Canadian Cinematographer Magazine March 2021

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March 2021

John Banovich csc Extreme Adventures with the Sony A7S MK III Anthony Sarracco Tendenza

Teleporting the Viewer

David Greene csc, asc

A publication of the Canadian Society of Cinematographers

FEATURES – VOLUME 12, NO. 10 MARCH 2021 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.

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.


Credit: NBC/Universal

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.

Teleporting the Viewer: David Greene

csc, asc

on Impulse

By Trevor Hogg, Special to Canadian Cinematographer

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.

Sony A7S MK III: Extreme Adventures

By John Banovich csc



Credit: Rebellion Films

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

Credit: John Banovich csc, soc


Master Craftsmen: Shooting Tendenza

By Anthony Sarracco

COLUMNS & DEPARTMENTS 2 4 6 8 10 12 14 30 32

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


Cover (L-R) Shannon Kook and Bogdan Iancu in Impulse Season 2, Episode 4, "The Moroi." Credit: NBC/Universal

Canadian Cinematographer March 2021  Vol. 12, No. 10 EDITORIAL BOARD JOAN HUTTON csc, Editor-in-Chief FANEN CHIAHEMEN, Editor, JANEK LOWE, Photo Editor PATTY GUYADER, Copy Editor SIMON EVERS, Graphic Designer GUIDO KONDRUSS, Advertising Manager, GEORGE WILLIS, csc sasc CLAUDINE SAUVÉ csc SUSAN SARANCHUK, 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.

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FROM THE EDITOR-IN-CHIEF Joan Hutton csc It’s been a long while since the Canadian Broadcasting Act has undergone any changes. Before parliament now is the government’s Bill C-10, which is tasked with modernizing the Act, the first such undertaking in 30 years. It’s a critical and complicated document containing dozens of amendments that will have far-reaching implications for our film and television industry. The most striking of which is the granting of more oversight power to the Canadian Radio-television and Telecommunications Commission to bring big international streamers like Netflix, Disney+ and Amazon Prime under its regulatory tent. Canadian producers and broadcasters are applauding this as a maneuver that will level the playing field with online streamers. It’s no secret that broadcasters have been losing a steady stream of viewers over the years as eyeballs marched over to streamers. Besides having their bottom line squeezed, broadcasters have often lamented being hamstrung by Canadian content rules, including monetary contributions to the Canadian Media Fund, which helps bankroll Canadian productions, while international streamers are exempt from these regulations. I think supporting Canadian content is basically a good thing. So does the federal government, which estimates that online streamers could be paying as much as $830 million annually toward CanCon by 2023. However, according to some critics, this may not be the wisest of choices and less regulation would make more sense. Too much government intervention could act as a disincentive for new streamers to open up shop in Canada, while existing ones might limit their participation in our market. This would not be good for Canadian consumers and our industry. A case in point is Netflix. Since 2017, the streamer has spent $2.5 billion in Canada producing movies and series, which is definitely not a trifling sum for our production industry and is also a testament to our topnotch crews, facilities and production culture. Plus, Netflix has announced that it will be opening an executive production office to deal directly with Canadian creators. I would tread cautiously before upsetting this particular applecart. Bill C-10 still has a few more hurdles to jump before it is passed into law. Then it’s up to the CRTC how to apply the CBA’s regulatory amendments. Hopefully, the commission will select a path that promotes less is more.

FROM THE PRESIDENT George A. Willis csc, sasc

The Shawshank Redemption, A Beautiful Mind, No Country for Old Men, Sicario, Fargo, The Reader, 1984, Skyfall, Blade Runner 2049, 1917. The question is what do all of these movies have in common? Well, if you’re a cinematographer, that answer will be a no-brainer, and rightly so because these wonderful movies were all done by one man, the incredibly talented Roger Deakins BSC, ASC. To single out any one of these cinematic masterpieces would be impossible because each has its own unique look. That is in part what makes this cinematographer so inspiring, for inspiration is what we as cinematographers like to hang our hats on. I was fortunate to be a juror on the IMAGO Awards at the beginning of 2020, and one of the entries on my list was 1917. I have seen this film many times, but nothing will take the place of my first visual encounter as the story unfolds via the incredible tracking shot near the beginning of the film. But this is not about the film per se, it’s more about acknowledging this major talent in the world of filmmaking. So much so that a knighthood was recently conferred on this cinematographer whom we now refer to as Sir Roger Deakins bsc, asc, cbe. Another most noteworthy name, especially important to Canada and to the Canadian Society of Cinematographers is Roy Tash csc. Tash was born in Brooklyn in 1898 and began his career shooting news footage in Chicago in 1915 before moving to Toronto. He photographed anyone who 4 • Canadian Cinematographer - March 2021

was of any importance, from Lester B. Pearson to Sir Winston Churchill and everyone in between. Even as I write this column, I look down upon Billy Bishop Airport from my condo – Tash also photographed WWI flying ace Air Marshall Billy Bishop, whose framed photograph (with Tash) hangs in the CSC Clubhouse. Recently, we embarked on a project to photograph and display Tash’s work, which we now refer to as the “Roy Tash Wall”. You can see his and other historical photos from our legacy collection by visiting the CSC website. Around 2006, an initiative of the CSC Museum was created with the intention of housing historical filmmaking equipment and accessories used in the film industry. We asked for donations to begin housing any relevant items of film equipment that was or is a part of our industry, and we are extremely pleased that our requests have resulted in many wonderful pieces. Last year, Tash’s grandson Larry Barrett contacted the CSC and kindly offered to donate a treasured piece of equipment – a portable 16 mm projector that had been the pride and joy of his grandfather. Now safely inside the CSC Clubhouse since January, the Roy Tash projector will at the first opportunity be placed on display along with several other iconic cameras and gear generously donated by our friends, colleagues and our valued Sponsors. It is hoped that at a time in the future the CSC will have its own building, which we have already named CSC-HQ in anticipation of being able to display and admire our film heritage.

