 Phoenix Rain Sam Tooker Nerve 2019 Karen 2018 George Underwood George Underwood Nerve 2018 Little Beauty 2018 Mick Lowenstein & Tracey Cosgrove Mick Lowenstein Nerve 2018 Printed in Ink 2018 Patrick Foster Victoria Bremner Nerve 2018 The Radiophonic Artist - Women of the Island 2017 Rebecca Thomson Step-Out Web 17 A Farmer's Daughter - Women of the Island 2017 Lara Van Raay Step-Out Web 17 Protector and Defender - Madeline Wells: Women of The Island 2017 Ninna Millikin Step-Out Web 17 The Garden 2016 Craige Langworthy Craige Langworthy Audacity Blood of Life 2016 Troy Melville, Jim Everett Troy Melville Audacity Source 'Our Co-op' 2016 Mark Thomson Carly Rusden RED Flag The Good Room 2016 Rogan Brown Jane Howard RED Flag The Conquest of Emmie 2016 Paul Moran Pauline Marsh RED Flag The Calling Hours 2016 Shaun Wilson & Sara Brown Shaun Wilson Audacity Waiting for Angel 2015 Andy Del Vecchio Elli Iliades Raw Nerve Love Train 2015 Emma Wilson Mike Wedderburn Raw Nerve Coffeehead 2015 Rebecca Thomson Trent Baumann Raw Nerve Slick Timing 2014 Dave Flower Astrid Cooper Raw Nerve Titan 2014 Nick Falk Carmen Falk Raw Nerve Matthew 2014 Aaron Luke Wilson Cathy Allen Raw Nerve Blue Shirt, Green Tie 2013 Carolyn Frichot Darren Swanson Raw Nerve Hormones: The Musical 2013 Dominique Hurley Meg Bignell Raw Nerve Confessions of a Date-A-Holic 2013 Dave Flower Rob Harrison Raw Nerve Knit One 2012 Clare Gray & Shaun Wilson Clare Gray Raw Nerve Little Lamb 2012 Heidi Douglas Heidi Douglas Raw Nerve The Lala Road 2012 Letitia Lamb Letitia Lamb Raw Nerve Dibs 2011 Adam Ransley Adam Ransley Raw Nerve Piercing Silence 2011 Ninna Millikin Ninna Millikin Raw Nerve Showing The Ropes 2011 Rogan Brown David Pyefinch Raw Nerve Slashed 2010 Rogan Brown Rebecca Thomson Raw Nerve Thicker than Water 2010 Daniel Speed, Carolyn Frichot & Dominique Hurley Daniel Speed Raw Nerve Exit, Pursued by a Bear 2010 Daniel Weavell Sara Pensalfini Brown Raw Nerve The Tin Man 2009 Carolyn Frichot Bernard Lloyd Raw Nerve The Gardener 2009 Nathan Spencer & Shaun Wilson Jasmine Cameron Raw Nerve Water A Poem 2009 Dominique Hurley Justus Neumann and Andrew Del Vecchio Raw Nerve Daughter of San Domenico 2009 Ra’uf Lucien Simon Marisa Mastrocola Raw Nerve Help Wanted 2008 Dan Weavell Dan Weavell Raw Nerve Henry Finn 2008 Nathan Spencer Shaun Wilson Raw Nerve Iron Will 2008 Vivien Mason Vivien Mason Raw Nerve Next of Kin 2008 Rose Schramm Rose Schramm Raw Nerve
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Abi Binning published Industry response to the review of Screen Tasmania and Arts Tasmania assessment process in news 2020-09-22 16:18:06 +1000
Industry responds to the review of Screen Tasmania and Arts Tasmania assessment process
Media release issued Sept 22
The Arts Minister Elise Archer announced on Sept 18 that “The Cultural and Creative Industries Act 2017 includes an independent system of peer assessment and expert advice in all funding decisions under Screen Tasmania and Arts Tasmania. However, all grant recipients have a responsibility to ensure they use funding appropriately and within the guidelines of the law. Accordingly, to maintain the integrity of this independent process, I have asked for the assessment process to be reviewed to ensure that illegal activities are not promoted or endorsed.”
Read more
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Industry responds to the proposed review of Screen Tasmania and Arts Tasmania’s assessment process
To lend your support to the media release - please add your signature. Any questions please get in touch. The Minister’s full media release can be read here.
Media Release: Industry responds to the proposed review of Screen Tasmania and Arts Tasmania’s assessment process
The Arts Minister Elise Archer announced on Sept 18 that “The Cultural and Creative Industries Act 2017 includes an independent system of peer assessment and expert advice in all funding decisions under Screen Tasmania and Arts Tasmania. However, all grant recipients have a responsibility to ensure they use funding appropriately and within the guidelines of the law. Accordingly, to maintain the integrity of this independent process, I have asked for the assessment process to be reviewed to ensure that illegal activities are not promoted or endorsed.”
