Canadian Society of Cinematographers Magazine March 2013

Canadian Society of Cinematographers

$4 March 2013 www.csc.ca

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Brendan Steacy csc Boris Mojsovski csc: Officer and a Murderer • Through His Lens: Michael Boland csc

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A publication of the Canadian Society of Cinematographers

The purpose of the CSC is to promote the art and craft of cinematography in Canada and to provide tangible recognition of the common bonds that link film and video professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography.

FEATURES – volume 4, No. 10 March 2013

Still Mine with Brendan Steacy csc By Fanen Chiahemen

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Boris Mojsovski csc Shoots An Officer and a Murderer

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Photo by Ken Woroner.

The Canadian Society of Cinematographers (CSC) was founded in 1957 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 non-partisan groups in our industry but have no political or union affiliation.

By Fanen Chiahemen

Photo by Michael Boland csc

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Through His Lens: Michael Boland csc Shares His Adventures

By Fanen Chiahemen

Columns & Departments

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From the President In the News CSC Members at the Canadian Screen Awards Annual General Meeting Tech Column Camera Classified Productions Notes / Calendar Cover: James Cromwell as Craig Morrison. Credit: Ken Woroner.

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Canadian Cinematographer March 2013 Vol. 4, No.10 EDITOR-IN-CHIEF Joan Hutton csc EDITOR EMERITUS Donald Angus EXECUTIVE DIRECTOR Susan Saranchuk admin@csc.ca EDITOR

From The PRESIDENT Joan Hutton csc

Fanen Chiahemen editor@csc.ca COPY EDITOR Karen Longland Editorial Intern Kayla-Jane Barrie ART DIRECTION Berkeley Stat House WEBSITE CONSULTANT Michael Jari Davidson www.csc.ca ADVERTISING SALES Guido Kondruss gkondruss@rogers.com CSC OFFICE / MEMBERSHIP 131–3007 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: admin@csc.ca CSC Subscription Dept.

131–3007 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: subscription@csc.ca

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.

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I

t’s that time of year again, with the 56th CSC Annual Awards Gala just around the corner on Saturday, March 23 at the Westin Harbour Castle in downtown Toronto. We had nearly 200 submissions this year competing for top honours in 14 categories ranging from best student cinematography to best feature cinematography. I would like to thank everyone who submitted entries.

The general quality of everyone’s work was exceedingly good, giving our juries quite the workout. But decide they must and decide they did. I would like to congratulate all of the cinematographers who made the cut and are this year’s CSC Awards’ nominees. You can see the complete list on our web site, csc.ca.

Just in case you can’t make this year’s Gala, you can watch it streamed live on our web site.

After loud demonstrations by thousands of British Columbia’s film and television workers, the provincial government has finally decided to do something about its flagging production sector. It has announced the launch of B.C. Creative Futures, which is essentially an umbrella organization encompassing the entire B.C. creative community with the B.C. Film and Television sector being only one part of this larger strategy that is heavy on youth training and the development of creative industries vision. It’s a start, sort of, and is a soft measure initiative which does nothing to tackle the immediate problem of B.C.’s being a destination for film and television productions. Some estimates peg a whopping 90 per cent of B.C.’s film and television workers are sitting idle. Despite urging by the industry for stronger tax incentives, B.C.’s Sports and Cultural Development Minister Bill Bennett has decided not to up the ante. Citing government figures that he admits are probably inaccurate, Bennett says the province loses money on every film job it creates and that increased tax incentives are not the solution. Unfortunately, tax incentives are a solution for producers deciding which location gets their production over another.

The purpose of subsidies and tax incentives is to stimulate growth and are generally a loss leader for governments. Eventually, through industry expansion and job creation, the tax base is broadened, which in turn diminishes the cost of the initial incentive. It’s been proven time and time again that subsidies do work for our industry. One just needs to glance at the heated production markets in Ontario and Quebec for proof of that.

It’s commendable that the B.C. government is thinking about the future of its creative industries with its new arts initiative. But this is only a half measure where its film and television production is concerned. Unless B.C. does more to invest directly in its ailing industry immediately, there may not be one in the future for all those craftspeople it’s hoping to train. They’ll be heading out of province to where the jobs are.

The films Laurence Anyways (DOP Yves Bélanger csc) and Rebelle (DOP Nicolas Bolduc csc) led the Jutra Award nominations with 10 and nine nominations respectively, including nominations in the cinematography category for both DOPs. Both features were also nominated for best film, as was Inch’Allah, shot by Philippe Lavalette csc. The winners will be announced March 17.

Cooke Optics Receives Academy Award Cooke Optics this year received an Academy Award of Merit for innovation in the design, development and manufacture of motion picture camera lenses. The Academy commented that Cooke received an Award of Merit because it “helped define the look of motion pictures over the last century.”