In The News

Courtesy of NEON

Actor Bakary Koné in the film Night of the Kings.

Feature Shot by Tobie Marier Robitaille csc Makes Oscars Shortlist The dramatic feature Night of the Kings, directed by Philippe Lacôte and shot by Tobie Marier Robitaille csc, was shortlisted for Best International Feature Film by Roger Deakins asc, bsc Receives Knighthood

the Academy of Motion Picture Arts and Sciences. The 93rd Academy Awards are scheduled to be held on April 25. Nominations will be announced on March 15.

was appointed Commander of the Order of the British Empire in 2013, the first cinematographer to receive the honor.

Courtesy of Team Deakins

Streamland Media to Acquire Technicolor Post

Sir Roger Deakins asc, bsc, cbe (above) was recently granted the title of Knight Bachelor, CBE by the British government “for services to film.” The New Year Honours 2021 lists mark the achievements and service of extraordinary people across the United Kingdom. Deakins, a two-time Oscar winner (for Blade Runner 2049 and 1917), 6 • Canadian Cinematographer - March 2021

Streamland Media recently announced it has entered into an agreement to acquire the Technicolor Post business. The acquisition, which is subject to customary closing conditions, is backed by Trive Capital and Five Crowns Capital and is expected to close in the first half of 2021. The Technicolor Post business will be merged into Streamland Media’s existing portfolio. There will be no interruption of services to Technicolor Post’s clients during this

integration, and all employees dedicated to Technicolor Post will be part of this transaction. Headquartered in Los Angeles, Streamland Media operates through integrated business units around the globe, including Picture Shop, Formosa Group, Ghost VFX, Picture Head, The Farm Group, and Finalé Post. CSC Member Film Third Most-Watched CBC Doc in 2020 The documentary Assholes: A Theory, shot by John Walker csc, was the third most-watched CBC documentary in 2020. The film investigates the breeding grounds of contemporary “asshole culture” and searches for signs of civility in an increasingly rude and nasty universe.

Filmmaker, Camerimage Award Winner Michael Apted Dies at 79 British filmmaker and two-time Camerimage Lifetime Achievement Award for Director recipient Michael Apted died on January 7 at the age of 79. Born in Aylesbury, England, in 1941, Apted was best known for the 1964 documentary Seven Up!, directed by Paul Almond, during which fourteen 7-year-olds from various backgrounds were interviewed. Apted was responsible for finding the right subjects for the project. He decided to come back to his subjects every seven years, watching how their fates changed. The last film he finished was 63 Up, released in 2019. His other credits include the Golden

Globe-winning Coal Miner’s Daughter, Agatha, Gorillas in the Mist, The World is Not Enough and the third installment of The Chronicles of Narnia franchise. Apted served as president of the Directors Guild of America from 2003-2009, serving the longest tenure for a DGA president since the 1960s, and he was the recipient of the DGA Honourary Life Member award in 2018. Documentary Producer Bill Nemtin Dies at 77

Productions, PTV Productions and October Films for the BBC in 1990; The War of 1812, produced for the NFB by PTV Productions and Galafilm; and 2008’s Passage, with John Walker Productions and PTV Productions. The latter project was shortlisted for a Grierson Award for best historical documentary. Nemtin retired from producing in 2013 and lived in the United Kingdom for the last 20 years of his life. Chayse Irvin csc, asc Joins American Society of Cinematographers

Award-winning documentary producer Bill Nemtin died on January 8 at the age of 77. Nemtin launched his career in the late 1960s at the National Film Board, helping to coordinate its Challenge for Change program, an initiative for social change featuring nine films directed by The CSC congratulates IMAX co-founder Colin Low. Chayse Irvin csc, asc (above) Nemtin subsequently co-prowho was recently granted duced the Gemini-winning The full ASC membership. Hand of Stalin with John Walker


The CSC Store Official CSC Merchandise

Michael Jari Davidson, associate member (cinematographer) Consent Agreement (short), selected: 30th annual FLiCKERFEST, Bondi Beach, Australia, January 28, 2021; Cambria Film Festival, Cambria, California, February 4, 2021 Canadian Cinematographer - March 2021 •


Credit: David Lee / Focus Features

From frat clubs of elite colleges to the bratty princedoms of Silicon Valley and bear pits of international finance, Walker seeks to discover what explains their perverse appeal and success.

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.

1. CSC CLUBHOUSE Larry Barrett, the grandson of Roy Tash csc has donated Roy’s film projector to the CSC Clubhouse/Museum. In the post-pandemic future, we intend to photograph all the donated items in the clubhouse and post them on the CSC website.

2. AWARDS The 2021 CSC Awards competition juries are underway. The deadline for juror votes is March 15. The nominations will be announced in April 2021. However, this year we are planning to have an awards event in the fall rather than the spring. The pandemic will dictate whether it will be virtual or live – stay tuned!