Our position is that, far from maintaining the integrity of the process, such a review threatens the independence of screen funding in the state. The decisions of Tasmania’s arts funding bodies Screen Tasmania and Arts Tasmania must remain independent of the politics of the day. Interference in this process, or even the suggestion of it, will tarnish the these agencies' reputations, their relationship with filmmakers and artists and the state’s reputation as a place of artistic excellence.
At a time when creative workers face diminishing opportunities and great economic uncertainty, the last thing they should have to worry about is a fight to maintain their artistic integrity.
We agree with Minister Archer’s statement that Screen Tasmania’s production funding decisions are based on an independent system of peer assessment and expert advice. The process is appropriately at arms-length of government and therefore the assessment process does not need to be reviewed in this case.
We call on all members of parliament to throw their support behind Tasmanian screen businesses and filmmakers during this challenging time so that we can get back to work - work that shapes and reflects our culture and contributes to the state’s economy.
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WAT 2020 survey
Thanks for making the time to complete our short survey - your answers will help Wide Angle to serve the Tasmanian screen community!
Respond by July 3 and you'll be in the running for cash prizes (2 x $100), equipment hire vouchers (3 x $100) and WAT membership (x 4)
There are just 6 questions;
- What is life like for you right now?
- What have other organisations you interact with done during COVID-19 that you’ve found useful and why?
- What is Wide Angle doing or providing that gives you the most value right now and why?
- On the flip side, what services are of less value to you right now and why?
- What can we do to best serve you right now and why?
- What would you like to see us do differently post-COVID19?
We'll be using the info to help understand our community better - all responses will be used or share without identifying you.
Thanks!
Take the survey
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Clockumentary
Brian Toggle is a self-proclaimed timekeeper and expert drummer who plays in Tasmanian art pop band, Sunset Thrills.
WRITER, DIRECTOR & PRODUCER: Ursula Woods
DURATION: 9mins, 52 secs
YEAR: 2019Brian ‘Toggs’ Toggle is a seasoned drummer and self-proclaimed timekeeper from the town of Ulver-stone, Tasmania. Toggs talks to filmmaker Ursula Woods about dimensions of drumming and how the significant town clock influenced his rhythmic thinking as a child. Is time the most important element in the music we like to listen to? Clockumentary takes a look at life through a drummer’s lens. Playing with young art-pop group ‘Sunset Thrills’, Toggs encounters artistic differences with the band.
Screenings & Awards
Nerve 2019 Industry Screening - Hobart, February 2020
SNIFF (Southern Nomads International Film Festival) Queenstown Tasmania Feb 2020
Nominated for Best First-Time Film Director at ALTFF March 2020
Melbourne Documentary Film Festival - Vic, June-July, 2020
Brighton Rocks UK Film Festival (online due to Covid) August 2020
Semi-Finalist at Best Short Fest (Canada) September 2020ReviewsKEY CAST:
Mike Brooke – Brian Toggle
Michael Panton – Mick
Louisa Hogue - keyboardist
Oliver Gathercole - bassistKEY CREW:
Writer/ Director/Producer - Ursula Woods
Executive Producer - Abi Binning
Mentor Producer & Script Editor - Troy Melville
DOP - Richard Williams & Mike Gissing
Sound Recording - Mike Gissing
Camera 2 - Jacob Collings
Assistant Director - Lucy Crispin
Editor / Associate Producer - Rose Vallentine
Composer - Jethro Pickett
Sound Editing & Colour Grade - Mike Gissing, Digital City Studios
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Red
A young woman’s cross-town errand takes a dangerous turn when she encounters a dark figure from her past.
WRITER & DIRECTOR: Jeff Kirkland
PRODUCER: Tara Bufton
DURATION: 10mins
YEAR: 2019Red, a drug courier for a biker gang, is sent to deliver a bag of drugs to a local nightclub. On the way she encounters her possessive ex-boyfriend, Rafe, who wants her back in his life and won’t take “No” for an answer. She manages to escape and continue on her way but an angry and obsessed Rafe has no intention of letting her go that easily.