Member News The feature film Inch’Allah, shot by Philippe Lavalette csc, in February received an international premiere at the Berlin Film Festival as part of its Panorama sidebar.

Meanwhile, Jeremy Benning csc teamed up with Scott Free Productions and director Adrian Moat to shoot the new television drama Killing Lincoln, based on the controversial best-seller written by Bill O’Reilly. The film, produced by Ridley and Tony Scott and featuring Oscar winner Tom Hanks, was scheduled to premiere in February on National Geographic.

In other news, Paul Sarossy csc, bsc in February began oshooting in Sudbury, Ont., on Atom Egoyan’s upcoming feature Queen of the Night, while Nicolas Bolduc csc this month begins a two-month shoot in Winnipeg of the movie Cry/Fly. The director is Peruvian Claudia Llosa, who directed The Milk of Sorrow.

Also, Resident Evil: Retribution, shot by Glen MacPherson in January won the 2012 Cineplex Golden Reel Award, presented to the Canadian film that earns the highest domestic box office in that year. Resident Evil grossed more than $5.4 million in Canada in 2012.

csc, asc,

Letters to the Editor Hi all at the CSC, As always we enjoy your magazine. Nice article on Roy Tash (On the Road with Roy, January 2013). We are going through our photos, etc. – history since 1954. Thought you’d like to see the first Roy Tash Award given out by PM Trudeau. Bob flew Roy and Alphee to Ottawa for the presentation. I’ll keep you in mind for more. Love to everyone.

Bob Crone csc and Vi Crone

Canadian Cinematographer - March 2013 •

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In The News

Jutra Award Nominations

Still from Inch’Allah

with

Brendan Steacy csc

By Fanen Chiahemen Photos by Ken Woroner

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hen Maritimer Craig Morrison was 88 years old, he decided to build a new house for him and his wife to grow old in. Being a self-sufficient man who had raised his family in St. Martins, New Brunswick, by farming and lumbering, he planned to build it with his own hands, just as he had four other houses in the province.

But local inspectors soon stopped the construction, saying Morrison was contravening national building codes. He became embroiled in a legal battle with the courts that was well-documented in local and national media. His battle came to an end in 2010 – three years after he began building – when a judge ordered the planning commission to come to an agreement with Morrison that would allow him to build his house and live there in peace.

His story has now been brought to the big screen in Michael McGowan’s latest feature Still Mine, starring James Cromwell as Morrison and Geneviève Bujold as his ailing wife. It was a special presentation at the 2012 Toronto International Film Festival and was favoured among critics.

“The film is an exquisitely mounted and deeply affecting love story about a couple in their twilight years,” TIFF programmer Steve Gravestock wrote of Still Mine, which opens next month.

Its success is no doubt in part due to Brendan Steacy csc’s cinematography, which is strongly rooted in the stunning landscapes of New Brunswick, Nova Scotia and Northern Ontario where the film was shot.

“The visual language was very naturalistic,” says Steacy. “We just let the Bay of Fundy be what it was. Shooting something that spectacular is really just about representing it honestly.”

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With very little action, the richness of Still Mine is in its subtext, and McGowan specifically wanted a formal look that would underscore the acting. “It’s a film that’s in the performances, and the camera work didn’t need or demand to be frenetic. We wanted really to set the frame in a very classic style,” he says.

Working with McGowan and production designer Tamara Deverell to develop a unified look for Still Mine, Steacy’s primary task was to make the natural light work for the film.

so we wanted some sort of logical source,” he says. “We found this 30 foot long wooden post at one of the neighbours’ farms and put it in the ground as if it was a farm post light, and we put this light fixture on top of it. It was all based on what we saw in New Brunswick and at the neighbouring farms where people have these great big metal farm lights, and so we added those when we needed them.”

When shooting inside the couple’s house, a farmhouse the production found in Golden Valley, Steacy lit scenes through

Left: A couple in their twilight years. Right: James Cromwell and Geneviève Bujold in Still Mine.

“As our working relationship progressed it became apparent that Brendan almost processes the world through light,” McGowan says. “He’s always looking and playing with light, whether it’s putting his hand in front of a shadow or taking an iPhone shot of a sunset. He really – unlike probably any other DOP I’ve worked with – does paint with light and filters the world through his interaction with light.”

Steacy still had the challenge of fighting the contrast as the weather changed. “We could start a scene in full sun and be in full cloud by the time the actors finished their dialogue,” he recalls. “The weather would move really quickly. That was difficult.

You’d get a master in one weather, and then you’d do close-ups and it’d be completely different. You’d shoot one side, then the other side, then have to go reshoot the master because the entire scene was in full cloud. We would try as much as we could to shoot wide and get it while the light was nice and then match in the close-ups.”

windows, softening 18Ks and 6Ks with heavy diffusion. “Again trying to make everything feel naturalistic,” he says. “We also wanted to give the actors the space to move on the floor and not encumber them too much, so we tried to keep the floor clear of film lights.”