3. MEMBERSHIP The CSC welcomed 42 new members in January/February 2021. New students: 8 (6 – Ontario; 1 – BC; 1 - Manitoba) New affiliates: 13 (12-Ontario; 1 - Alberta) New associates: 5 (3 – Ontario; 2 – Quebec) New companions: 16 (14 - Ontario; 2 – BC) The next full membership accreditation meeting is May 16, 2021. Deadline for applications is April 9, 2021. For information and application package, contact:

6. CSC Q&A SESSIONS Stayed tuned for the March release of the CSC Q&A Sessions, which will premiere on our Instagram/ IGTV. Inspiring, insightful and one for the CSC her-story archives!

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5. INSTAGRAM New programming #CSCdopART #dopART are monthly posts that feature CSC members sharing personal art projects in media other than cinematography. Discover different aspects of our members and find out how this is reflected in their work.

4. CSC STORE We are very close to having CSC hoodies, toques and t-shirts on the CSC Web Store. We’ve partnered with a Canadian company that makes the toques and will donate to someone in need for every one purchased! Items will also be available for sale at Fusion Cine in Vancouver, and The Source Shop in Toronto.

CSC Field of View Mentorship Program comes into focus

Supported by

#CSCfieldofview • #CSCmentorship Connect with the Mentorship Program here

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

MU Spo

Courtesy Alaskan Tapes

N “A p

STUDENT CINEMATOGRAPHY Sponsored by Panavision Canada

Jordan Batchelor Anemone Sheridan College

10 • Canadian Cinematographer - March 2021

USIC VIDEO CINEMATOGRAPHY onsored by Grandé Camera


Norm Li csc And, We Disappear” performed by Alaskan

Canadian Cinematographer - March 2021 •


CSC Member Spotlight What films or other works of art have made the biggest impression on you?

I remember the first time I sat down in a theatre and saw Fallen Angels by Wong Kar-wai. That resonated deeply and still does. Terrence Malick’s Badlands and Gus Van Sant’s My Own Private Idaho also are personal monuments, but having an academic background in photography, the first references that come to mind are the works from still photographers. Sally Mann has been a major influence, Immediate Family mostly.

I started as a photographer and a photographer’s assistant. My initial interests were both artistic and commercial and I navigated in between for a little while, but eventually through editorial photography I met bands and music video directors and got connected with the csc film scene. The cinematic nature of my photography work appealed to some directors and they gave me a shot as a cinematographer. It fell into place quite School of Photography in France and assisted fashion photographer Jean-Claude Lussier and his crew. naturally from then. They taught me much. Less formally I consider all Who have been your mentors or teachers? of my peers and the little community which is ours I studied under Arnaud Claass at the National also mentors and teachers.

Christophe Collette

12 • Canadian Cinematographer - March


Courtesy of Christophe Collette csc

How did you get started in the business?

What cinematographers inspire you?

Sir Roger Deakins asc, bsc, cbe, Christopher Doyle hksc, Benoît Debie and so many more.

Name some of your professional highlights.

It’s a question that I find hard to answer because I lack perspective on the matter. The projects I consider milestones are the ones that I connect with artistically and that I had a great time on. So naturally, I’d say the music videos I did for my brother’s band Monogrenade – “Ce Soir,” which I directed and shot, and “Le Fantôme” with Kristof Brandl. Eye on Juliet with Kim Nguyen (April 2018 issue) was an absolute pleasure to shoot and has been a highlight definitely too. Commercially, the Diesel ad I shot with Jovan Todorović brought my work a lot of attention and was just absolute fun.

What is one of your most memorable moments on set?

I got the chance to spend two nights on stage with Sigur Rós at Alexandra Palace in 2008, we were filming Inni. Those concerts were supposed to be the band’s farewell and they were very emotionally charged. On the second night, which happened to be my 30th birthday, director Vincent Morisset asked that I concentrate on Jónsi, the singer. It’s an understatement to say that I witnessed absolute transcendence that night.

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I’ve got a bit of an obsession with vintage glass. I own 10 sets, so I am definitely stoked that we’re seeing all these gems from the past being brought back to their former glory and upgraded. It may not be the greatest invention, but it’s what I’m most thrilled about.

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Cinematographer Michael Jari Davidson (associate member) caught between takes on the punk rock musical feature Stupid for You.

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Credit: Tom Wood

L to R: B operator/2nd unit DP Matt Irwin (associate member), B 1st assistant Ryan Prouse, B 2nd assistant Matt Muszalski and dolly grip Axel Green on the set of Resident Evil in Hamilton.

Credit: Jack Wudarzewski

On Set

Credit: Kato Ferrer Credit: Serge Desrosiers csc

Associate member John Ker on set shooting a promo for cannabis company “dirt.”

Serge Desrosiers csc with lions in Senegal for Big Five. Canadian Cinematographer - March 2021 •


Teleporting the Viewer: David Greene csc, asc

2020 CSC Award Winner

As our industry continues to develop with streaming services, web-based drama and new formats and viewing options popping up in the last number of years, one thing remains constant – we are telling stories and approach our material in the same way, regardless of format or distribution.

Calin Popescu as Milos in Impulse Season 2, Episode 4, "The Moroi."