Screenings
Nerve 2019 Industry Screening - Hobart, February 2020
KEY CAST:
Mutha - Shane Rayner
Red - Eleanore Knox
George - Norman Alexander
Rafe - Michael Gillan
Tony - Stephen AshtonKEY CREW:
Writer & Director - Jeff Kirkland
Story By - Jeff Kirkland & Helen Kirkland
Producer - Tara Bufton
Executive Producer - Abi Binning
Mentor Producer - Emma Wilson
Script Editor & Mentor Director - Briony Kidd
Cinematographer - Andrew Walton
Production Manager - Julia Hendy-Cartwright
Production Coordinator - Elise Stansfield
Assistant Director - Leisle Grant
Sound Recordist - Stewart Mackay
Production Designer - Ella Knight
Production Assistant - Emily Roberts
Location Manager - Julia Hendy-Cartwright
Camera Assistants - Ben Nelan & Emily Roberts
Hair & Makeup - Hair & Makeup
Stills - José Navarro & Mark Thomson
Fight Choreographer - Stephen Ashton
Catering - Henry East & Laura Hampton
Music - Gareth Dawson
Editor - Jeff Kirkland
Sound Editing & Colour Grade - Mike Gissing, Digital City Studios
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screening calendar
Wide Angle Tasmania is delighted to present the following screenings. Please click through for more information about each screening and to reserve your seat.
See all events
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Events & Opps
Each year Wide Angle Tasmania runs special initiatives to help develop Tasmanian screen practitioners by learning and making.
Upcoming events can be found here.
Current opportunities are listed above as OPEN.
An ongoing initiative is WAT SHARES - a time bank for Tasmanian filmmakers to trade their skills and experience. Check it out here.
END GAME is a 3 month programme of goal-setting, peer support, coaching and reflection designed to help you transform your great idea into action. Applications for Round 4 (starting June 2019) will open soon.
The Washington Residency provides Tasmanian screen practitioners with the opportunity to concentrate on their screen project or screen business for a period of between one and three months. Applications for April residencies are open now.
You can also check out the previous initiatives that have been offered by Wide Angle Tasmania here.
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NERVE 2019
In 2019 Wide Angle provided Tasmanian screen practitioners with their first shot at production through our annual initiative NERVE. Teams received a cash budget and Wide Angle support to go through the full process of making a short screen project. Previously called Raw Nerve, this model of mentoring, training and support aims to provide screen practitioners with their first experience of an industry standard production that will progress their career, educational and/or creative aspirations.
In 2019, the filmmakers and films supported included:
Jeff Kirkland - RED
Ursula Woods - Clockumentary
Sam Tooker - Dennis & ShakeSince 2008, Wide Angle Tasmania has helped dozens of Tasmanian screen practitioners to create their first funded short film through this highly successful model of mentoring, training and support. Opportunities to learn through doing are vital for directors, contributing to strong career outcomes. Shaun Wilson (currently directing Rosehaven series 3) directed his first funded short film Henry Finn through this initiative in 2008. Other alumni include Vivien Mason (now studying an MA in ‘Digital Storytelling’ at the prestigious Royal College of Art in London) and Rebecca Thomson (award winning director of the webseries Women of the Island).
The three films produced in 2018 are between 5 and 10 minutes in length. Wide Angle Tasmania helps filmmakers take their idea from script, through each stage of production, to a finished film ready for national and international festival release by December 2018.
Each filmmaker receives a package valued at over $30 000 that includes;
• mentoring from an experienced screen industry practitioner
• advice through the script editing process
• $3 000 cash budget
• free enrolment in relevant WAT training
• $7 500 value of production and post production equipment hire from WAT
• insurances for the film and volunteer cast and crew
• a colour grade and sound mix provided by a post-production studio
• a gala launch of the filmsState Growth supported NERVE by contributing funds to employ nationally recognized script editors and mentor producers for Red, Clockumentary and Dennis & Shake
Read on here for more info.
Download the Guidelines and Application pack here (pdf)
Download the Guidelines and Application pack here (word)
Have you got a killer idea for a short film that you know audiences will love? Need some funds to make it? In 2019 three short films will be produced through Nerve 2019 – and this is your chance to be selected.
NERVE 2019 is delivered by Wide Angle Tasmania for Tasmanian filmmakers. If selected, you’ll have an experienced filmmaker mentor you throughout - from honing your story through to distribution. You’ll receive $3,000 cash to fund the production of a short film (3 – 7minutes) that will play well to festival audiences. You’ll also receive access to equipment, facilities, insurances and a professional colour grade and sound mix… and we’ll launch your film at a gala industry event.
What’s the timeline?
If you’re selected for NERVE 2019 it’ll consume most of your thoughts and time from September to November. If you have a great team around you, you’ll be able to share the load, but make sure you can balance the demands of the programme with your other obligations – the timeline below isn’t flexible.Date
What’s happening?
Info
June 1
Applications open
Read the guidelines and mark some dates in your diary
6.30pm Friday July 19
Info session @ Wide Angle
Join us to find out more about NERVE 2019. Is it for you? How do you apply?
6.30 – 8.30pm Friday July 26
Speed networking
A chance to meet filmmakers and expand your team
4pm Monday August 5
Applications close
Email your application to [email protected]
August 6 - 31
Assessment process/contracting
We’ll let you know if you’re successful and step you through the contracting process
Sept – Nov 11
Pre/production/post
Work with your team to create an incredible short film!