Meanwhile, practical lights inside the house were mostly tungsten, true to the way homes are lit in the area, Steacy says. “People haven’t really switched sources so much there,” he says. “There’s a scene where Craig is going over his accounting at his desk, and we lit that with a 60-watt light bulb, a practical light bulb bouncing off the desk, a little clamp light. We had maybe a single Kino from another room coming in that gave it a really subtle edge, but mostly it was just lit with this one 60-watt bulb.”

The weather also affected the way the interiors were lit, Steacy says. “If we were coming in from outside and it was bright sun as someone entered the house, we had to keep the feeling of sun inside.”

Steacy also used the lighting to subtly offset the two distinct worlds represented in the film. Morrison’s world, a natural, organic, wholesome environment, was lit with a warm light. But when the dispute arises, the elderly man is forced into a corporate world of building permit offices, lawyers’ offices and courtrooms – a milieu that is alien to him – and the light takes on a cold and unnatural character.

With virtually no streetlights around, in rural New Brunswick nothing can be seen with the naked eye after dark, so Steacy sometimes had to find a way to make sure the characters were visible in night scenes. “There’s literally nothing there, and I didn’t want to put moonlight because it doesn’t really make sense to me,

For those scenes, Steacy altered the colour bounce and the shape of the light to make it “flat and toppy. It’s a lot of fluorescents.

There’s no warmth or contrast. It’s more sterile. It’s just a stark contrast to the world he lives in where everything is made of wood and is from the earth,” he says.

Canadian Cinematographer - March 2013 •

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Left: Director Michael McGowan. Right: Geneviève Bujold as Morrison’s ailing wife.

Deverell recalls how the colour palette for Morison’s world was born out of a scouting trip to the Bay of Fundy. “Early on Brendan, Michael and I went to New Brunswick and were walking along a beach, and there were all these beautiful round stones, and I picked up a bag full, which I brought all the way back to Ontario,” the production designer recalls.

Steacy adds, “When we got to Northern Ontario and sat down in the kitchen and started talking about the palette of the film, she pulled these rocks out of her pockets and lacquered them so they looked wet and had the same colour they had by the ocean. And she said, ‘Okay, this is the colour of Craig’s living room, and this is the colour of his dining room.’ And we all adopted that colour palette as the palette of the film. They were all greens and reds, some blue and some grey, all deep natural colours.”

Shooting with the ALEXA, Steacy was able to dial colour into the camera and did very little filtration in the camera. “Colour filtration doesn’t make sense anymore because you’re not restricted to tungsten or daylight,” he explains. “You can have any colour stock you want now. So if I wanted to put in a thousand degrees of warmth, instead of doing it in the lens, we do it in the camera.”

For lenses, he opted for ARRI Master Primes. “I like those lenses a lot, they’re very sharp and they’re well colour matched. They have very limited ghosting, they’re very contrast-y, so when you’re

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shooting into skies or bright situations they don’t give you a ton of veiling glare. They’re sharp wide open – which is a 1.3 – which is great for night time stuff, when you want to actually use the world around you. And they’re fast.”

Shooting far from post facilities, a DI truck was a necessity and streamlined the process of watching dailies. “We had someone on a truck on set doing colour correction, so we were watching stuff as we went. I had a Resolve on set that I would do primary grading on, and then stuff was going back to a post house while someone else stayed up there with us and did transcoding overnight and burned them to iPads for us to watch,” Steacy says.

As he has been doing since he became a DOP, Steacy operated the camera during the shoot of Still Mine – (“I continue to find it not only keeps me more connected to the film, but it’s also the best vantage point from which to light,” he says) – which McGowan sees as a demonstration of the DOP’s dedication.

“He was willing to do anything for the production,” the director says. “I mean, we didn’t have trailers for the stars, and he and I found ourselves, three days before the start of principal photography, up near North Bay in some pickup truck looking at Winnebagos. I don’t know if too many DOPs would happily go along on a fishing trip for Winnebagos.”

CSC Members at the Canadian Screen Awards

C

SC congratulates the following members whose work in film and television was nominated in various categories for the first annual Canadian Screen Awards.

Best Photography in a Documentary Program or Series Michael McLaughlin, The Perfect Runner Derek Rogers csc, Explosion 1812

Best Achievement in Cinematography Nicolas Bolduc csc, Rebelle Philippe Lavalette csc, Inch’Allah Brendan Steacy csc, Still Mine Bobby Shore csc, Goon

Best Photography in a Dramatic Program or Series Sponsored by Deluxe Toronto Ltd. Eric Cayla csc, Bomb Girls – Jumping Tracks David Greene csc, XIII:The Series – Pilot Paul Sarossy csc, BSC, The Borgias – The Borgia Bull Gavin Smith csc, Combat Hospital – Triage

Best Photography in a Comedy Program or Series Douglas Koch csc, Michael:Tuesdays & Thursdays – Vomiting Ken (Anton) Krawczyk, csc, InSecurity – Anger Management

Best Photography in a Lifestyle or Reality/ Competition Program or Series Joshua Allen, The Tape Stuart James Cameron, Deals from the Dark Side – Houdini Handcuffs Jason Tan csc, From Spain with Love: with Annie Sibonney – Basque Country Best Direction in a Children’s or Youth Program or Series Philip Earnshaw csc, Degrassi – Scream, Part Two

The awards will be broadcast live on March 3.

