Canadian Cinematographer Magazine December 2020

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December 2020


AKILLA’S ESCAPE Martin Buzora: The Story of Pema

A publication of the Canadian Society of Cinematographers


Courtesy Canesugar Filmsworks

Fostering cinematography in Canada since 1957. The Canadian Society of Cinematographers was founded by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have joined the organization. The CSC provides tangible recognition of the common bonds that link film and digital professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography.

Urban Vibe Maya Bankovic


Akilla’s Escape

By Fanen Chiahemen

Credit: Escape Ape Productions

The CSC is a not-for-profit organization run by volunteer board members of the society. Thank you to our sponsors for their continued support.

CORPORATE SPONSORS AC Lighting Arri Canada Cinetx Inc. Company 3 Cooke Americas Frame Discreet Fujifilm, North America Corporation Fujifilm, Optical Devices Division Fusion Cine Grande Camera Henry’s HD Source Inspired Image Keslow Camera Kino Flo Matrix Video Communications Corp. Mole-Richardson MOSS LED Nikon Canada Panasonic Canada Panavision Canada Red Digital Cinema REDLABdigital Rosco Canada Rotolight Sigma SIM SIMMOD LENS Sony of Canada The Source Shop Technicolor Urban Post Production Vistek Walter Klassen FX William F. White International Zeiss


A Year in Tibet Martin Buzora: The Story of Pema By Fanen Chiahemen

26 32

Smashing Through the Price-Per-Pixel Barrier Old Hat for Blackmagic By Ian Harvey

COLUMNS & DEPARTMENTS 2 4 6 10 12 14 16 34

From the Editor-In-Chief From the President In the News CSC Award Winners CSC Member Spotlight – Kamal Derkaoui On Set What's Up at the CSC Production Notes/Calendar/Classifieds


Cover Saul Williams as Akilla in the film Akilla’s Escape. Courtesy Amanda Matlovich, Copyright Canesugar Filmworks Inc.

Courtesy Blackmagic Design

We facilitate the dissemination and exchange of technical information and endeavor to advance the knowledge and status of our members within the industry. As an organization dedicated to furthering technical assistance, we maintain contact with nonpartisan groups in our industry but have no political or union affiliation.

Canadian Cinematographer December 2020  Vol. 12, No. 7 EDITORIAL BOARD EDITOR-IN-CHIEF Joan Hutton csc EDITOR EMERITUS Donald Angus EXECUTIVE OFFICER Susan Saranchuk, CSC PRESIDENT

George Willis csc, sasc CSC BOARD REPRESENTATIVE Claudine Sauvé csc EDITOR Fanen Chiahemen, COPY EDITOR Patty Guyader PHOTO EDITOR Janek Lowe ART DIRECTION Berkeley Stat House WEBSITE ADVERTISING SALES Guido Kondruss, CSC BOARD OF DIRECTORS Zoe Dirse csc Jeremy Benning csc Rion Gonzales Joan Hutton csc Kristin Fieldhouse Guy Godfree csc Claudine Sauvé csc George Willis csc, sasc CSC EXECUTIVE PRESIDENT George Willis csc, sasc PAST PRESIDENT, ADVISOR Joan Hutton csc VICE PRESIDENTS Philip Lanyon csc Bruno Philip csc Penny Watier MEMBERSHIP CHAIRS Arthur Cooper csc Zoe Dirse csc EDUCATION CHAIRS George Willis csc, sasc Martin Wojtunik AWARDS CHAIR Arthur Cooper csc ONLINE CONTENT COMMITTEE Jeremy Benning csc – Co-Chair Christina Ienna – Co-Chair Carolyn Wong – Co-Chair DIVERSITY COMMITTEE Kristin Fieldhouse - Co-Chair Nyssa Glück - Co-Chair Rion Gonzales - Co-Chair Samy Inayeh csc - Co-Chair MENTORSHIP COMMITTEE Nyssa Glück – Co-Chair Iris Ng – Co-Chair RELATIONSHIPS Gaston Bernier OFFICE / MEMBERSHIP / SUBSCRIPTIONS 131–3085 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email:, Canadian Cinematographer makes every effort to ensure the accuracy of the information it publishes; however, it cannot be held responsible for any consequences arising from errors or omissions. The contents of this publication may not be reproduced in whole or in part without the express written consent of the publisher. The opinions expressed within the magazine are those of the authors and not necessarily of the publisher. Upon publication, Canadian Cinematographer acquires Canadian Serial Rights; copyright reverts to the writer after publication.Canadian Cinematographer is printed by Winnipeg Sun Commercial Print and is published 10 times a year. One-year subscriptions are available in Canada for $40.00 for individuals and $80.00 for institutions, including HST. In U.S. rates are $45.00 and $90.00 for institutions in U.S. funds. International subscriptions are $50.00 for individuals and $100.00 for institutions. Subscribe online at

ISSN 1918-8781 Canadian Mail Product Sales Agreement No. 40013776 Return undeliverable Canadian addresses 131–3085 Kingston Road Toronto M1M 1P1 THE CANADIAN SOCIETY OF CINEMATOGRAPHERS IS A NON-PROFIT ORGANIZATION.

2 • Canadian Cinematographer - December 2020



ith the holidays at our doorstep, the season to be jolly is feeling a tad tarnished these days. Health officials and even our own Prime Minister are warning that COVID-19 could be the Grinch that steals Christmas. It seems lockdowns and limited gatherings will be the order of the day for many of us. It’s rather difficult to find the good in all of this, but I’m a firm believer in the human spirit and its habit of prevailing when the chips are down. While the holidays may not be as we want them, people will adapt because that’s our nature. Celebrations with family and friends may be smaller and simpler, but they can still easily overflow with an abundance of joy and happiness. And if being together is not possible, then there’s always technology to the rescue. I would imagine most everyone knows about Zoom, the video streaming app that began as a business communications tool for conference meetings. Because of the pandemic, it has also become a powerful social tool allowing families and friends to gather from anywhere in the world to chat and even have parties safely via the Internet. Heck, even the CSC has hosted a couple virtual pub nights through Zoom. I can attest that they were much fun. Nothing would please me more than to learn that Zoom had its busiest month ever this December because of all festive socializing on their app. Holiday cheer is irresistible and can be easily stoked by the simplest gesture. I remember when my street was candy cane bombed. I found one of those red and white stripped confections underneath the windshield wiper of my car one frosty morning. Attached to the cane was a tag with a beautifully scripted message: “Merry Christmas, Neighbour.” As I looked up and down the street, every car had a tagged cane beneath their wiper. I never did find out who was behind the cane caper, but to this day it still brings a warm cheerful smile to my face as it did that chilly day. COVID-19 may be our unwanted companion this holiday, but it need not be our master. We will prevail and there will be a happy ending to this story as there is in the Dr. Suess tale How the Grinch Stole Christmas. I want to wish everyone a safe, happy holiday season and a terrific 2021.

CORRECTION: The October Editor-in-Chief column incorrectly stated that the CSC’s self-identify survey can be found on the CSC website. The survey is in fact being emailed to our membership.