Nov 11 - 27
Mix and Grade
Head to the studio (allow two days)
November 28
Delivery
Deliver your project (and all the paperworkJ) to Wide Angle
Dec 2019 – January 2020 TBC
Industry screening
A gala event with your film screening alongside other films supported by Wide Angle in 2019
Am I eligible for NERVE 2019?
This initiative is designed to support early career Tasmanian filmmakers who are seeking a mentored approach to developing and producing their screen project. Read below to make sure that you and your team meet all of the following eligibility criteria. If you have any questions about whether or not you are eligible, get in touch.
- You and your key team members must be permanent residents of Tasmania who are financial WAT members.
- You must hold the rights to make the film and/or be able to demonstrate access.
- The team must include an early career director. We define this as a director who has never had any work commissioned for television, nor received production funding from any state or federal agency. Teams may include experienced producers/editors/cinematographers. We strongly encourage teams with a track record of collaboration to apply.
- You and your core team have a history of engaging with WAT and the Tasmanian screen community.
- The project must be an independent production - projects cannot be produced as part of any coursework.
How do I apply to NERVE 2019?
- We are here to help – make a time to come and discuss your project or ask for help if there are any barriers we can help you to overcome in preparing your application, including chain of title queries.Contact us during office hours on 6223 8344 or email [email protected].
- Copies of Raw Nerve films produced in previous years can be borrowed from the WAT resource library for free.
- Application Form and Attachments must be emailed by 4pm August 5. You will receive an email to confirm the receipt of your application no later than 4pm Aug 6
- Shortlisted applicantsmay be invited to attend an interview with the selection panel
- 5. All applicants will be notified of the outcome no later than Aug 31. This email will include a summary of the panel’s feedback about the strong points and the weaknesses across all the applications that were received. We can’t provide feedback on individual applications, and the panel’s decision is final.
How will my application be assessed?
The panel assesses each application against theses criteria:
- The strength of the story(eg. Is it actually a story or just an issue/character sketch? Does the story excite or inspire the panel? Is it likely to resonate with an audience? Is it best told as a short film?)
- The strength of the style/structure(eg. Is the proposal or story told in a bold/innovative/compelling way? How strong is the visual storytelling?)
- The strength of the team(eg. is this the right team to tell this story?Does the team have the skills to manage, shoot, edit and distribute the film? Does the team recognise their weaknesses? Have they collaborated previously? With the support provided by the initiative, will the team be able to manage the production effectively? Is this team contributing to a vibrant, diverse and renewable Tasmanian screen culture?)
- The benefit to the team (eg. will this project help the team achieve their screen aspirations? Will this project help build collaborative partnerships?)
- The level of engagement the team has had with WAT and the Tasmanian screen community
- The value of allocating resources to THIS project and team ( Is the project and team a good fit for the initiative? Are all elements of the initiative likely to be valued by the team? Is it likely to be realised effectively through the initiative? How does this project/team align with Wide Angle’s strategic objectives? How does this project and team rate against other applications? Can the project be funded elsewhere?)
More info found in the guidelines.
We are grateful for the support of State Growth – their support provides funds for the attachment of mentors to the team and project.
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Little Beauty
When a country football team loses its sponsor, the homophobic team captain enters a drag pageant to raise the money.
WRITER/DIRECTOR: Mick Lowenstein
PRODUCER: Mick Lowenstein & Tracey Cosgrove
DURATION: 8mins 17secs
YEAR: 2018After winning the country football grand final, Jade the team captain, finds out that the club’s major sponsor has pulled out. The team manager, Russell, tries to convince Jade to enter the “You Little Beauty” Pageant to help raise funds. In an op shop, Jade and his mates run into Matthew, a young gay man and tease him. Matthew stands up for himself, inflaming Jade’s aggression. Matthew compares Jade’s violence to his father, which forces Jade to reflect on his actions. Jade reluctantly takes part in the pageant but the event is upstaged by Matthew appearing in stunning drag. The player’s taunting becomes violent. Jade finds the courage to stand up for the person he’d previously abused and points out Matthew’s courage to the rest of the town.