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Canadian Cinematographer - March 2013 •

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An Officer and Boris Mojsovski csc Shoots A Murderer

By Fanen Chiahemen

Russell Williams (Gary Cole) is asked to answer a few questions. Frame grab from An Officer and a Murderer.

P

erhaps it was only a matter of time before the story of Russell Williams – the former Canadian Forces colonel, who in 2010 was convicted of serial rape and murder – would be retold in movie form. But that didn’t make it any easier for Boris Mojsovski csc to digest the idea that a made-for-television drama was in the works.

“I thought, ‘Why would anybody want to write this script?

What’s the redeeming feature?’” Mojsovski recalls. But after reading Keith Ross Leckie’s script for An Officer and a Murderer, which was directed by Norma Bailey and stars actor Gary Cole as Williams, the director of photography was intrigued.

“It doesn’t go into the details of how the murders were committed,” Mojsovski says. “It just follows the murderer, and we see that people like that are all around us. The scary part was that he was just an everyday guy who happened to be the commander of the biggest air base in Canada. And that’s what I found most interesting.”

That philosophy was in fact what informed the filmmakers’ approach to the look of the film, which was shot in three weeks in Toronto and Unionville, Ont. “We never wanted to create a look

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that was too stylized because of that aspect of reality,” Mojsovski says. “We wanted to present the world as if this can happen anywhere at any time. It was a simple approach, and I really didn’t want a lot of gadgets because the story wasn’t about that. If I used gadgets it would have stylized the image. I just wanted it to be streamlined and simple.” To that end, he and Bailey decided the film should be “warm in the beginning and then we’d go slightly de-saturated and a little bit cooler,” Mojsovski explains. “As the killer progressed in his quest, our look got darker and cooler.”

Working with production designer Gavin Mitchell, Mojsovski pushed to find the right interior locations that would uphold the look without the need for too many gadgets. “That is, interiors with darker walls, neutral colours, no primary or secondary colours,” he says. “Trying to just allow the faces and the skin tones to be basically the most colourful part of the image. Because you focus on the actors that way subconsciously.” He also tried to keep the skin tones as natural as possible. “So you could see a little bit of pink and a little bit of magenta in the skin tones, and that helps the realism,” he adds.

Mojsovski lit most of the film with big soft sources. “I just like the feel of the big sources inside the room, and then you don’t

need a backlight or any other supplemental lights,” he says. “And it suggests realism. When you have soft light your eyes adjust to it much more easily. Also, you want a face lit with a soft light because it looks better and the viewer accepts it.”

However, controlling such light sources on a three-week shoot was problematic. So Mojsovski had two main interior lighting setups, which he and the crew dubbed “the big monstrosity and the small monstrosity.”

For daytime interiors of police station scenes, Mojsovski would place a row of five 18K HMIs on lifts, and the light outside would sift through the windows through unbleached muslin, and then the interior light setups – the monstrosities – would shape the close-ups.

For night interiors, Mojsovski would supplement the smaller “monstrosity” setup with strategically hidden lights and just glow the windows slightly cooler to simulate moonlight.

“So that approach saved us in many ways but gave us that very soft contrast-y look. We gave the images as much shape as we could,” he says.

“But I never overdid the contrast,” he adds. “The film is never too dark. So you never feel the style overpowering the story. We always shot with the camera on the dark side to consistently have proper shape on the faces.”

Shooting exteriors was more challenging because of the number of houses in the neighbourhood locations. Mojsovski ended up lighting a whole block, relying on his team for precise placement, as there was no time to move lights. “Without my gaffer, George Kerr, and the grip, Felipe Rodrigues, I don’t think we could have done it. I mean, they were the heroes of this production,” he says.

The DOP recalls a sequence that required shooting three houses at night. “What George, Felipe and I decided to do was put condors on two sides of the action, at both ends of the street in case we wanted to turn around, right away we would be ready to start burning the lights on both sides of the street and basically cover an area of 500 metres,” he says.

In one crucial scene, the Williams character comes out of his house and hides so as not to be seen by the police. “We simply

DOP Boris Mojsovski csc talks to Laura Harris (playing Detective Jennifer Dobson).

could not figure out where to put another condor to light that part of the house. So finally we hid a 20K in some bushes. It was the only way to hide it from the camera and the only angle that would work for the bounce.