16 • Canadian Cinematographer - March 2021

By Trevor Hogg, Special to Canadian Cinematographer

ack in 2008, filmmaker Doug Liman released a movie adaption of the 1992 science fiction novel Jumper by Steven Gould about a young man with the ability to teleport being hunted by a secret society. Flashforward a decade later, Liman revisited the premise by directing the pilot episode of a YouTube Premium series called Impulse with Maddie Hasson taking over from Hayden Christensen in the lead role. Over the course of the entire two-season run, David Greene csc, ASC was responsible for shooting 12 of the 20 episodes, with him receiving a 2020 CSC Award for Dramatic Series Cinematography for the installment known as “The Moroi.” “It was important right from the beginning to our showrunner Lauren LeFranc and executive producers David Bartis, Gene Klein and Doug Liman to be grounded in all of our choices,” Greene notes. “We didn’t want to go the ‘superhero’ route. This path that they sent us on was a tremendous strength of Impulse, giving the subject matter an approachability to the audience. I feel so blessed to have met and worked with these wonderful people. “You can’t compare one project to the next as each has its own visual language and existence,” according to Greene, who has previously worked on Beauty and the Beast, 12 Monkeys and American Gods. “It was interesting working with YouTube as this was one of their first experiences with scripted drama. They were so encouraging and supportive of the entire creative process.” The fundamentals of storytelling do not change whether it is streaming or television, the DP maintains. “As our industry continues to develop with streaming services, web-based drama and new formats and viewing options popping up in the last number of years, one thing remains constant – we are telling stories and approach our material in the same way, regardless of format or distribution. I didn’t find any differences with the production of Impulse David Greene csc, asc Canadian Cinematographer - March 2021 •


*Except Credit: Courtesy David Greene csc, asc

Images*: NBC/Universal

Bogdan Inacu as Young Nikolai.

versus other shows I have been involved in related to this,” he says. “However, one interesting aspect that I did note was that it is much easier to convince the studio to shoot in a wide aspect ratio. In fact, I often make the case for 1:2.00 or 18x9 as a shooting format, because almost all new phones are 18x9 aspect ratio and so much of our work ends up on a phone.” The streaming production was not entirely a different entity from its cinematic predecessor. “We were all trying to emulate the vision of the creator of these projects – Doug Liman. The pilot was shot by Pepe Avila del Pino with Doug directing. My job was to take the baton and run with what they had established,” Greene states. The story and look evolved over the course of Seasons One and Two, which “is normal as everyone is learning the language of the show,” he says. Other cinematographers on Impulse were Marc Laliberté csc and Colin Hoult csc. “I feel that any series should have alternating DPs,” Greene observes. “There is so much to prepare, and without the voice of the DP in prep, there is a tremendous deficit. At a certain point around Episode 107, I asked for an alternating DP and Colin was brought in. The producers had worked with him on Covert Affairs and he did a great job for us. Most series can and do benefit from having two DPs. I often find it 18 • Canadian Cinematographer - March 2021

curious that this is an accepted modality for cinematographers, but production designers have trouble convincing productions to have two art directors to work under them. Both should be the norm. The importance is that you must have a consistency in style episode to episode. Having this support for incoming directors is essential as I have always believed that each show has its own language, literally. It is our jobs to teach and share that language to incoming directors, while allowing them the creative freedom to enhance our dictionary, so to speak. The director/production designer/cinematographer relationship is critical. As a trio, we steer the ship in the correct directions, and maintain and further develop the style of a show.” With Daniel Grant csc shooting second unit on Season One, other key crew members for Seasons One and Two include gaffer Tom Starnes, key grip Malcolm Nefsky, A camera operators Ian Baird (Season One) and David Sheridan (Season Two), B camera operators Michael Carr (Season One) and Rob Barnett (Season Two), A camera 1st AC Rob Mountjoy, B camera 1st AC Andrew Macklin, A camera 2nd AC Sarah Warland, B camera 2nd AC Courtney Graham, as well as DIT Josh Jinchereau. The majority of the principal photography took place in Toronto and Hamilton. The shooting schedule was similar for Season One and Two with

Virgil Serban as Serghey. Both images below: Bogdan Inacu as Young Nikolai.

preproduction being six weeks and principal photography lasting 17 weeks. “One interesting note was that we added a foreign shoot in Sri Lanka in the first season. Because the producers were well accustomed to doing this on previous shows, we added more foreign shooting in the second season which consisted of two weeks in Romania and three days in Spain,” he says. “[Executive producers] David Bartis and Gene Klein had the need on a previous show to send a small crew to shoot establishing and plate shots to blend with the shoot in Toronto. Soon they realized, ‘Why don’t we take the lead actor the next time we go overseas and have them walking to the building that we are establishing?’ This soon translated into carving out several weeks of shooting overseas with key crew from Toronto accompanying, but mostly using local crews to pull off the foreign shoot. They had a few rules – no night exteriors, minimal lighting and an agreement to keep things as simple as possible. Fast forward to Impulse, and their experience in this area was key to our success. We adopted all of their rules for the Sri Lanka and Spain shoot, as it was all day exterior. In Romania, we had more days and more story to tell; however, when we did go inside for some of our interiors, we approached the lighting as simply as possible. In one case, we planned to shoot our lead character skulking through an abandoned mansion.

It was interesting working with YouTube as this was one of their first experiences with scripted drama. They were so encouraging and supportive of the entire creative process. Canadian Cinematographer - March 2021 •


Scene from Impulse Season 2, Episode 4, "The Moroi."