Screenings
Nerve 2018 Industry screening - Hobart, January 2019
Flickerfest 2019 - Cygnet, May 2019KEY CAST:
Jade - Connor Carthy
Matthew - Joshua Scott
Russell - Matthew Stolp
Bender - Jared GoldsmithKEY CREW
WRITER/DIRECTOR: Mick Lowenstein
PRODUCER: Mick Lowenstein & Tracey Cosgrove
EXECUTIVE PRODUCER: Abi Binning
MENTOR PRODUCER: Dick Marks
Script Editor - Ranald Allen
Director of Photography - Aaron Luke Wilson
Production Manager - Cathy Allen
Assistant Director - Cathy Allen
Sound Recordist - Frederic Moll
Boom Operator - Tom Roberts
Continuity - Victoria Woodfall
Camera Assistant/B camera operator - Atak Ngor
Gaffer - Richard Williams
Gaffer - Ralph Williams
Best Boy - Brad Harris
Production Designer - Nicole Winspear
Art Assistant - Eleanor Stancombe
Costume Designer - Nicole Winspear
Make-up Artist -Matthew Stolp
Make-up Artist - Jane Howard
Specialised make-up - Andrew Michael
Stills Photographers - Ken McColl and Brad Harris
Unit Manager - Ruby Grant
Unit Assistant - Tom Roberts
Catering - Tracey Cosgrove and Ruby Grant
Production Assistants - Oliver Potter and Felicity Wilkinson
Casting Director - Cathy Allen
Graphic Design and VFX - Aaron Luke Wilson
Editor - Justin “Pyrate” Smith
Sound Editor and Colour grade– Mike Gissing, Digital City Studios
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Karen
Two young adults, Andrea and Caleb, come face to face with the complexities of sexual consent and realise technology won’t provide the answers.
WRITER: Adam Ransley
DIRECTOR/PRODUCER: George Underwood
DURATION: 9mins 43secs
YEAR: 2018In the not too distant future sexual consent is still presenting problems for humans. Andrea and Caleb use an app that records each others consent, but there’s something not quite right about Karen, Caleb’s AI home computer. Andrea asks for her to be put into sleep mode before they get intimate, but when things are well under way Andrea notices Karen still standing in the corner of the bedroom, filming them. Movie-staring her. Caleb’s making secrete pornos. Andrea storms out, but not before enlisting Karen’s help to turn the tables on Caleb.
Screenings
Nerve 2018 Industry screening - Hobart, January 2019
KEY CAST:
Samantha James-Radford - Andrea
Felix Jarvis - Caleb
Sara Cooper - Karen
Emalisa White - ChloeKEY CREW
Director/Producer - George Underwood
Writer - Adam Ransley
Executive Producer - Abi Binning
Script Mentor - Claire d'Este
Mentor Producer - Di Drew
Director Of Photography - Aaron Luke Wilson
Production Manager - Emma Wilson
Ellie Smith - Assistant Director
Rose Schramm - Sound Recordist
Ville Karvonen - Boom Operator
Rachael Cleary - Continuity
Mathew Farrell - Gaffer
Caleb Schenk - Best Boys
Lauren Watson - 1st Assistant Camera
Fiona Lloyd - Production Designer
Fiona Lloyd - Props
Oliver Potter - Set Dresser
Emily Roberts - Standby Props
Joanne Collins - Costume Designer
Kaja Piatek - Make-Up Artist
Brad Harris - Stills Photographer
Lauren Wilson - Stills Photography
Emma Wilson - Unit Manager
Cathy Allen - Casting Assistant
Brad Harris - Drone Pilot
Adam Ransley - Drone Pilot
Oliver Potter - Stunt Driver
Jeff Kirkland - Green Screen
Driftwood Restaurant – Catering
Tim Berry - Runner
Holly Bearman - Production Assistant
Nick Storr - Composer
Saxon Hornett - Composer
Mike Sampey - Visual Effects
Benjamin Nelan - Visual Effects
Mike Sampey - Editor
Mike Gissing (Digital City Studios) - Sound Editor
Mike Gissing (Digital City Studios) - Colour Grade
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pay an invoice
Thanks for booking equipment, tickets or registering for a course with Wide Angle Tasmania. If you'd like to pay online, you can do that here!
Please click the 'other' amount and enter the amount on the invoice. You will be redirected to paypal where you can pay using your credit card or paypal account.
If you already have an invoice number already, please reference that so that we can track your payment.
You will receive a receipt from paypal that the payment has been made. WAT will email you an invoice once we have received confirmation that the funds have been received.
Cheers! Any problems, please contact us on 6223 8344 or email [email protected]
Donate
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equipment hire
WAT provides quality film production equipment in Tasmania and offer a 30% discount on gear hire to all current financial members. All prices include GST and insurance.
To book, please call 0362 238 344, email [email protected] or make a request through our website here.
We are working hard to keep you safe and prevent the spread of covid-19. Our staff clean and disinfect each piece of equipment when it is returned from a hire and wear gloves when moving or checking the gear. We are also aiming to store equipment for at least three days between hires. We will tell you the date that it was last handled.
See our terms and conditions for equipment hire here.Download the RATE CARD here.