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FROM THE PRESIDENT George A. Willis csc, sasc


ho doesn’t like attending a workshop? I know I do, and that’s why we teach them. The CSC has been promoting workshops for many years as part of its education mandate. There are several workshops to choose from covering many topics. The three main workshops are referred to as “Core Workshops” and we have refined these over the years to offer instruction regarding general camera and lighting, and lighting for faces and tabletop. Other workshops offer a diverse range of topics on pursuing the creative process. All of these workshops offer the experience of obtaining the theoretical, as well as the hands-on approach, which is an important part of the process. One important aspect of the CSC workshops has always been personal attendance. The current situation with COVID-19 has unfortunately forced us to address this, and we are now required to adhere to specific guidelines. Because of COVID, we are reviewing and exploring a different method to continue with our mandate. What is becoming the norm for the foreseeable future is the mounting of as many workshops as possible online. Many of the workshops require a large space and interaction, and therefore are considered unsuitable for online teaching. However, there is one workshop in particular that we wish to offer online: Guerilla Documentary. We have not previously offered this workshop, but it is now being considered for several reasons, mainly because of its uniqueness and its adaptability to an online platform. 4 • Canadian Cinematographer - December 2020

This workshop is a result of many requests for an event that covers the issue of working with a very limited budget and limited resources. Documentary filmmaking is an ideal example where the cinematographer might need to travel but still requires the ability to shoot without the issues that arise with large equipment needs. An example would be a location shoot where it would not be possible to transport standard equipment and accessories. The necessary equipment might be required to fit into a backpack, golf bag or some other non-standard shipping container. Scaled-down lighting requirements would also be considered because of the lack of crew. Some examples include the possible use of a skateboard for tracking shots, reflectors that fold up, small (LED) light sources and other accessories that can be packed into a carry-on. Imagine a location on a mountainside, where there is no other option than to physically carry all of the equipment, which would be rather limiting to say the least. But the challenges of this scenario can be addressed and overcome by thinking outside the box. The idea is to offer a workshop that analyzes the problems and then suggest various solutions, which will include the actual manufacturing of some specialized equipment, using nothing more than readily available components and one’s imagination. While no specifics are available at this time, it is fair to say that much of the structure of the workshop is in the advanced stages of planning, so stay tuned, this could be a lot of fun and very rewarding.

In The News C. Kim Miles csc, mysc and Peter Simonite csc Join American Society of Cinematographers The CSC congratulates C. Kim Miles csc, mysc and Peter Simonite csc who were recently granted full ASC membership.

Federal Government Announces Short-Term Compensation Fund for Audiovisual Productions In early fall, the Minister of Canadian Heritage Steven Guilbeault announced an initiative to compensate for the lack of insurance coverage for audiovisual productions interrupted or abandoned due to the COVID-19 pandemic. The government put in place this temporary support measure to allow the industry to restart. The Short-Term Compensation Fund for Canadian Audiovisual Productions (STCF), which is budgeted at up to $50 million, is a temporary measure and will be administered by Telefilm Canada and the Canada Media Fund.

Courtesy of the ASC

IMAGO Supports Cinematography Community with Sony’s Global Relief Fund for COVID-19

C. Kim Miles csc, mysc

IMAGO announced recently it is working with Sony Corporation to distribute grants in support of the international cinematography community. The grants, which IMAGO will help to allocate through its worldwide membership base, form part of the Sony Global Relief Fund for COVID-19. Sony established its global initiative to deliver $100 million of support to three main areas: the frontline medical community; children and educators; and the creative community in the entertainment industry. To help with the latter, Sony approached IMAGO, amongst other organizations, to distribute a significant part of this fund to cinematography applicants via IMAGO’s member organizations worldwide. While Sony will reach out through other organizations to cinematographers in Canada, Japan and the United States, IMAGO will provide a point of access to its 53 member societies covering the rest of the globe.

Courtesy of Peter Simonite csc, asc

DOC Launches Online COVID-19 Production Guide by and for Documentary Filmmakers

Peter Simonite csc

This fall, the Documentary Organization of Canada released its online guide Documentary Production in the Era of COVID-19: Best Practices by and for Documentary Filmmakers. The guide was created with input from the community of professional documentary makers and is aimed at helping filmmakers navigate new ways of working safely in the context of COVID-19. It was created in partnership with the National Film Board, the CBC and the Directors Guild of Canada. The online guide – accessible at covid19. or – is based on a survey of 327

ACCEPTANCES / AWARDS / NOMINATIONS Angel Navarro III, associate member (director of photography) Charlie (short film), accepted: LA Shorts International Film Festival, October 2020

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documentary professionals (directors, producers, crew), in-depth interviews with more than 50 individuals (filmmakers, experts and documentary participants) and a review of health and safety guidelines from jurisdictions across Canada and abroad. Researched and written by documentary filmmaker Chanda Chevannes, the guide helps filmmakers work through ethical considerations, jurisdictional and legal matters, logistics, as well as issues that may arise in postproduction.

roles in film, television and gaming include a key partnership with the Academy of Canadian Cinema & Television. Canadian industry notables Deanna Cadette, Executive Director, and Melanie Nepinak Hadley, Program Director, will lead the efforts under the Global Access Programs initiative.

Telefilm Canada Pledges Financial Support Towards Creation of Black Screen Office

Anishinaabe/Ashkenazi producer/director Jennifer Podemski recently launched the Shine Network, a media platform designed to empower and celebrate Indigenous women in film and television. The federally incorporated, social enterprise will offer a digital cinema space for content created by Indigenous women and a professional development incubator for Indigenous women pursuing a career in the film, television and media industry. The cinema space will feature a variety of content made by Indigenous women. Special presentations will include curated exhibitions by established Indigenous filmmakers, virtual artist talkback sessions and exclusive screenings, and the professional development incubator will provide a wide variety of masterclasses and tutorials.

Jennifer Podemski Launches Media Platform to Empower Indigenous Women in Film, TV

Telefilm Canada recently announced it has committed to investing $100,000 annually for the creation of a Black Screen Office. The office aims to help address the imbalances that exist within Canada’s film industry and will work towards dismantling the systemic racism that exists, according to Christa Dickenson, Executive Director, Telefilm Canada. Earlier this July, Telefilm Canada released its Equity and Representation Action Plan, which outlines a series of Action Items dedicated to build a more representative film community within Canada for racialized filmmakers. It builds on previous and ongoing conversations in collaboration with the industry, including an external Diversity B.C. Government Announces New and Inclusion working group since March 2019. Domestic Motion Picture Fund WarnerMedia Expands Global Talent Development Efforts to Focus on Diversity WarnerMedia recently announced the creation of a new Canadian talent development team that will focus on increasing representation in front of and behind the camera. The team will focus on building relationships with and opportunities for creators of all genders, abilities and identities from Canada’s underrepresented communities, including members of Indigenous, Black, and other racialized groups, creators with disabilities and members of the LGBTQ2+ and Francophone communities. The programs for both above- and below-the-line

This fall, the government of British Columbia announced that as part of the COVID-19 Action Plan relief funding, the province is investing $2 million to launch the new Domestic Motion Picture Fund, the first dedicated funding since 2003 to support the production phase of content creation in B.C.’s domestic motion picture sector. B.C. production companies can apply for support to turn their ideas into finished products, such as feature films, TV shows, series, documentaries and animated content. The fund will help local production companies attract investment and leverage federal funding. Creative BC will administer the fund as part of Reel Focus BC, a suite of supports available to the domestic production sector. Canadian Cinematographer - December 2020 •


Netflix Announces New VancouverArea Production Hub

porting productions and local talent. Among the founding supporters are ACTRA Toronto, IATSE Local 357, the Forest City Film Festival in London, ON, the Toronto Writers’ Collective, Sim, Sheridan College Screen Industry Research and Training Centre, Jonsworth Productions, 519 Films and Ballinran Entertainment.