“It saved us a huge amount of time,” he continues. “If we’d brought another condor around we would have lost a lot more time and resources. It allowed us to do something in 15 minutes instead of waiting for an hour.

“The support of the producer Mary Young Leckie and the line producer Lena Cordina was crucial for our success. They gave us access to all the gear necessary to move quickly and efficiently; they were great,” Mojsovski says.

Having shot several made-for-TV movies, Mojsovski is accustomed to the three-week shooting schedule they typically require. But usu- Five 18Ks on lifts lighting the ally on those movies, he says, “the police station interior. story fits that time-frame because there are a few locations and not many cast members. Here we had 20 locations and they were all quite complex locations. Every scenario that you can imagine would be difficult to do where you really need the time to do it, well, we had to do it in three weeks.”

Sometimes the crew tried time-saving methods like placing the two ALEXAs (fitted with Ultra Prime lenses) on the same dolly to shoot close-ups and wide shots at the same time.

But it also helped that the production had “great actors who really did a great job,” Mojsovski says. “We didn’t have a lot of takes because we didn’t need a lot of takes. The actors did really well.

It was a really well-oiled machine. Everyone cared a lot because of the story.”

Canadian Cinematographer - March 2013 •

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Credit: Dave T. Sheridan

Mojsovski also tried to avoid having hard light hitting the actors’ faces. “With the soft light coming through the window and from what looked like practical sources, the viewer associated that with realism because it looks like the practical lamp or the window is lighting the actors.

Credit: Stephen Scott

What he called the “big monstrosity” consisted of eight or more Kino Flos behind a 20x Muslin or light grid suspended on a TBar. “It looks very scary,” Mojsovski says, laughing. “But I really like it because it’s organic and easy to move even though it doesn’t look like it is.” The smaller light fixture, the “small monstrosity,” had just two or four Kinos.

Through

His Lens:

Credit: Marco Preti

Michael Boland csc Shares His Adventures

Michael Boland csc 60 feet up on a filming platform.

M

ichael Boland csc started out with a career in hockey, playing professionally for seven seasons, including some games in the NHL with the Philadelphia Flyers. Then a chance encounter at an Australian television station landed him a job as an assistant cameraman, and he spent the next 35 years travelling to every corner of the world, including some of its remotest spots. From filming gorillas in the N’Doki rainforest of the Congo with Bembemgele pygmies to climbing Mount Everest, Boland has racked up some remarkable adventures. Now in his recent memoir Through The Lens of My Eye, he shares some of the best tales from his journeys.

Canadian Cinematographer: In the book you describe how your mother encouraged you to take lots of pictures and notes on your travels so she could live vicariously through you. But how did you manage to capture all those memories in such detail?

Michael Boland csc: I would be on a documentary shoot, and I’d spend the day shooting and then be writing in my tent at night, because I found it interesting. So I have word-for-word, day-for-day verbatim conversations. I never started out with the intent of writing a book. I just tried to busy myself documenting the day. There’s a good core of documentary cameramen in Canada, and they say to me, “I would have liked to have done that too, but I can’t.” No one else really took journals or took copious amounts of still pictures. I started writing this stuff 12 years ago. It took 12 years to get it all down.

CC: You got into the documentary shooting business in the late 1970s after an Australian friend told you about an opening for an assistant cameraman at a TV station. You were hired with no experience and learned on the job. Is that still common today?

MB: I don’t know if it could happen today. Maybe not. Maybe

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you’d have to go to a George Brown College or Humber College.

But it’s still competitive. Only a few will do it. You’re competing against some hot shots. Is it possible to have a similar career? Yes. It all comes down to drive, ambition, talent, luck, and fate. A lot of young people say, “I want to do what you do.” And I ask them, “Where are you now?” And they say, “I’m in fourth year of media studies. And I’m hoping next year I’m going to be doing what you do.” And I tell them, “You can’t do what I do within 12 months. You have to have a reputation. It takes a long time to get there.” So [with this book] I wanted to give them an idea of what’s possible – that it’s colourful, wonderful, interesting, fascinating and hard work.

It has ups and downs and trials and tribulations. I wanted to give them enough impetus but at the same time not delude them that they’re all of a sudden going to step into it.

CC: What’s the most important thing you tell people who want to follow in your footsteps?

MB: The art of the documentary business is the art of telling the story. That’s what I tell young people coming out of college. When I go out to shoot a documentary, I know character development, I know story development. That’s a learned process. If you’re talking about focus and craning and lighting, I could teach you that in a crash course in about probably a month. The storytelling takes a lifetime. And quite frankly a cinematographer’s job is to assist in the telling of a story. The directors and producers trust you to know the technical aspects.

They’re interested in telling a story. So, consequently, my book is about the telling of a story. Utilizing the camera as a tool to tell the story.