Click through for tech specs and tutorials for each piece of equipment.WAT MEMBERS
NON MEMBERS
CAMERAS
24 HRS
WEEKEND
WEEKLY
24 HRS
WEEKEND
WEEKLY
123.2 184.8 492.8 176 264 704 123.2 184.8 492.8 176 264 704 123.2 184.8 492.8 176 264 704 53.9 80.85 215.6 77 115.5 308 61.6 92.4 246.4 88 132 352 61.6 92.4 246.4 88 132 352 38.5 57.75 154 55 82.5 220 38.5 57.75 154 55 82.5 220 WAT MEMBERS
NON MEMBERS
LENSES
24 HRS
WEEKEND
WEEKLY
24 HRS
WEEKEND
WEEKLY
46.2 69.3 184.8 66 99 264 46.2 69.3 184.8 66 99 264 46.2 69.3 184.8 66 99 264 46.2 69.3 184.8 66 99 264 46.2 69.3 184.8 66 99 264 46.2 69.3 184.8 66 99 264 46.2 69.3 184.8 66 99 264 WAT MEMBERS
NON MEMBERS
CAMERA SUPPORT
24 HRS
WEEKEND
WEEKLY
24 HRS
WEEKEND
WEEKLY
30.8 46.2 123.2 44 66 176 7.7 11.55 30.8 11 16.5 44 61.6 92.4 246.4 88 132 352 15.4 23.1 61.6 22 33 88 46.2 69.3 184.8 66 99 264 30.8 46.2 123.2 44 66 176 30.8 46.2 123.2 44 66 176 30.8 46.2 123.2 44 66 176 7.7 11.55 30.8 11 16.5 44 Dinkum Systems Pack - 3 different packs available
7.7 11.55 30.8 11 16.5 44 7.7 11.55 30.8 11 16.5 44 Lenzhound Follow Focus 30.8 46.2 123.2 44 66 176 WAT MEMBERS
NON MEMBERS
STABILISATION
24 HRS
WEEKEND
WEEKLY
24 HRS
WEEKEND
WEEKLY
15.4 23.1 61.6 22 33 88 23.1 34.65 92.4 33 49.5 132 WAT MEMBERS
NON MEMBERS
LIGHTING
24 HRS
WEEKEND
WEEKLY
24 HRS
WEEKEND
WEEKLY
53.9 80.85 215.6 77 115.5 308 46.2 69.3 184.8 66 99 264 38.5 57.75 154 55 82.5 220 LED on Camera Light - 3 Lights Available
7.7 11.55 30.8 11 16.5 44 61.6 92.4 246.4 88 132 352 30.8 46.2 123.2 44 66 176 Light Stands - 5 Available
7.7 11.55 30.8 11 16.5 44 C Stand (3.25m) - 2 Available
15.4 23.1 61.6 22 33 88 7.7 11.55 30.8 11 16.5 44 Reflector Holder
7.7 11.55 30.8 11 16.5 44 Super Clamps
7.7 11.55 30.8 11 16.5 44 46.2 69.3 184.8 66 99 264 7.7 11.55 30.8 11 16.5 44 7.7 11.55 30.8 11 16.5 44 Wool drapes (per drape)
7.7 11.55 30.8 11 16.5 44 WAT MEMBERS NON MEMBERS SOUND
24 HRS
WEEKEND
WEEKLY
24 HRS
WEEKEND
WEEKLY
38.5 57.75 154 55 82.5 220 15.4 23.1 61.6 22 33 88 15.4 23.1 61.6 22 33 88 7.7 11.55 30.8 11 16.5 44 Sennheiser ME66, Sennheiser 416, Rode NTG-1 or Rode NTG-3 + Boom Mic Kits
30.8 46.2 123.2 44 66 176 30.8 46.2 123.2 44 66 176 15.4 23.1 61.6 22 33 88 7.7 11.55 30.8 11 16.5 44 70 105 280 100 150 400 7.7 11.55 30.8 11 16.5 44 3.85 5.775 15.4 5.5 8.25 22 WAT MEMBERS NON MEMBERS PROJECTORS
24 HRS
WEEKEND
WEEKLY
24 HRS
WEEKEND
WEEKLY
77 115.5 308 110 165 440 ES 120" Portable Projector Screen 61.6 92.4 246.4 88 132 352 WAT MEMBERS NON MEMBERS UNIT/ONSET KITS
24 HRS
WEEKEND
WEEKLY
24 HRS
WEEKEND
WEEKLY
30.8 46.2 123.2 44 66 176 30.8 46.2 123.2 44 66 176 30.8 46.2 123.2 44 66 176 Collecting the equipment: If you are in Hobart, collect from our office. Otherwise, we can courier to most locations within Tasmania; for WAT members, this service is free for 1 parcel for each $75 value of hire).
Allow 20 mins to collect & return gear.
All gear must be paid for before being hired.
Length of Hire:
24 Hour: Pick up between 10am and 4:00pm, return at the same time the following day (only available Mon - Thurs)
Weekend: Pick up between 10am and 4:00pm Friday, return at 10am Monday morning.
Week: Pick up between 10am and 4:00pm Mon - Fri, return at 10am one week later.