Netflix recently announced it was taking a longterm lease on seven sound stages at the Canadian Motion Picture Park studio complex in Burnaby, B.C. CMPP’s production center currently has 18 sound stages across 25 acres. Under a multi-year deal, the streaming giant will have approximately DP Paul Thomas Mockler Dies 178,000 square feet of production, office, and support space over seven sound stages, according to DP Paul Thomas Mockler died on September 18 after a battle with cancer. One of the pioneers in media reports underwater cinematography in Canada, Mockler was well known and respected among his peers as a Ontario Creates Launches Green photographer, writer, director and cinematographer. Initiative for Film Production He helped develop The New Wave, a CBC series In September, Ontario Creates announced On- featuring advances in marine ecology and technology, tario Green Screen, a new collaborative initiative and worked on This Land, and was underwater between government, industry partners, unions, cinematographer for CBC’s Land and Sea, The guilds, trade associations and companies that en- Nature of Things, Danger Bay, and The Beachcombers. deavours to make lasting change in the industry He was a Gemini Award winner for Photography and to empower individuals, production compa- and was nominated for his cinematography work nies and studios make sustainable choices. The mis- on the 1994 BBC production Into the Wild with sion of Ontario Green Screen is to provide the tools Robin Williams. Mockler’s extensive underwater necessary to empower the motion picture industry experience and reputation gave him the in Ontario to incorporate and scale up environmen- opportunity to film the wreck of the Titanic and he tally sustainable best practices that lead to the well- was the cinematographer on the IMAX production being of the environment. Ontario Green Screen Titanica. Other IMAX films include Flight of the will serve as a one-stop sustainable resource for the Aquanaut, Friendly with Whales, Imagine 3-D and the Canadian film, TV and content production sector IMAX/National Geographic productions Whales, and will provide climate and sustainable production Sea Monsters. His motion picture credits include training, carbon calculator training, on-set waste re- underwater director of photography for Zeus and duction practices, access to green vendors lists and Roxanne, Phoenix Blue, the fantasy adventure scaling up of food rescue initiatives province wide. Nomad, The Sea Wolf and Beneath the Blue. Meanwhile, the Ontario government announced it was investing nearly $1.3 million through Ontario Cinematographer, Director Creates grants, providing 99 organizations with Michael Chapman Dies funding to help bring Canadian film, TV and digital Cinematographer Michael Chapman asc, who content to audiences around the world. lensed such films as Raging Bull and Taxi Driver died September 20 at the age of 84 of congestive heart Industry Stakeholders Form failure. Born in 1935, Chapman got into cinemaSouthwestern Ontario Film Alliance tography via his father-in-law, Joseph C. Brun, who Southwestern Ontario industry stakeholders re- was a cinematographer. Chapman was taken under cently joined forces to create the Southwestern the wings of Gordon Willis ASC, for whom he was a Ontario Film Alliance (SOFA) with the aim of sup- camera operator on such films as The Godfather and 8 • Canadian Cinematographer - December 2020

Klute. Chapman made his debut as an independent cinematographer in 1973 on the set of Hal Ashby’s The Last Assignment. He quickly became an associate of Martin Scorsese, with whom he made four films in a five-year span. Chapman received his first Oscar nomination for Raging Bull. Since the 1980s, Chapman dedicated himself to genre films, lensing

for such films as Joel Schumacher’s The Lost Boys, Ivan Reitman’s Ghostbusters II, Joe Pytka’s Space Jam and Andrew Davis’ The Fugitive, for which he received his second Oscar nomination. In his last years, Michael Chapman retired and devoted himself to educational activity, training the next generation of cinematographers.

The CSC Store Official CSC Merchandise

Kleen Key Metallic Case Stickers (5/Pack)

Aquaovo Water Filtration Bottle

50th Anniversary E-Book

Legacy Issues

Lapel Pin

Canadian Cinematographer - December 2020 •


As part of a continuing series, Canadian Cinematographer will be recognizing two 2020 CSC Award winners per issue.


David Greene csc asc Impulse “The Moroi”

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Matt Bendo A Dog Cried Wolf

Canadian Cinematographer - December 2020 •


CSC Member Spotlight

Kamal Derkaoui csc What films or other works of art have made the biggest impression on you?

What is one of your most memorable moments on set?

The combination of many forms of arts got Last day on a location, 15 minutes left before my mind and soul into cinematography, but re- a hard wrap and we were still shooting the masalism art was a huge part of it. ter of an important scene taking place in a very small room. The coverage of both sides was How did you get started in the business? still to be shot, all in 15 minutes! I was literally born in it! I did my first steps as I set one camera onto an over-the-shoulder a child in a film school where my parents were coverage. Then I called for the cleanest mirror studying. My father is director, my mother is we carry, and I set it against the wall behind the makeup artist, and my uncle is DP. So I grew actress. Then I set the second camera to shoot up always spending most of my free time with the reverse through the mirror at the same them on sets. It’s very hard to do a different time. We just had to flip the image in post afprofession when, very early, you had a taste of terwards. The mirror trick saved the day! It was the satisfaction movie making can magically a memorable moment that still makes me feel give you. as good as the first time. Since then it’s been called jokingly “The Moroccan reverse.” Who have been your mentors or teachers?

The VGIK (Moscow film school) in the late ‘80s had this program for cinematography where each mentor (master) recruits five students and accompanies them throughout the curriculum for six years. I was extremely lucky to be chosen by the legendary Vadim Ivanovich Yusov (Tarkovsky’s DP).

What do you like best about what you do?

I love the challenge I face in every movie, every scene, every setup. The more difficult the situation is, the more rewarding the result is. I love the non-existence of boredom and monotony.

What do you like least about what you do?

What I dislike the most is the time between Robert Richardson asc is on the top of the projects. list, my greatest inspiration. The way he lights and frames just does it for me. I feel so much What do you think has been the greatest connection, joy and satisfaction watching his invention (related to your craft)? It’s not necessarily my go-to tool unless the movies. situation really calls for it, but I think the SteaName some of your professional highlights. dicam qualifies for being at least one of the It’s an impossible task to choose the favourite greatest inventions. When used properly, it can among your kids. Every project I’ve done so far achieve amazing results. has left great memories engraved in me, but if I have to name any, I’d go with The Tall Man and How can others follow your work? My website: Frequency. What cinematographers inspire you?

12 • Canadian Cinematographer - December 2020

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Credit: Jannat


Canadian Cinematographer - December 2020 •




On Set

DP Angel Navarro III (associate member) reviews a shot with (affiliate member) on the set of the short film Charlie. Credit: Elana Emer

DP Morgana McKenzie (associate member) operating on set of Rethink Breast Cancer's recent campaign with Unika Swimwear.