We didn’t want to go the ‘superhero’ route. This path that they sent us on was a tremendous strength of Impulse, giving the subject matter an approachability to the audience. That sequence was written as night; I asked that we adjust for dusk. We heavily treated the windows with ND 9, ND 6 and 3/4 CTB, as I recall, and then complemented with lighting on the inside for our dusk look.” A signature visual effect and story point is the ability for characters to teleport. “A teleport was simply someone not being there and then appearing,” the DP explains. “However, in the beginning when Henrietta ‘Henry’ Coles [Hasson] is starting to understand her powers of teleportation, she was clumsy and crude, such as falling from the ceiling. The idea was that her motion from the ‘A’ side would dictate the motion on the ‘B’ side. Visual effects would shoot a clean plate of the room and then have her fall from the ceiling with the help of stunts or have her roll into frame. Special effects would add air canon bursts to move items in the room.” 20 • Canadian Cinematographer - March 2021

Asked why he thinks Episode 204, “The Moroi,” won a CSC Award, Greene responds, “Any project that gets recognition is ultimately rooted in the emotion. There was something that was going on with the script, performances, and the way that we captured it that was appealing. I love something about every scene in the episode. If I were to identify one, it would be the opening scene because of what it does to very quickly develop the relationship between Milos and Young Nikolai. Over a simple piano lesson, we learn about their deep love for each other, their worries about the war, and the hole in Nikolai’s heart that will become the overarching motivation for the older Nikolai in our series.” Handling the directorial duties was Jill Robertson. “Jill is a wonderful person and a tremendous artist with a strong vision,” Greene says. “She approached the material from a feature filmmaker perspective. I believe that her episode was the strongest that we produced. It had soul and emotion that were carried throughout.” “The Moroi” required a departure from the look of Impulse as it was a backstory to one of our antagonists,” Greene reveals. “My DIT Josh Jinchereau and I developed a LUT that was in the wheelhouse of the show yet took it in a new and interesting direction that we all felt added an important patina to the episode.”

Principal photography took place in Toronto and Romania. “Finding locations seemed seamless from the start,” he says. “We had a great church in Toronto for the opening, and our production designer Britt Doughty had built us a fantastic set for the apartment. The locations in Romania were all superb. Each location added a tremendous visual value to the episode. We had the benefit of a really strong production team in Romania who had been given creative marching orders and found us a wonderful selection of locations that the Toronto team were able to narrow down while in Toronto. Once in Romania, we spent several days scouting our favourites and in each case had exceptional locations to shoot while there. There is one interior courtyard space where Westly and Young Nikolai have a conversation. It was a gorgeous, courtyard interior— long and narrow with skylights at the fifth floor. I added a few florescent fixtures to the structure of the location. I gave them a warm tone and that was a nice contrast to the cooler dusk light in the location, and then controlled the skylight with large solids

to keep the light on the guys not top lit, but more back lit. This was originally written as a night scene, but I felt that we would spend far too much time and money lighting that scene, so I pitched it to be dusk. It worked well and I am quite happy with the results.” The aspect ratio was 2:1 with the resolution being UHD. Two ARRI ALEXA Mini cameras and Leica lenses were supplied by Sim. “I certainly leaned into the wider end for lensing,” Greene explains. “29 mm closeups were normal for us, but in “The Moroi” we often used the 25 mm, especially with the character Milos, the young boy; that was a strong choice which brought a great deal to his story. We called the 25 mm ‘The Milos Lens.’ “Every show has a challenge on an hourly and daily basis,” Greene states. “The process of pushing through each day and striving for the best is what surfaces as the greatest challenge. Every day is hard but rewarding. I just want the audience to experience the story and performances; that is the purpose of all of this.”

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TORO N TO • M ISSISSAUGA • O T TAWA • CA L G A RY • E DM O NT O N • V I S T E K . C A The Visual Technology People


Extreme Adventures By John Banovich csc


Credit: John Banovich csc, soc

can hear them, crunching in the thick west coast foliage as they bulldoze their way closer to the river and closer to me. But I cannot see them – grizzly bears. I have wormed my way through this bug-infested tangled mess of shrubs and brush with a lightweight tripod, the Sony 600 mm G Master telephoto prime and the new Sony A7S MKIII mounted to the rear. I’ve captured this species before, but typically on the Sony VENICE, F55 or FX9. Even with a sizable crew, it would be a serious endeavour to get a larger package in there. Needless to say, with all those people and all that noise, the bears would most likely find another area of the river to fish, so having a very lightweight and compact package is imperative to getting these types of shots. With this COVID-19 virus upon us, it makes for crew challenges, so on one trip I brought my nephew and a couple of others, as well as my young son. This made for some great bonding time, but it was also an opportunity for them to experience more of the work I do. My nephew Alexander was great to have along as he has years of bush experience and was very helpful carrying gear and watching our backs. John Michael, my 11-year-old son, took a real interest, bringing his own mirrorless camera and a long zoom lens. He captured some great images. The drive really wears on me, but I must utilize as much daylight as possible, which means long

Credit: Alexander Banovich

John Banovich csc, soc on top of the Purcell Mountains.

John Banovich csc, soc with the (L-R) Sony Venice, FX9 and A7S III in Nichyeskwa Creek

22 • Canadian Cinematographer - March 2021

Credit: John Banovich csc, soc

hauls in and out of darkness, trying to film during sensitivity of the camera and the clean skies, I took sun hours. Once I leave the pavement, it becomes advantage of the aurora borealis with great results. a different type of driving, carefully manoeuvring We encountered two sizable herds of northern cariold mining and logging trails left in poor condition. bou in numbers I have not seen in more than two The payoff is huge, though, climbing up more than decades. It was a fabulous experience. Thus, I am 2200 meters to the base of a glacier very few have very pleased with the addition of the A7S MKIII to ever seen up close. It makes off-roading more like my arsenal of equipment, expecting to pack it with no-roading. me wherever my productions take me. I also did a solo trip with my new beloved equipment, 4x4ing high into the Purcell Mountains and was able to tuck all of this gear into my backpack and literally hike over mountainstops, filming alpine animals and scenery along the way. Shortly afterwards, my son and I flew up to the Northern Rocky Mountains in -20 C temperatures for a more fall, early winter adventure. With the amazing low light Three horned caribou photographed in the Northern Rocky Mountains. Canadian Cinematographer - March 2021 •


Credit: John Banovich csc, soc

Grizzly bear cub photographed in the Alberta Rocky Mountains.