Longer hires (eg. Monthly) can be easily negotiated
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Abi Binning published wide angle residency - CLOSED in Events & Opportunities 2018-07-20 12:43:39 +1000
Wide Angle Residency
Wide Angle Residency... the keys to the Wide Angle Screen Centre for up to three months to work on your screen venture.
Applications for the March - May 2021 residency closed on Monday Feb 15. Sign up to the newsletter to keep informed about the next residency opportunity.
The Wide Angle Residency provides Tasmanian screen practitioners with the opportunity to concentrate on their screen project or screen business for a period of between one and three months. This “gift of time” will allow filmmakers to work without distraction to break new ground and progress their screen venture. The Wide Angle Residency provides a home base, resources and facilities for individuals or teams of screen practitioners.
What’s on offer:
- Free office space at Wide Angle Screen Centre (6 Washington Street, South Hobart - includes electricity, water and Wi-Fi).
- Free access to the studio/cinema, meeting room, common areas and WAT Film Kit (negotiated at application)
Applications are open for Residencies between March 1, 2021 and May 28. A maximum of three people can apply for a team residency. Applicants should nominate their preferred length for the residency (one, two or three months).
ELIGIBILITY
This initiative is open to all Tasmanian screen practitioners wishing to advance a project, enterprise or business that contributes to a vibrant, diverse and renewable screen culture. All residents MUST be current WAT members for the duration of their residency.
You are welcome to visit the Wide Angle Screen Centre to check out the space available and discuss the terms and conditions in more detail with Wide Angle Tasmania staff.
IF YOU ARE SELECTED FOR WIDE ANGLE RESIDENCY…
What do we expect?
- A clear goal to be achieved by the end of the Residency. This may include completion of a script, editing a screen project, launch of a screen business or screen product etc. This outcome will be shared with the Wide Angle Tasmania community at the end of the Residency (the nature of how the outcome will be shared will be negotiated with the residents).
- All applicants must be current WAT members throughout the Residency period
- Short video testimonial (under 3mins) and 50-100 word written testimonial of the value of the residency within a week of completing the residency
- A copy of any film on DVD and stills (if a screen work is produced)
- Logo credit/bio acknowledgement (as negotiated)
- Contribution to a WAT programme during the Residency (eg. Taking stills at an event, filming an interview etc. – to be negotiated at the time of offer, based on the skill set of those involved)
- An agreement will be made with Residents that outlines the expectations of all parties
Wide Angle Residency has been awarded to:
March 2021: Jeff Kirkland
Sept - Nov 2020: Nick Storr
Oct-Dec 2019: Electric Yak
Sept 2019: Joel Wilson
Aug 2019: Oliver Potter
Feb 2019: Ninna Millikin & Takani Clark
Jan 2019: U25 Enterprise
October - December 2018: Mark Thomson
July - September 2018: Lisa Gormley and Aeshlie WheelerResident Testimonials
Ninna Millikan and Takani Clark
https://www.youtube.com/watch?v=mdSiP2EAjEM&feature=youtu.be"A huge thanks to Wide Angle Tasmania for The Washington Residency opportunity. This proved immensely valuable to Electric Yak. In our time spent there we were able to focus on our development slate, submit funding applications and execute some crucial in-house development tasks. Whilst working in a community hub we were able to engage with the wider screen community here and even entered into discussions with new and emerging local creatives. Having access to this space enabled us to achieve our primary goal of finalising the financing of our new web-series and were able to commence production shortly after."
Paul Moran, Electric Yak Dec 2019"TAS CASTING are so incredibly thankful for the support of Wide Angle Tasmania and the Washington Residency for giving us a productive and positive office space to establish our business. As part of the Washington Residency we received invaluable guidance in regard to our industry and direct contact with film makers and industry professionals. The space was positive, quiet and productive with all the resources we needed to get our business functioning professionally. We were also lucky enough to be enrolled in the End Game initiative which greatly supported us in achieving our goals over the 3 months."
Lisa and Aeshlie, TAS CASTING"I had access to an office, some equipment and was able to use the hall and mini cinema for the events I had planned. A benefit of this residency was that it allowed me the luxury of failure and to make mistakes. This in turn has led to reflection on how to modify the idea do it in a better and more practical way. In the meantime, by doing something rather than talking about it, I’ve engaged a number of key stakeholders... and also met some great collaborators who have experience in streaming and have provided some valuable advice on how to do it differently going forward."
Mark Thomson
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NERVE
In 2018 and 2019 Wide Angle provided Tasmanian screen practitioners with their first shot at production through our annual initiative NERVE. Teams received a cash budget and Wide Angle support to go through the full process of making a short screen project. Previously called Raw Nerve, this model of mentoring, training and support aims to provide screen practitioners with their first experience of an industry standard production that will progress their career, educational and/or creative aspirations.