Vic Sarin csc on the set of Lifetime movie Kidnapped in Paradise, shot in Queensland, Australia.

Credit:Venus Nazar

Credit: Diane Templeton

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1st AC Artem Mykhailetskyi Associate member Daniel Green and underwater first AC Stephen Arnott filming for IMAX in Longyearbyen, Norway. Credit: Sebastien Baribeau

From left to right: director Bill Corcoran, DP D. Gregor Hagey csc, camera operator Brett Hurd, 1st AC Calvin D’Souza on the set of Belle on Wheels. Credit: Jim Saysana

Canadian Cinematographer - December 2020 •


What’s Up at the CSC The CSC is a not-for-profit volunteer-run organization which serves to foster the art and craft of cinematography in Canada. We encourage our members to volunteer on the various committees dedicated to different aspects of our society. Being part of a committee is also a benefit of being a member; it’s a great way to network and get to know other cinematographers and to come together with shared visions to create new initiatives or assist with ongoing ones.

2020 Board of Directors

What's up in December The CSC is proud to announce its new Board of Directors, which reflects our goal of increasing diversity and inclusion within the Society and the greater industry. The CSC website Merchandise is now en français. Have a look, and if you buy something tag us on Instagram wearing your CSC merch!

Jeremy Benning csc

Rion Gonzales associate member

Zoe Dirse csc

Claudine Sauvé csc

The CSC is launching a new Mentorship Program! We’re looking for mentors and mentees with all levels of experience. Are you freshly out of school and looking for guidance on getting started in the industry? Or have you been working steadily for several years and need guidance transitioning to the next stage of your career? Join as a mentee! Have you worked in the industry for 20 years and want to help your colleagues grow their craft? Or have you been working for a few years and are able to encourage new graduates? Please join us as a mentor! Mentorship could include in-person or online meetings, set visits, feedback on the mentee’s work, discussion of techniques, career advice, invitations to surveys, technical tests, colour grading sessions, and any number of other opportunities that can best help the mentees develop their careers. Register to become a mentor or a mentee. Mark your calendars for the Zoom CSC AGM, Sunday, December 6, 2020, at 12 p.m. EST. Invitations will be emailed.

Kristin Fieldhouse

Guy Godfree csc

associate member

We are rescheduling our CSC-wide online antiracism, equity & inclusion session with Natasha Tony at Elevate Inclusion for January 16, 2021 (originally scheduled November 28, 2020). Invitations will be sent. Time to find the best of the best! Enter the CSC Awards. The deadline for entries is January 31, 2021.

Joan Hutton csc

George Willis csc, sasc

16 • Canadian Cinematographer - December 2020

WANTED! The CSC is currently without a Treasurer – if you or someone you know could fill those shoes, we’d LOVE to hear from you. Contact Susan Saranchuk.

Like A Boss Bloodshot Midsommar Dolemite Is My Name Hustlers Just Mercy Evil The Witcher Veronica Mars The New Mutants Dickinson

Your favorite stories. Told with . Greyhound Utopia All Together Now Tales from the Loop The Terror Homecoming The Highwaymen Wu-Tang: An American Saga American Horror Story The Sleepover The Kissing Booth 2 The Rook The Hate U Give All the Bright Places True Detective The Good Fight

Canadian Cinematographer - October 2020 •


Credit: Opening credits Canesugar Filmworks Inc. On Set photo Amanda Matlovich, Copyright Canesugar Filmworks Inc.


Saul Williams as Akilla in the opening credits (black and white photos) of Akilla’s Escape. Thamela Mpumlwana on set.

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ESCAPE W By Fanen Chiahemen

riter-director Charles Officer’s latest feature Akilla’s Escape charts the journey of a 40-year-old drug trader named Akilla Brown (Saul Williams) seeking to turn his life around after a routine deal turns bad. Finding himself caught in the middle of a violent robbery, Brown escapes with one of the thieves, a teenaged Jamaican boy named Sheppard (Thamela Mpumlwana), and the unexpected turn of events forces the older man to confront his own traumatic past as he attempts to save the boy from a similar fate. Set in parallel timelines in contemporary Toronto and 1990s Brooklyn, with much of the action unfolding in a single night, Akilla’s Escape, which premiered at this year’s Toronto International Film Festival, also stars Colm Feore, Vic Mensa and Ronnie Rowe Jr.

Canadian Cinematographer - December 2020 •


Credit: Amanda Matlovich, Copyright Canesugar Filmworks Inc.


(L-R) Maya Bankovic csc with director Charles Officer. below: Actor, Thamela Mpumlwana

fficer says he conceptualized the film with a visual language that would transcend the usual sensationalism of crime dramas. “I’m a fan of genre and I’m a fan of noir films, but it was about infusing the genre with some soul and something that is culturally rooted and trying to find even the poetry in a crime story,” the director says. “And I’m dealing with youth and violence, which is something that I’m anti, so I’m not going to approach it like a Hollywood blockbuster.” With this in mind, Officer believed Maya Bankovic csc was a natural choice to shoot the film. “Maya’s an artist and I’ve admired her work,” he says. “I wanted a female eye on this, and I feel like because of Maya’s sensitivity and her artistry she’s not going to get caught up in, ‘Let’s do this and smash this and that just to make it look cool.’ And I’m not taking that away from men that they’re not sensitive, but I think the majority when it comes to the cinematic world, we want to see the blood and the guts instead of being like, ‘Okay, what is the essence of this and whose point of view is it from and how does that feel?’” Much of the shoot took place around Toronto’s Scarborough neighbourhood. “There was an element of embracing the more eerie and barren outskirts feel to that area of the east end,” Bankovic says, but shooting night scenes in June was not easy.

“We were fast approaching the shortest night of the year while we were shooting a film that takes place almost entirely in one night. It was really challenging, and often times the sun comes up and there are some happy accidents that came out of that, like the final shootout scene ended up moving into sunrise, which I think actually works really beautifully, with the interesting flares we got to show that a similar transition has happened narratively.” The two eras had to be differentiated visually. “That was one of the really cool things that I loved about Charles’ initial treatment,” Bankovic reveals. “He’d had the film in the works for 10 years so he had a lot of visual ideas going in, and one of them was that he wanted the storyline taking place in 2020 to have a wider visual scope to it to represent the knowledge and scope of understanding Akilla has gained since childhood. He just sees more context, he understands the macro inner workings of things and how everything is interconnected, so in general we knew the present-day stuff was going to look wider. Initially, we considered using very wide spherical primes on these scenes. I had been using anamorphics for commercial work mostly and I hadn’t done anything long format with them yet, but I thought this could be a really cool opportunity to use them on the present-day stuff so that the visual difference


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Credits this page and inset page 20: Canesugar Filmworks

top: (L-R)

Olunike Adeliyi and Thamela Mpumlwana in a 1995 flashback of Akilla’s Escape. middle: Thamela Mpumlwana in a 1995 flashback of Akilla’s Escape. bottom: Saul Williams in the 2020 timeline of the film, Akilla’s Escape.