Master Craftsmen: Shooting

By Anthony Sarracco

The feature documentary Tendenza, shot and directed by associate member Anthony Sarracco, explores the modernization of the Italian-Canadian textile industry. Produced by TLN Media Group, in association with Rebellion Films, the film received the Best Cinematography award from the New York International Film Awards in 2020, among other accolades. After a theatrical run, Tendenza was sold for television distribution and nationwide broadcast. Sarracco takes Canadian Cinematographer behind the making of the film. 24 • Canadian Cinematographer - March 2021

All images credit to: Rebellion Films

Left: Carmine Lauro in Naples, Italy. Above: A master seamstress in Postiglione, Italy.


narrative forward, were Carmine Lauro and Salvatore Parasuco. Both natives of Italy, Carmine being from Napoli and Sal from Sicily. Both on very opposite ends of the retail business. But both relentless in their pursuit of fulfilling a lifelong passion. Three major concerns swirled around during preproduction. The first was filming a documentary about their businesses without promoting their businesses. Funding for the documentary will not permit direct promotion of any business. This is an issue, especially if the subject's name is the name of the company. Second, was the fear of divulging key names of PREPRODUCTION suppliers or designers from Italy that may cause the hile preparing for this shoot there were many sharks to circle. Thankfully this problem evaporatthings that weighed on my mind. Our two ed as quickly as it was construed. Both men have main protagonists, whose story would move the solidified their suppliers’ loyalty in stone. There apoli. I have experienced the city on different occasions throughout my life, but none was more special than experiencing the beauty and the mayhem with one of its native sons. There is a buzz in the city centre that is like no other city I have visited. The energy is nearly palpable. Here, we interviewed masters of the textile industry. Artists. Craftsmen that have fashion and textile running through their veins, implanted in their DNA. It is here I come to realize the power a piece of fabric has on the world.


Canadian Cinematographer - March 2021 •


is a certain code of loyalty, especially among the Neapolitans. To them this wasn’t just business, it was a matter of family. Lastly, there was security. Although beautiful, certain parts of Naples did have a reputation for being a little unsavoury. The Mariolas, a type of professional thief, are famous in Italy for their imagination they implore in making your stuff theirs. Some of the areas were far from the tourist zones and had been terribly scarred from the gang violence that transpired along those streets, years ago.



ome ways from Napoli Centro, Carmine and his lovely wife Lisa escorted us to one of their suppliers. After quite some time on the highway, we began our trek up the winding roads of a mountain. I asked Carmine what exactly he comes and purchases this far out. He responded, “Handkerchiefs and ties.” Handkerchiefs and ties? You come all this way for handkerchiefs and ties? The entire concept seemed absurd to me at the time, but then he made me understand what “made in Italy” really represented in the grand scheme of things. It is something made by a master craftsman. It is an ideology. A lifestyle that you are supplying to a client. Something that cannot be mass produced. The women sewing in that tiny factory, on top of that mountain, are from a long line of seamstresses. Third or fourth generation of seamstresses, a craft passed across an entire lineage. This is extremely rare to find in an age where everything is automated. In an age where the necessity no longer exists for that type of work, making the craft obsolete. Filming the workers

26 • Canadian Cinematographer - March 2021

Photo credit: Rafy

CONGRATULATIONS to Jeremy Benning CSC and crew on the latest season of “The Expanse.” Thank you for choosing the ALEXA Mini, SkyPanel and WCU-4. “Ever since we switched to the ALEXA Mini in Season 2, we continue to love the images we capture with this camera. Even more so now that we finish the show in HDR, where we can take full advantage of every last drop of latitude the sensor gives us. It still blows me away. The Mini is our only camera, and we carry three typically. Its small size is ideal for all the gimbal work we do and for fitting it into cramped corners of some of our smallest sets. Additionally, the reliability is key… the Mini is just a solid camera that works all day.” — Jeremy Benning


Carmine Lauro from his store Lauro Napoli in Montreal.

Carmine Lauro in Naples, Italy. Salvatore Parasuco from Parasuco Jeans HQ in Montreal.

Salvatore Parasuco in Florence, Italy.

The port of Naples, Italy.

28 • Canadian Cinematographer - March 2021

from that small town was inspiring, to say the least. It forces you to understand that God is in the details. A similar revelation transfixed itself in our minds when we travelled through Tuscany with Sal. We went from the hustle and bustle of Florence to the existential piece of existence that is the Italian countryside. Here we met with a designer named Mauro. As we were filming the interviews, I noticed a man on the floor below us preparing for a feast. To my surprise, Mauro, had the local grocer bring us fresh fruits, vegetables, mozzarella and fish. All farmed and caught fresh. This was to serve as an antipasto for the incredible meal Mauro was conspiring to cook for us after the interviews were completed. It is here that Sal explains how much of his career was spent away from his family, growing the business. However, it was dealing with Italians like Mauro that made him feel like he was always surrounded by family, something that can rarely be attained on his travels to Asia. Here, business is mixed with culture, great food and memorable conversation. Here, you are treated like family.