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CC: Why have you stuck almost exclusively to documentary shooting?

MB: You’ve got to be thinking on your feet. A drama cinematographer has a gaffer, a grip and a crew of 20. My job is to run myself. And I’ve been on a few drama sets, and they’d all go, “Lucky bugger! I wish I could do what he’s doing.” When you go on these kinds of trips you become not only great friends hopefully with the people you’re working with, but also with the people you’re filming. When you have a heart and you show your heart, people recognize that and you become friends.

Excerpt from Through The Lens of My Eye: Adventures of a Documentary Cameraman

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12 • Canadian Cinematographer - March 2013

Credit: Michael Boland csc

© Kodak 2013. Kodak and Vision are trademarks.

“Quiet!” The middle-aged Frenchman with the tattered shorts and the unkempt beard commanded us. His eyes flashed wildly in anticipation of what we were about to see. He frantically motioned for us to remain still, then darted ahead leaving us only imagining what lay around the next bend on the rainforest path.

The first shards of the dawn light had only just broken through the jungle canopy. My Italian co-cameraman, Marco Preti, and I had journeyed two hours in the darkness of early morning, led by five Bembemgele Pygmies and this most strange maverick, Michel Coutois, equipped with a lone flashlight. He returned shortly after and instructed us to follow. Carefully, cautiously we edged our way down the muddied path trying not to snap a fallen

Travels with the first peoples of Peru and Brazil.

twig or brush our camera equipment against the jungle foliage.

“They’re here,” he whispered. “Try not to make any sound. Just climb the platform and start filming.” Marco and I stepped waist deep into the murky water and waded some 50 feet, whereupon the jungle opened up to a clearing called a baille, the Bokumbela baille to be exact, a square mile swamp created by generations of watering animals. It was the only clear, open space in an otherwise claustrophobic jungle. When we reached the base of a large African hardwood tree, I looked up and saw the constructed platform. Marco ascended first, then cast down a rope in order to haul the camera equipment up the 25 yards to our filming position. I secured my camera in a rucksack and began the ascent up the primitively-constructed ladder. Having just hiked six kilometres, my legs were shaking as I progressed up each rung of the terrifying climb. I was drawing on adrenaline to prevent tumbling from the heights. Finally, I reached the top and Marco grabbed my jacket collar and pulled me aboard. We assembled the gear with as much precision as we could muster and then switched the camera on. Four green-grey forest elephants were dining in the marsh pond not 300 yards from us. To film forest elephants in the French Congo is rare to say the least. A broad, crazed smile beamed from the face of the Frenchman whom we would come to know soon enough. This was our first day of filming in this most tropical of jungles, having arrived only two days previously.

AGM Reports Photo Credit: Karen Longland

Front row seated Left to Right Arthur Cooper csc, Philip Earnshaw csc, Micha Dahan, Dylan Macleod csc, Rion Gonzales, Ron Stannett csc, George Hosek csc Back row standing Left to Right Ernie Kestler, Andrew Forbes, Carolyn Wong, Rod Crombie, Joseph Sunday phd, John Berrie csc, Alwyn Kumst csc, Susan Saranchuk, Zoe Dirse csc, Joan Hutton csc, Stan Barua csc, Carlos Esteves csc, Antonin Lhotsky csc, Guido Kondruss, Sarah Moffat, Bert Dunk csc, asc, John Tarver csc, Mitch Ness csc, Michael Jari Davidson

Annual General Reports 2012 President’s Report Following our call for nominations this past year for elected positions on our Board of Directors with Office, none were received and the current executive has agreed to serve for another year. Meeting the demands of being a part of the CSC executive requires a good deal of time and effort. I would like to express my thanks and appreciation to all the members of the Board of Directors for their continuing dedication and hard work. Our auditors for this year are Bob Bocking csc and John Hodgson.

There were a couple of notable changes on the CSC Board of Directors in 2012. Longtime CSC member Nikos Evdemon csc decided to take life a bit easier and resigned as our publicity cochair. Nikos was a highly valued member of our executive having brought the CSC into the digital age by designing, building and for years maintaining the Society’s web site. Nikos is a Fuji award recipient for his efforts and dedication to the CSC. The Executive was sorry to see him go, and I for one will miss his advice, guidance and hard work.

Our other publicity co-chair, Sarah Moffat, also stepped down from the executive to focus more directly on her career goals.

While she may no longer be a sitting board member, Sarah remains very active in our Society and is currently working with our co-vice presidents Ron Stannett csc and Carolyn Wong on an upcoming CSC lecture series.

Filling the vacancy as our new publicity chair is Carlos Esteves csc. Carlos has been very active on our board for the past year as a Director Ex-officio and has been a member of the CSC for 25 years. An accomplished award-winning cinematographer, Carlos has been a welcome addition to the CSC executive.