Canadian Cinematographer - December 2020 •


(L-R) Pedro Miguel Arce and Victor Gomez with Thamela Mpumlwana in the 1995 flashback.

(L-R) Thamela Mpumlwana with Saul Williams and Vic Mensa.

(L-R) Saul Williams and Colm Feore.

was present but it would be a little bit more subtle. So a 50 mm would still be a 50, but there would be more visual information and more context around that character while still maintaining the integrity, the shallow depth of field and the visual quality of a classic closeup. Then the ‘90s was shot on spherical lenses, mostly longer lenses because it was meant to really situate you into a memory with a more narrow field of view, so things are much tighter, they’re more textural, more focused on a detail or a face, less sort of wide coverage and more just meant to feel like an impression or a feeling of a moment. I think the best example of that is the moment where Shadow is smoking weed in the car one afternoon under an overpass and he’s explaining the different tiers of the gang system within the Garrison Army. The shot in the car is very tight, the smoke of the joint is very visceral and very all consuming in the frame. And it’s pretty subtle, but we definitely wanted it to feel like a memory and less of a jarring visual shift, which would otherwise only serve to alert the viewer that it’s a flashback.” Colour timing was also employed to differentiate the two time periods. “On the 1990s stuff, Walt Biljan at REDLAB was the final colourist and he put a 16 mm 500T grain on it, which is a larger grain than what we used as an overlay on the 2020 stuff, which was a tighter grain structure, a 35 mm grain,” Bankovic says, adding that both of the lens sets she

used were Cooke. “So 2020 in general has a sleeker more slick aesthetic, it’s typically on a dolly or a Steadicam, it’s anamorphic, it’s got the 35 mm grain structure. And then the ‘90s has a bit more grit to it, it’s handheld, longer lenses, and a lot of these things are written right into the script too, a visual transition would happen when a memory was triggered, so we could plan ways of designing shots, with a bit of movement for example, to help ease that transition.” Officer was intentional about infusing Akilla’s

Credits: Canesugar Filmworks.

(L-R) Ronnie Row Jr., Shomari Downer with Thamela Mpumlwana in a 1995 flashback.

22 • Canadian Cinematographer - December 2020


apartment with a rose-coloured light. “I love colours and I think colours actually have psychological effects on people,” the director explains, saying the pink hue highlights the departure from the “brooding dark vibe” typically applied to crime films. “He really wanted that to signify Akilla’s softer more sensitive side,” Bankovic offers. “Akilla is a very sensitive and poetic person so it was important that his own private space had that softer almost feminine touch to it. So I loved that this was not what you would expect from someone who’s lived a lifetime of crime.” To create the pink ambience, production designer Diana Abbatangelo sourced a true neon light close to the pink that Officer had in mind. “And we were able with our on-set DIT Catherine Pantazopoulos to spin it to the perfect pink that he wanted, and then other times we’d supplement that with a CELEB or a SkyPanel, and we were able to dial in the exact pink we wanted to supplement the practical fixture for faces, for closeups and things like that.”

The neo noir aesthetic guided most of Bankovic’s lighting choices. “I kept having to remind myself that it was a neo noir,” she says. “Those words really helped sort of ground the strategy just in case we were in a situation where we could easily default to something a lot more straightforward. My gaffer Blayne Badge and Charles and I, we would think of ways to up the contrast in a motivated way or send a harder light through a window, just for a splash of something to evoke that film noir quality so that it wouldn’t deviate too far from that genre feel. An example of that is in Faye’s kitchen where we decided to play up the blinds and just go for the almost Humphrey Bogart-era hard light but then introducing our green neon spin of the exterior lighting colour palette that we decided on for the present day. “We used tungsten light as much as possible, which was awesome because it’s rare that there’s time these days to bounce tungsten Fresnels,” the DP says. “Catherine has great advice on that; she mentioned for skin tone it often looks much better to cool down tungsten on her system than to gel or

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Canadian Cinematographer - October 2020 • T O RO NTO • MISSISSAUG A • O TTAWA • CAL GARY • E D MO N T O N • V I S T E K . C A


The Visual Technology People



Saul Williams as Akilla.

go with too many LEDs, and especially with darker skin tones I found that method to be very flattering. We had HMIs, as well. We would use 4K HMIs often on exteriors during the day or on night-forday scenes. And our largest light was an 18K that we only used a couple of times on some of the 1990s flashback sequences.” Other than the 16 mm intro sequence shot on a spring-wound Bolex, footage was captured on the ALEXA Mini, “and then the 1990s stuff on spherical lenses was just matted to match the aspect ratio, again, just to ease with those transitions a bit,” Bankovic says. “Craig Milne at Sim was great in helping me choose which anamorphics to use. He was so generous. He’s actually become such a 24 • Canadian Cinematographer - December 2020

true collaborator for me over the years, like really helping source and figure out what the best lens solution is for the application.” Final colour grading was spread out over several weeks. “We started with Walt, we did a day with him and then we sort of let all those decisions percolate, and then we revisited it a couple weeks later, did a few more days, and Charles would think on things for a while and then want to try a few different looks out,” Bankovic says. “And they were waiting on this amazing score that Saul Williams had collaborated on with Massive Attack’s Robert Del Naja. I had heard stems from their tracks early on in preproduction and I knew the film was going to have a lot of hefty, juicy stuff to it, so the colour had to match the gravitas of the score because I knew the score was going to be so rich and great we had to give people something to look at as well as listen to; the whole thing had to feel like a vibe.” Being chosen to shoot Akilla’s Escape for Officer was an honour, Bankovic says. “I’ve always been a big fan of not only Charles’ films but the ethos behind his films and how dedicated he is to making very personal stories about specific experiences within Toronto and going very deep with character-driven stories about Toronto,” she maintains. “He’s someone with a very clear and unapologetic point of view and he uses his work to make that point of view known.” Although Officer says he began writing Akilla’s Escape in 2010, its premiere this year comes at a time of global reckoning on race and violence in society. “The social acceptance of violence has allowed a lot of societies here to see images over and over again until this crazy one hit,” Officer says, referring to the viral video of the police killing of Minneapolis man George Floyd that sparked a global uprising against police brutality and systemic racism. While Officer could not have anticipated this moment, the director appreciates that Akilla’s Escape can contribute to the ongoing dialogue by exploring how forces like “colonialism and politics can be the undercurrent that creates the atmosphere for all this violence,” he says. “This is a broad, big situation, and I feel that this film for me is about our youth and all the nonsense that goes around deterring and derailing our youth from being excellent.”