love making documentaries because I find them to be a concentrated learning experience. It is like squeezing an entire university semester into a couple of days or weeks. You do as much research as you can before filming starts, but then, if you allow, your mind is blown wide open by facts. Facts you can only attain by having boots on the ground. The learning experience is visceral, and it is up to you

to communicate that sensation into a comprehensible story. We have all heard stories of child labour and how big brands use the services of manufacturers that may not have their moral codes in check but can get the job done at a reasonable price. This is something that troubled me in the editing process. I’ll tell you why. We had learned much on the subject of “fast fashion” while filming. The complexity and chain of textile manufacturing is so large and complicated that a brand may be supporting child labour without even knowing it. When you learn of something as diabolical as this, as a filmmaker, you kind of wish you had the ability to kick down the door to such a place and expose the operation on camera for the world to see. But this wasn’t the case. I struggled with the subject and was breaking my head to reconfigure our story in post. I soon came to the realization that this was not the mission of our film and at this stage of the game I could not reinvent the rules. All I can do is tell it in the context of which it affected the people who refuse to participate in that particular realm Cinematographers Anthony Sarracco (left) and Michael Franceschini behind the lens during the making of Tendenza. of the industry. So that is what I did.

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Tech Column

Freefly Drone Cam Takes Fr


eighing in a just 716 grams (25 oz.), the Wave camera from drone and gimbal maker Freefly Systems is a remarkable piece of hardware in and of itself, but the part that gets your attention is the 9,256 frame-per-second speed. No, that’s not a typo. Designed as a purposebuilt drone cam, it offers 4K on a 35s sensor shooting 4:3 aspect with a E mount and up to 90 minutes of internal battery time on standby. It’ll shoot up to 60

minutes depending on frame rate before needing a 90-minute recharge. Given the light payload to start with and the emergence of lighter, compact lenses such as the Zeiss Supreme line, it adds up to more flight time with better optics. Drones are of course getting more sophisticated, and Freefly’s own Alta Pro is no slouch in the payload department, able to hoist a hefty 20 pounds, and with the lighter Wave able to fly longer times. For now the E mount is the only option, but according to an emailed response, “The E-Mount is universally adaptable as a base mount (based on flange depth and commercial available adapter options) and is what we are sticking with for launch.” 30 • Canadian Cinematographer - March 2021

The specs are as follows: pixels clock in at 5.5 µm by 5.5 µm and a native resolution of 4096 by 3072 with a global electronic shutter and base 250 ISO. Capture is to an internal SSD at 1Tb or 2Tb in compressed RGB at 10 bits and a 5:1 to 6:1 compression ratio. The outputs are HDMI A, USB C and Wi-Fi and Bluetooth 4.2. It’s about 150 mm by 97 mm and 47 mm, basically six inches by 3.8 by 1.8, which is pretty compact. Then there’s that other headline on its launch – 9,259 frames per second. It’s an eye-catching number, and some are questioning the practicality of just how it would fit into a project or script. First, let’s look at what works out of the box. At 4K and 422 fps, it’s a nice tool to have in the lineup for those who shoot a lot of drone work and want to have that high-frame option with a lightweight camera and a diverse range of glass options. Push the capture to 1,461 fps and you can get 2K. If you want to bring that eye-popping 9,259 fps into play, however, you’ll be shooting at 16:1 at 2K while maxing out 4K at 3,276. At US$9,995 for the 1TB model and US$10,995 for the 2TB version, it’s not cheap so rental may be a better option for what is a specialty rig, but the floor is open for discussion on how and why that kind of frame rate is called for. “It would have to be in the script,” says veteran DP John Holosko csc, figuratively scratching his head to think of an application where the top frame rate at that 16:9 resolution would be practical. Shooting at 2K or 4K at the other frame rates, 1,461 fps or 422 fps is more likely, and it elevates a drone cam to a more useful position. “You’ve paid a million or more for the big star and so you want to maximize their screen time where possible,” he says. “Slow motion gives you three or four seconds of that face time.”

Images courtesy of Freefly

rame Rates to New Heights The novelty of a star character hurtling through space in a car crash or rollover scene can captivate attention, he adds, but warns it’s obviously prone to being overdone at which point the novelty wears off and it become a gimmick audiences quickly tire from. Still, the format and capabilities have cinematographers thinking, though when this column was written there were no units in Canada. Cinematographer and drone cam operator Mike Reid, who relocated to Santa Barbara from Toronto last year for love and work, however, was lucky enough to get his hands on a Freefly. “I’d worked with Tabb Firchau [president of Freefly] in 2011 on Watermark [produced by Nick de Pencier csc] and kept in touch,” he says. “This was long before Freefly.” He’s done some drone work himself and was excited to try the camera, though he says he’s still dialling it in and getting used to its properties. “It doesn’t have a lot of dynamic range and seems to work best at 4K,” he says. “But I think I’d have it in my bag on every job.” While it is designed for a drone, he says it’s small and light enough for many other situations and is mulling using it for underwater work, having worked on Shark Week projects. He has a waterproof case that he’s rigged but requires two-handed operation, so he is considering having one made especially. It would have been cool on some segments for Anthropocene: The Human Epoch, the third in the documentary series with De Pencier where he was also the drone cam operator. “There was a segment in Nigeria where all these houses are built out on the water and there’s a saw-