Also joining the CSC executive as a Director Ex-officio is Vic Sarin csc. A cinematographer, a director and a producer, Vic has been a dynamic force in our film and television industry for decades. Based in Vancouver, Vic participates in our executive meeting via Skype. Besides his invaluable experience and perspectives, Vic brings an important West Coast view and representation to our meetings.

In keeping with our national mandate, we are still hoping to garner candidates for our executive board from Quebec and the east coast. We encourage any member from those areas or any other area in Canada to apply.

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As for our magazine, we have brought onboard technical journalist Ian Harvey to write for our magazine’s Tech Column. While Ian will be the column’s main writer, we have left the door open for contributions from our membership. This is in accordance with Canadian Cinematographers distinctive trade mark and philosophy: to publish articles by CSC members whenever possible.

In doing so, our readers gain exclusive insights and first-hand knowledge about our profession and industry that is not found anywhere else.

For the 55th CSC Awards Gala at the Westin Harbour Castle, we drew from our own membership ranks to fill in the hosting and presenting duties, which was well received and a terrific success.

It was also the first time that our awards gala was streamed live on the Internet, a practice that we hope to continue. All the jury screenings were held in our clubhouse at William F. White, with exception of the features which were judged at S.I.R.T. facilities.

CSC members continue to be recognized in Canada and around the world as top echelon cinematographers. For example, at last year’s Toronto International Film Festival, 18 films shot by 17 of our members were screened. This includes the festival’s gala presentation of the feature film Inescapable, for which Luc Montpellier csc was the DOP. I would also like to mention Ronald Plante csc, the cinematographer on Monsieur Lazhar, which not only won several awards at the Genies, it also made the final nomination list for the 2012 Academy Awards in the Best Foreign Language Film category.

The CSC had a good year in 2012. Our finances are in the black, membership numbers are steady and our sponsor base has grown with REDLABdigital and The Source Shop joining our organization.

Doing well in our film and television industry last year seemed to vary dependent on location. Ontario with its aggressive tax incentives for producers had a banner production year reaching workflow levels not seen in a decade, with Quebec and its self contained film industry not far behind. However, it is a much different picture in British Columbia where production incentives by the provincial government have lagged behind other regions. The producers have stayed away from BC and the work has slowed to a trickle. Even worse is Saskatchewan, where the government withdrew all its tax incentives, effectively killing off their small but vibrant film and television industry. I have long been a believer that tax incentives and subsidies for our business are a necessity in Canada. They help us to compete regionally and above all internationally by enticing producers and their productions into Canada. Ontario is proof of that. The BC government is now saying that it has “a few irons in the fire” to stimulate their ailing film and television industry. Let’s hope they’re right and that 2013 brings more of a regional equilibrium to our industry.

I was the CSC’s representative last February at the IMAGO Annual General Assembly and 20th anniversary in Paris, France.

Originally established as a European federation of cinematographer societies, IMAGO has grown in scope, encompassing 47 societies representing 3,000 cinematographers worldwide. What is so intriguing about an international gathering of cinematog-

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raphers such as IMAGO is that no matter where one lives, cinematographers share many of the same problems practicing their craft. IMAGO tackles and champions issues as diverse as image authorship rights for cinematographers to globally standardizing frame rates. The CSC has been a non-voting associate member of IMAGO since 2008. Many of their goals and initiatives closely align with our Society’s philosophies.

The CSC pub nights in Toronto and Montreal continue to be tremendous successes and I’m happy to announce that Vancouver has come on tap as well. I had the good fortune of being able to attend the Vancouver christening of CSC’s pub night which was attended by 25 industry colleagues and I can unabashedly say that they’re as good with the brews as we are in Toronto. These pub gatherings strike right to the heart of the CSC’s beginning.

Our Society was originally founded to provide a social setting for cinematographers – who by nature of our profession are a solitary lot – to talk, exchange ideas or simply have laughs. CSC Pub nights are open to our entire industry, so one and all do come out.

The CSC continues to adapt to the changing demands of our industry and continues to be the organization of record for cinematography in Canada. We have remained relevant and we will continue to do so as our mandate to foster and promote the art of cinematography dictates.

Joan Hutton csc President

Vice President’s Report There were 19 events attended by CSC members that were either at sponsor locations or supported by our sponsors. These events include: Sim Video Technology Open House; Canadian Cinema Editors, Q & A and Social Night; SIRT – Motion Control Workshop; Sharp’s Broadcast - Dedolight Workshop by Dedo Weigert, DOP; Clairmont Camera - Arri ALEXA STUDIO and lens demo; ZTV - HD Source Open House; Profusion – Trade Show and seminars by VISTEK; DOC Toronto Cinematography Day; Ryerson University School of Image Arts; Dog Days of Summer BBQ with Sony; Shane Hurlbut ASC presentation at TIFF; Revenge of the Great Cameral Shootout 2012 – SMPTE – SIRT; Codex Workflow Classes – PS Productions; Canon/Codex Digital Cinema Event; 3DFlic HFR Seminar; Technology Showcase – Sim Digital Vancouver; Hawk V-LITE Demo (with squeeze lenses) – Clairmont Camera; Sony F-Series Launch Event; William F. White Holiday Open House. There were also a total of seven pub nights in Toronto, Montreal and Vancouver.