“ I U S E R O T O L I G H T N O W F O R V I R T U A L LY E V E R Y S E T U P ” R O Y W A G N E R A S C ( R A Y D O N O V A N , E L E M E N T A R Y, A N I G H T M A R E O N E L M S T R E E T )





B U I LT I N w D M X






R O T O L I G H T. C O M / T I TA N X 2 S A L E S @ R O T O L I G H T. C O M


Martin Buzora Tells


2020 CSC Award Winner

By Fanen Chiahemen


n The Story of Pema, a nine-year-old Tibetan girl describes her epic seasonal journey across the mountains of the Amdo Region, home to what she calls “an ancient culture of peace.” The five-minute film, saturated with colour and unfolding in smooth track-

26 • Canadian Cinematographer - December 2020

ing shots, is a meditative and poetic glimpse into the daily life of the rapidly disappearing cultures of the Tibetan grasslands where spirituality is at the heart of almost every aspect of life. The film won the 2020 CSC Award for Documentary Short Form

Cinematography, and just as intriguing as the project itself is the story of how it came about. Ever since filmmaker Martin Buzora was a little boy, he has been fascinated with Tibet – the remote and autonomous region of China known as the “roof of the world” – and its culture. “I can’t remember a time when I wasn’t captivated by the

This photo Pema Kyi. Small photo (L-R) Pema Kyi and Martin Buzora during the production of The Story of Pema.

textures and the religious aspect of it, and the whole mystery surrounding it,” he says. “I remember it just being this magical place in my mind that I always hoped to get a chance to visit, and as I grew older I always wondered how I would ever even visit it, let alone bring a camera with me with all the restrictions surrounding Tibet.” Opportunity came knocking when a Beijingbased tech company, having seen previous work that Buzora had made about children from disappearing cultures, reached out. “The CEO really fell in love with the style and he actually tracked me down and said, ‘We would love for you to direct a similar piece with a similar style in Tibet,’” Buzora Canadian Cinematographer - December 2020 •


All photos credits: Escaped Ape Productions except page 27 credit: Zacharia Lorenz/Escaped Ape Productions


Pema Kyi

recalls. “It was just this magical moment in my career. The opportunity just kind of materialized and fell into my lap, and I just ran with it.” What the Beijing company had in mind was for Buzora to shoot a commercial for their smoke detectors and other devices, which they intended to install in ancient temples in Tibet. “But Chinese commercials are very different from our marketing world,” Buzora explains. “They’re very straightforward about it, they basically just want to tell people how great their products are and then cut to shots of the temple. But I convinced them that it’s way more powerful to make a film about the culture they’re trying to preserve with this technology.” After the company agreed to embrace his creative vision, Buzora flew to Tibet for a two-week scouting trip to meet the locals and hear their stories. On his second to last day, he visited his fixer’s homestead, “and all these children just ran up to the car to greet us,” Buzora recalls. “And there was this one little girl with this beautiful green dress who came over and smiled, and I instantly felt this connection to her. She was very curious; she was not scared of me like all the other children. She just kind of stood there observing me, and I felt like she was such an interesting person. That person of course turned out to be Pema.” When his fixer explained that Pema was 28 • Canadian Cinematographer - December 2020

Pema’s grandfather, Kai Amo and Martin Buzora during the production of The Story of Pema. below: Martin Buzora

known among the locals as an accomplished horse rider, Buzora knew he had found his subject. “I just immediately started imagining all these beautiful scenes to tell this nomadic culture through her

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eyes.” Buzora then worked with Pema and her family to write the film’s narrative, which proved to be a moving experience. “Everyone cried,” he recalls. “I remember at the final reading I had these grown Tibetan men in this restaurant, and everyone was just wiping their tears. It was such an amazing thing to witness.” The rapport Buzora was able to establish with the locals went a long way when it came to actually putting them on film. “I feel like filmmaking has little to do with the technical side of taking an image,” Buzora maintains. “I think few people actually realize this. People think, ‘Oh, I’m going to get a RED camera and make an amazing movie,’ and to me that’s never been a connection. To me filmmaking is

to exploit them because they have been part of the whole process.” Although the film took a year to complete, principal photography was achieved over just four shooting days with a skeletal crew. “I brought a camera assistant with me and a third person whose only job was to be my drone operator,” Buzora says. “And then of course I had the translator and the yak herders. “Logistically, it was the most indescribably difficult thing I’ve ever done. Nothing even comes close,” he reveals. “You’re having to herd animals that are in the scene, Pema’s on horseback a lot of the time, the weather is horrible, it’s cold, it’s starting to snow and there’s the altitude sickness. Just making a film with a child in Toronto under normal circumstances is a

Pema Kyi

about human relationships and human connection that you build with another person, and then whatever camera you have you use to support that connection and to tell their stories. At least that’s how I approach documentaries. So for me to get them to act natural it was just building on an existing relationship with them. That’s why my first scouting trip was so valuable. I met everyone, I spent day and night with the translators and the local guys, I was eating the food with them, we were together talking about Tibetan culture all day long, and so you become close friends and it just naturally happens that by the time they see the camera in my hand, everyone’s on board and everyone knows where I’m coming from. No one is scared that I might try 30 • Canadian Cinematographer - December 2020

difficult task. So try having your main character be a child who doesn’t speak English, has never seen a movie, let alone knows how filming works.” Despite the difficulties, working with Pema was a delight, Buzora says. “She was the most wonderful little child who was just so curious and open,” he recalls. “She was honestly like any child in the world learning about some crazy new thing that’s happening around them. The reason she worked so well was because she wasn’t scared, or if she was her curiosity overcame her fear. She lives a nomadic lifestyle, so she was tougher than all of us. We would be freezing on a mountaintop with no proper oxygen levels because the altitude is so high, and the wind was killing us. And we didn’t really eat properly the way we

were used to, but she’d just have like half a glass of yak milk and she was happy for the rest of the day.” Having fallen in love with Lomo anamorphic lenses years ago while shooting in Mongolia, Buzora knew they would work for this film. “I chose them because they have a really organic feel,” he says. “To me they’re like the impressionistic paintings of the film world. They have so many little technical issues. Visually they’re soft, they’re difficult to focus, they have all sorts of distortions, but the cumulative effect of those imperfections is that they create these images that are unforgettable. I always tell people these lenses don’t capture what you see in front of the camera, they capture how it feels to be there. And that’s what I wanted. My purpose was just to try to create the most beautiful thing I could for Tibet because I feel like that’s how you preserve a culture, to show the world how beautiful it is and why it should be preserved, and those lenses visually allowed me to infuse that feeling into the film.” The camera was an ARRI Mini, he says. “I love the ARRI sensor. The images it gives you are so natu-

ral; it lends itself so beautifully to this subject where you shoot on location with natural light. It’s just a perfect camera to capture that feeling of the humanness. It’s a very organic kind of image, so when I combine that sensor with those lenses, it’s like a match made in heaven.” Other gear he brought included the Ronin 2, “just to get those beautiful gliding dream shots,” he says. “We did end up bringing a 1x1 LED panel just for Pema’s interview because I knew that I would have to do that interview in a quiet room setting where I could control the light. So that was just literally one light on her face and some hotel lamps for the background.” Buzora did make sure that Pema and her family got to see the finished product. “I sent a link to the local fixer and I said, ‘You have to make sure you find someone’s phone with video and film her while she’s watching it,’ and I actually have that footage,” he says. “To be able to hold up a mirror to someone you love and show them how beautiful they are, that’s why I became a filmmaker.”