Three first-time film directors were selected for support through the Wide Angle Tasmania’s short film initiative NERVE 2018. The aim of NERVE is to produce high quality films on a small budget to showcase emerging talent and provide a pathway to industry. This year three filmmakers were selected, all directing their first funded film. Click through for more information:
Mick Lowenstein – Little Beauty
Victoria Bremner – Printed in Ink and
George Underwood - KarenIn NERVE 2019, the filmmakers and films supported included:
Jeff Kirkland - RED
Ursula Woods - Clockumentary
Sam Tooker - Shake & DanceSince 2008, Wide Angle Tasmania has helped dozens of Tasmanian screen practitioners to create their first funded short film through this highly successful model of mentoring, training and support. Opportunities to learn through doing are vital for directors, contributing to strong career outcomes. Shaun Wilson (currently directing Rosehaven series 3) directed his first funded short film Henry Finn through this initiative in 2008. Other alumni include Vivien Mason (now studying an MA in ‘Digital Storytelling’ at the prestigious Royal College of Art in London) and Rebecca Thomson (award winning director of the webseries Women of the Island).
Each filmmaker receives a package valued at over $30 000 that includes;
• mentoring from an experienced screen industry practitioner
• advice through the script editing process
• $3 000 cash budget
• free enrolment in relevant WAT training
• $7 500 value of production and post production equipment hire from WAT
• insurances for the film and volunteer cast and crew
• a colour grade and sound mix provided by a post-production studio
• a gala launch of the filmsBremner and Foster participated as part of a Youth Arts Project, assisted through Arts Tasmania and Screen Tasmania by the Minister for the Arts. State Growth have also supported NERVE by contributing funds to employ nationally recognized script editors and mentor producers for Little Beauty, Karen, Shake & Dance, RED and Clockumentary.
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Hire
Wide Angle Tasmania provides Tasmanians with access to quality film production equipment and facilities to make, watch and meet.
We have a wide range of prosumer film equipment including cameras, lenses, sound recording, tripods, projectors, lights and much more. Check out the available gear and hire info here.
The Wide Angle Screen Centre includes a 70 seat cinema/studio, micro-cinema, meeting room, foyer and kitchen available for hire. Check out the information about our facilities here.
Current financial WAT members receive a 30% discount on equipment and facility hires.
Wide Angle also provides subsidised access to equipment and facility hire through a range of initiatives that are offered throughout the year (including Washington Residency, End Game and Nerve).
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Abi Binning published Help set up WAT's new home in WAT's new centre for screen 2017-06-27 12:38:52 +1000
Help set up the new Centre
Do you have some time and skills to help get WAT's new centre ready to open?
Towards the end of July we'll be in touch with some dates for working bees and moving dates - please sign up if you would like us to contact you directly.
Thanks! Become a volunteer
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Replay of info webinar
A great turn-out to the info webinar last night - thanks for the questions and enthusiasm! If you missed it - you can check it out here (skip ahead to where we start at 3mins 32).
Next step? To participate in the 3 pre-registration webinars you'll need to complete an EOI this week (it's quick and relatively painless I promise!) http://www.wideangle.org.au/eoi_step-out
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Step-Out Web 17
Step-Out Web17 was a partnership between Wide Angle Tasmania (WAT) and Australian Film, Television and Radio School (AFTRS) for Tasmanian filmmakers. It was a knock-out competition where the crowd decided which web-series were in the running for production investment including up to $20,000 cash (download the guidelines here). 16 teams completed the first 3 challenges, 12 teams completed the next 3 challenges. The Final 3 teams (plus the wildcard) pitched for production investment on December 17, 2017. The project selected for support was Women of the Island (Rebecca Thomson, Ninna Milliken & Lara Van Raay), an online series of short documentaries telling the diverse stories of the women who inhabit the island of Tasmania.
Launched on August 2 to 250 people including Pozible supporters, industry and politicians from all tiers of government, the three films are now available online to view.
Click through to watch and read about the three films produced.
A Farmer's Daughter
Jenine is a Cygnet local who has spent the last 30 years farming cattle, but when the dirty work is done, the overalls come off and she gets to work on her home which she has meticulously turned into a living museum full to overflowing of collectables.Welcome to the strange and magical world of sound performance artist Julia Drouhin, where radios are instruments and records are edible.
Madeline is a young woman who has been told she’s too white to be Aboriginal, and while many young people in Wynyard are disempowered, Madeline’s connection to Country and her proud lineage give her resilience and a strong sense of identity.
Abi Binning - Executive Director
Sept 2010 - Present
Abi is an independent producer and principal of the production company, Move Media. Abi has a number of credits in both broadcast documentary and short drama. Before entering the film industry, Abi worked extensively across the education sector as a teacher, researcher and curriculum writer.
Executive Director, Sept 2010 - Present