mill and the logs are floating in,” Reid says. “That scene never made it into the movie, but that would have been cool.” It’s a viable alternative for high frame rate capture, Reid says, and a great alternative to renting something like a Phantom for a couple of days. With Freefly struggling to meet demand, it may be some time before it shows up in Canada, but there’s already curiosity. “I thought about picking it up,” producer-editor-shooter Jeff Ridout says. “I shoot a lot of stock and short form doc content. I’d totally use this camera for action and remote shooting where a Phantom would be impossible to operate.” Brad Rushing csc says you can’t help but be impressed by the max frame rate, though he suspects it will be of more practical use in science and industrial cinematography. “And 2K is a perfectly fine resolution,” he adds. “I think back to when the RED One came out and how some people called it vapourware. Look at them now.” There will be some adjustments and learning, he says, even when the camera is rigged to shoot at, say, 422 fps or 1,461 fps, but he can also see it used as a highly portable camera to be carried in a backpack for setup shooting nature documentaries or other tight spots without having to pack Pelican cases and hump them up mountain trails. It’s a far cry from shooting high-speed frames on film, which burned through footage just getting up to speed, he says. What’s exciting is coming up with the sequence where it would be best utilized. “Flying over a volcano, a car crash from different angles, capturing birds in flight from the air, swooping in on a car crash, ramping,” he says. “I’d like to see a removable drive, for example, and some other option, but I’m sure those will come as it evolves. I’m really excited. I can’t wait to see how people use it.” Ian Harvey is a journalist who has been writing about digital disruption for 21 years. He welcomes feedback and eagerly solicits subject matter ideas at

Canadian Cinematographer - March 2021 •



Production Notes & Calendar


8-BIT CHRISTMAS (feature)

DP Samy Inayeh csc B Camera Operator Keith Murphy B Camera 1st Assistant Kyryll Sobolev


DP Nicolas Bolduc csc

to April 20


BIG SKY, THE I (series)

DP Stephen McNutt csc, asc, C Camera Operator Ian Kerr csc

to April 23

Pitt Meadows

CHROMA (series)

DP Craig Wrobleski csc (alternating episodes) 2nd Unit DP/C Cam Op D. Gregor Hagey csc

to August 17



DP David Geddes csc, asc (alternating episodes)

to May 11


to April 21


DEBRIS (series)

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

to March 10


EXPANSE, THE VI (series)

DP Jeremy Benning csc (alternating episodes)

to May 3


FLASH, THE VII (series)

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

to May 19


GOOD SAM 2021 (TV pilot)

Camera Operator/Steadicam Brian Gedge

to March 5


GUILTY PARTY (pilot series)

DP Paul Sarossy csc, bsc, asc

to May 28


HYPNOTIC (feature)

DP John Bartley csc, asc

to March 28


HOT ZONE: ANTHRAX (miniseries)

DP Thom Best csc (alternating episodes) 1st Assistant Kevin Michael Leblanc

to May 24


IN THE DARK III (series)

1st Assistant Pierre Branconnier

to April 22



DP Thomas Harting csc

to March 30


JANN III (series)

DP Brett Van Dyke csc

to March 30


KUNG FU I (series)

DP Neil Cervin csc (odd episodes)

to April 26


LILY & ISAAC (TV series)

DP Glen Keenan csc (alternating episodes)

to July 24


LOCKE & KEY II (series)

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

to April 14


LOST OLLIE I (series)

DP C. Kim Miles csc, mysc, asc (odd episodes) 2nd Assistant & Shop Steward Marco Bossow B Cam Op/2nd Unit DP Brad Creasser

to March 18


MAID (series)

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

to March 3


MILL STREET (series)

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

to June 4


NPP (TV series)

DP Iris Ng Camera Operator Lainie Knox

to March 31



DP/Operator David Bercovici-Artieda

RAPHANIS I (series)

DP Gavin Smith csc

Victoria to May 21


REACHER I (series)

DP Ronald Plante csc & Mike McMurray csc (alternating episodes)

to August 1



DP Ronald Plante csc

to April 1


RIVERDALE V (series)

DP (Block 1) Ronald Richard DP Bernard Couture csc

to April 30


SLUMBERLAND 2021 (feature)

B Camera Operator Ian Seabrook csc

to May 15



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

to June 4



DP Steve Cosens csc & Daniel Grant csc (alternating episodes)

to June 15



DP Glen Keenan csc (alternating episodes)

to July 16



DP Michael Story csc (alternating episodes) C Camera Operator Jill MacLauchlan

to May 28


SUPERMAN & LOIS (series)

DP Stephen Maier & Gordon Verheul csc (alternating episodes)

to May 27


TITANS III (series)

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

to June 11


TURNER & HOOCH I (series)

DP Corey Robson

to April 19


VICAP I (series)

DP Marc Laliberté csc & Brendan Steacy csc (alternating episodes) 2nd Unit DP Claudine Sauvé csc Camera Operator Peter Sweeney

to April 14



1st Assistant Ciaran Copelin

to April 28


Y: LAST MAN, THE I (series)

DP Catherine Lutes csc (even episodes)

to July 5



DP Vincent De Paula csc (alternating episodes) B Camera Operator/2nd Unit DP Christopher Oben

to March 25


CALENDAR MARCH February 26-7, Kingston Canadian Film Festival, Kingston, ON, @canadiancinematographer @csc_CDN

MAY 17-20, Canadian Screen Week, Toronto, awards

Canadian Cinematographer welcomes feedback, comments and questions about the magazine and its contents. Please send your letters to Letters may be edited for clarity and space.

32 • Canadian Cinematographer - March 2021

Arriflex BL camera with 12 - 120 blimpted Angenieux lens, several film magazines, and accessories. Arriflex S camera with 9.5 - 95 Angenieux lens, film magazines, and accessories. C P 16 camera with angenieux 12 -120 lens with several film magazines and accessories. 2 Canon Scoopic film cameras, one takes a 200 foot load. Bell and Howell DR 70 wind up camera with lenses. Al Sugerman at 519-768-1623, or at 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




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