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T O RO NTO • MISSISSAUG A • O TTAWA • CAL GARY • E D MO N T O N • V I S T E K . C A The Visual Technology People

Tech Column

Smashing Through the Price-Per-Pixel Barrier Old Hat for Blackmagic


oore’s Law held that as technology advances the cost is halved and the number of transistors it holds doubles. Maybe he meant pixels because here’s Blackmagic Design’s US$9,995 URSA MiniPro 12K with more pixels per dollar, the new apex of digital disruption. The MiniPro adds new features like a USB C dock, faster SSD and MDME discs, their DaVinci Resolve software and codec for a soup-to-nuts solution, which will also play nice with any other camera and format in common use, including colour synching. “This isn’t just a 12K camera capable of shooting 60 frames a second. It’s also an 8K camera shooting at 110 fps and a 4K shooting at 220 fps,” Blackmagic Design’s Director of Sales Operations, North America, Bob Caniglia says. “We future-proofed this.” But why the need for 12K? It’s a question cinematographer Vance Burberry (Butterfly Effect, Taxi) admits he asked himself. “I thought, ‘Nooooooo.’ I’m an ALEXA guy and I thought 8K is so harsh, and watching Netflix in HDR is overly sharp,” he says. He thought 12K would be more of the same but worse and was surprised when he took it out for a test run with Zeiss Super Speed Mark 3 lenses to shoot footage in northern California. “To my delight, it was not harsh at all,” he says. “The quality of 12K was not too sharp, it was soft (where it needed to be) and you don’t see every pore and flaw on a face.” He gives it two thumbs up, though he’s not giving up his ALEXA. “Still, the pixels were so fine, the image really comes out like a beautiful painting,” Burberry says. “I even added a little grain in post to make it like film!” He does think that the URSA12K needs some add-ons to make it more of a cinematography camera since it’s a basic box. “I added a custom base plate, custom viewfinder and a few other things, but I’m sure all that will come 32 • Canadian Cinematographer - December 2020

eventually down the road,” he says. Caniglia says the immediate take-up has been from the virtual set sector (see February 2020) and those large, super high-resolution LED or OLED screens onto which background is displayed. The trick to the magic, though, is to ensure high-resolution images appear realistic when shot in 8K. Shooting moving backgrounds with the MiniPro turns out to be just the ticket. For DPs there’s the reassuring news that their lens package will fit with no adjustments or shimming required. “The good news is that the sensor aspect of 16.9 is exactly the same for 4.6K through 12K,” Caniglia says. “The PL is standard and the contacts compliant with Cooke lenses, for example. You can fit other mounts like the EF or Nikon. It will work with a giant range of lenses, as many as people favour.” Live sports is another area where Caniglia sees interest, since shooting 12K RAW with options for high frame rates allows a wide vista, and the control room can zero in on a sector of the frame where the action is and still maintain 4K resolution. “It’s useful for shooting wildlife too,” he says. “When you think about it, a 12K image is larger than nine 4K screens. When 4K TV screens came out, you could quad split in HD. With an 8K monitor you had four 4K quadrants and in 12K you have nine and a little bit. With a wide shot in 12K you have nine useable quadrants in 4K.” Cinematographer John Brawley (The Great, The Resident, Queen of the South) used the URSA 12K while shooting Lakewood, a thriller feature directed by Phillip Noyce starring Naomi Watts, and was impressed. “The challenge of shooting that was that she’s out for a long-distance run and something happens at her son’s school,” he says. “And she is always moving and on her cell phone, so it’s a realtime story.” As a result, the location was always changing, he

says. The film was also shot using mostly natural light with fills using Zeiss Supremes and the 24-290 Optimo lens. Shooting with a small camera was an advantage since they were always on the move, often with it set on the back of an electric motorcycle to keep the noise down. “We did a lot of testing and in the end we really liked the look from the camera,” he says. “The big takeaway for me is the way the sensor was designed. It has great colour fidelity; it’s nuanced and complex and beautiful even though we were shooting outdoors and choosing the right location and time of day for the light.” Echoing Burberry, he says the camera isn’t aimed at top-tier production and so is missing a few parts here and there. “I revamped it using my original D box, which is a power unit with power out to things like whatever the focus puller was using,” he says. “And added a few other niceties that add to operating the camera.” The unique look is interesting because while it’s high resolution, it’s no larger than a Super 35 Sensor, he adds, and though he thought there may be issues with it, it turned out fine. “When I first heard about it I thought, ‘No middle-aged actor is gonna want to be shot with this,’” he says. “But the opposite happened. There’s a smoothness and it’s still very flattering.” The other takeaway was the inherent fault of any lens is going to be immediately obvious at 12K. “It’s not that you have to go out and get a high-end set of lenses, but you want to pair the lens,” he says. The other misconception was in post, he adds, with some anxiety over the size of the files at 12K. “If you can deal with uncompressed 4K, you’ll be fine with 12K because the codec is so smart and efficient,” he says. “We shot about one terabyte an hour about the same as ARRIRAW. We had to be careful with the files because they had to be downloaded, verified and trans-coded and sent over the Internet to L.A. Everyone was freaking out a bit, but we were even using beta software and it worked surprising well and we didn’t swamp Technicolor.” Ian Harvey is a journalist who has been writing about digital disruption for 20 years. He welcomes feedback and eagerly solicits subject matter ideas at

Images courtesy of Blackmagic Design

Canadian Cinematographer - December 2020 •


Production Notes & Calendar ALL MY PUNY SORROWS (feature)

DP/Operator Daniel Grant csc

to December 18

North Bay

BIG SKY, THE I (series)

C Camera Operator Ian Kerr csc

to January 13, 2021

Pitt Meadows


DP David Greene csc, asc (alternating episodes) B Camera Operator Christopher Ball csc

to December 18


CHROMA (series)

DP Craig Wrobleski csc (alternating episodes)

to August 10, 2021


CORONER III (series)

DP Samy Inayeh csc (alternating episodes) Camera Operator/ Steadicam Keith Murphy B Camera 1st Assistant Kyryll Sobolev

to January 18, 2021


DAY OF THE DEAD I (series)

DP Chris Kempinski Camera Operator Amy Belling csc

to December 14



DP David Geddes csc, asc (alternating episodes)

to May 7, 2021


DEBRIS (series)

DP Michael Wale csc (odd episodes) & Tony Mirza (even episodes)

ESTHER (feature)

DP Karim Hussain csc Camera Operator Yoann Malnati

to December 11


FLASH, THE VII (series)

DP Brenton Spencer csc & Alwyn J. Kumst csc, sasc (alternating episodes)

to May 19, 2021




DP Ken Krawczyk csc B Camera Operator Paula Tymchuk

to February 5, 2021



DP Jarrett Craig

to December 21



DP C. Kim Miles csc & Bruce Worrall csc (alternating episodes) Cam Operator Nathan McTague

to December 18


IN THE DARK III (series)

1st Assistant Pierre Branconnier

to April 22, 2021



DP James Klopko csc

to December 1


KUNG FU I (series)

DP Neil Cervin csc (odd episodes) C Cam Operator Jeff Zwicker

to April 26, 2021


LADY DICKS (series)

DP Kristin Fieldhouse Camera Operator/Steadicam Brent Robinson B Camera Operator Robert J. Barnett

to December 22


LOCKE & KEY II (series)

DP Dylan Macleod csc (alternating episodes) C Camera Operator Rion Gonzales

to March 31, 2021



Second Unit DP Roger Vernon csc (Nov. 18-Dec.) Second Unit 1st Assistant Ciaran Copelin (Nov. 18 – Dec. 12)

to December 8


MAID (series)

DP (Block 2 & 4) Guy Godfree csc & (Block 3) Vincent De Paula csc

to March 3, 2021


MILL STREET (series)

DP Philip Lanyon csc (alternating episodes) C Camera Operator J.P. Locherer csc

to June 4, 2021



DP François Dagenais csc

to January 27, 2021

North Vancouver

NIGHTBOOKS (feature)

DP Robert Mclachlan csc, asc

to December 17



DP Mitchell Ness csc

to January 22, 2021



DP/Operator David Bercovici-Artieda


DP Eric Cayla csc B Camera Operator Brad Hruboska

to December 16



PUDDIN’ I (series)

Camera Operator Jim Van Dijk

to December 10



DP Pierre Jodoin csc (alternating episodes)

to April, 1, 2021



B Camera Operator Matt Irwin

to December 19


RIVERDALE V (series)

DP (Block 1) Ronald Richard & (Block 2) Brendan Uegama csc

to April 30, 2021



DP/Operator Mark Irwin, csc, asc, 1st Assistant Karl Janisse

to February 5, 2021


SEX/LIFE (series)

DP David Makin csc & Mike McMurray csc

to December 10



Camera Operator Johnny Colavecchia

to December 11


SORT OF (TV series)

DP Stephen Reizes csc

to December 9



DP Philip Lanyon csc (alternating episodes) C Camera Operator JP Locherer csc

to June 4, 2021



DP Michael Story csc (alternating episodes) C Camera Operator Jill MacLauchlan C Camera 2nd Assistant Robin Miller csc

to May 28, 2021


SUPERMAN & LOIS (series)

DP Stephen Maier & Gordon Verheul csc (alternating episodes)

to May 27, 2021



Camera Operator Perry Hoffmann

to December 16

St. John’s

TITANS III (series)

DP Boris Mosjovski csc & Fraser Brown csc (alternating episodes)

to June 4, 2021


TURNER & HOOCH I (series)

DP (pilot only) David Moxness csc, asc & Corey Robson

to April 19, 2021


VICAP (pilot)

DP Marc Laliberté & Brendan Steacy csc Camera Operator Peter Sweeney

to April 13, 2021


UNDER WRAPS (feature)

B Cam Operator Mitchell Baxter

to December 18



1st Assistant Ciaran Copelin

to April 19, 2021


Y: LAST MAN, THE (series)

DP Catherine Lutes csc (even episodes)

to July 5, 2021



B Camera Operator/2nd Unit DP Christopher Oben

to March 25, 2021


CALENDAR DECEMBER 6, CSC AGM, 12 p.m. EST (on Zoom), JANUARY 12-25, Slamdance Film Festival, Park City, Utah, 28-30, BSC Expo, London, U.K.,

28-Feb. 3, Sundance Film Festival, Park City, Utah, 31, CSC Awards entry deadline, MARCH 4-7, Kingston Canadian Film Festival, Kingston, ON,

@canadiancinematographer @csc_CDN

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34 • Canadian Cinematographer - December 2020

Classifieds EQUIPMENT FOR SALE Sachtler Video 20P Head (7x7) with carbon fibre standard legs (thick) 100mm ball base, pan handle, interior spreader, rubber feet and hard case. $5000 Michael Ellis 416-729-6988 COLORTRAN Nook light with bard doors and bulb. Includes long power cable and Quartzcolor 2K switch. $75. LOWEL Blender with AC power adapter, battery adapter for Canon E6 batteries, 1 protective screen, 3 diffusion screens. Very Good condition. $250. CHIMERA Triolet with 3 bulb adaptors, Chimera 9890 ring, glass diffusion dome and small Chimera pancake lantern (type 1864). $475. CHIMERA Extra Small Video Pro Plus with 3 screens (type 8115, 16"x22"). New condition. $200. CHIMERA Small Video Pro Plus Strip bank. (type 8155, 9"x 36"). Good condition. $250. 416.587-4848 ALEXA ITEMS FOR SALE Arri Alura T2.9. 18-80mm (PL Mount, Feet) CAD$20,000 OBO Arri Eyepiece Leveler (EL-3) Brand New CAD$400 OBO Arri Viewfinder Cable Medium KC151S Brand New CAD$350 OBO Please email Ian Toews csc at: Canon CN-E Prime Lenses. 24mm T1.5, 35mm T1.5, 50mm T1.5. In excellent condition. EF mount, covers S35 and full frame. Asking $3400 each. Contact 35 4x5.6 Schneider filters: ND’s, color correction, diffusion, grads 2 138mm Tiffen Tobacco, Sunset grad 2 138mm Schneider Tru Pola, 85 Pola 2 138mm Schneider CU diopter #1, Cu Diopter • includes case and pouches for every filter. • Excellent condition • 4x5.6 and 138mm. clears included Today’s value in U.S. dollars $13,705 U.S. Selling price $9,500 CDN CONTACT: Bert Tougas H: 514-634-2374 C: 514-913-2376 I have 15 - 3x3 Tiffen filters for sale - fogs, Promists Grads, 812's etc. all with cases. $185.00 - contact Barry Casson csc - 250-721-2113 or e-mail TIFFEN ULTRA STEADICAM , HD Ultrabrite color monitor ,HDMI Decimator 2,Iso-elastic arm, 4-24 volt batteries, 1-Pag battery charger 24v,1-Lentequip battery charger 12/24v,Klassen vest and carrying bag, 1 Preston F1+Z transmitter 1 Preston MDR-1 receiver,1 Preston control, 2 motors, 2 batteries, charger, numerous Hill motor mount brackets rossette brackets and rods, 1 long dovetail plate,1 short dovetail plate, 1 docking bracket,1 fgs wheel chair/dolly adaptor,rain cover, too many cables, hard cases and accessories to list.This rig was well maintained looks new, all it needs is a few upgrades. $23,000.00 cad 416 817 3938 or Rick Kearney Preston FIZ 2 kit - $5,000 2 x Arri MB-20 studio matte box - $8,000 Arri LMB-15 Clip-on matte box - $1,200 Power-Pod Classic - $5,000 Please contact Michael Balfry csc @: michaelbalfry@gmail. com for a complete list of items. Looking for a set of old, no longer used, standard legs with Mitchell base. Or any type of disused heavy camera support. This is to be used to mount a Mitchell BNCR camera in order to place it on display. Anyone with access to such a tripod or with information about one, please contact me: 416-691-6865 CAMERA CLASSIFIED IS A FREE SERVICE PROVIDED FOR CSC MEMBERS. For all others, there is a one-time $25 (plus GST) insertion fee. If you have items you would like to buy, sell or rent, please email your information to




2000 180° 3 Li-Ion

Lumens Output

Adjustable Handle

Brightness Levels Rechargeable Battery

Color Temperature 2700k 3500k 4500k 5500k 6500k






Winner 2019 Cine Gear Expo Technical Awards

Input 15V-2A

Operating 11.1V 48.84Wh 4400 mAh

IK07 Specialty Lighting - Moss LED



Fostering and Promoting the Art of Cinematography Since 1957

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