Ron Stannett csc, Vice President Carolyn Wong, Vice President

EDUCATION REPORT The first Digital Camera Assistants’ Course ran from February 25 through March 4, 2012. The course was given at Bling, Clairmont Camera, Dazmo Digital, Panavision Canada, PS Production Services, RedLab Digital, Sim Digital, Technicolor and Vistek.

The instructors were: Daniel Abboud, Mike Dawson, Nicholas Fournier, Pete Janes, Ernie Kestler, Sarah Moffat, Doug Nelson, Mark Pierce, Ernest Spiteri, Paul Taylor and Michelle Veza, The course participants were: Michael Baier, Alex Chavez, Devon Chytil, Tony Lau, Janek Lowe, Sam Perrin, Ivan Popov and Nathan Ta. A wrap party was held celebrating the successful completion of the course. On hand to congratulate the participants were: Carlos Esteves csc, Gregor Hagey csc, Joan Hutton csc, Alwyn Kumst csc and Peter Rowe csc. The course was a huge success.

The CSC held a Lighting Workshop at William F. White on September 29 and 30, 2012.

The instructors were Carlos Esteves csc, Joan Hutton csc and Ernie Kestler. The participants were: Spencer Birman, Craig Buckley, Christine Buijs, Jamie Daubney, Pouyan Fard, Jake Kovnat, Blair Laframboise, Josh Power, J. J. Robertson, Rob Roy, Louis Saturnino and Adam Vet. The participants were ecstatic with the end results.

The CSC Education Committee met four times in 2012 The committee is comprised of Dylan Macleod csc, Ernie Kestler, Joan Hutton csc, Carlos Esteves csc, John Holosko csc, and Susan Saranchuk. The committee designs and evaluates educational courses, workshops and activities for the CSC. It reports back to the CSC Executive. Planned for 2013 is an advanced Car Lighting Workshop, a Faces Lighting Workshop and the Digital Camera Assistants’ Course. There is a possibility of a Pedestal Camera Operators’ workshop.

All CSC members are welcome to attend our meetings and/or submit ideas for educational activities.

Dylan Macleod csc and Ernie Kestler CSC Education Co-chairs

Awards Report The 2012 CSC Awards Night was held Saturday, March 31 in the Frontenac Ballroom at the Westin Harbour Castle Conference Centre in Toronto. The gala event was attended by 290 members, sponsors and friends. It was an intimate evening in that CSC Co-Vice President, Carolyn Wong hosted the event and CSC members presented the awards. At the same time it was made larger because it was streamed live on our web site with the help of Resolve Collaboration Services.

The decisions regarding the awards are made by the Awards Committee who are: Ronald Stannett csc, Chair; Robert Bocking csc; Albert Dunk csc, asc; George Hosek csc; John Hodgson; and Susan Saranchuk. There were 146 entries in 2012. The juries were held in Toronto at the CSC Clubhouse, Technicolor and the Screen Industries Research and Training Centre (SIRT).

The juries were chaired by Robert Bocking csc and John Hodgson. Susan Saranchuk and Joan Hutton produced and edited the Awards Gala show tape with David Oliver at Soho Post and Graphics.

Publicity Report In September 2012, I was appointed Public Relations Chair.

I would like to acknowledge the generous support during 2012 from our many friends in the industry, namely our sponsors.

Their support only confirms the importance of the CSC and the efforts of all of its members.

During 2012, Michael Jari Davidson, Director Ex-Officio and Associate Member, embarked on the redesigning and creation of a complete new CSC web portal. Nikos Evdemon csc was responsible in the development and maintenance of our existing web site, and his tireless efforts have gone beyond everyone’s expectations. I want to extend our profound appreciation to a true friend of the society.

Also during 2012, Canadian Cinematographer was made available in PDF form on the CSC website. This valuable addition was made possible by the efforts of Joseph Sunday, PhD. During the last quarter of 2012, initial conversations took place regarding the creation of a Club House event entitled the Innovation Series, which will be held once every three months showcasing new developments and innovations within the industry. The Innovation Series will bring together manufacturers and retailers with CSC members and professionals in an informal setting. We have initiated formal negotiations with interested manufacturers and retailers.

Propelling and elevating the CSC brand works in conjunction with all of the events and efforts of many within the Society.

Canadian Cinematographer, the CSC web portal, the Awards Ceremony, the Education Committee’s lighting workshops, the Full Membership Committees and the numerous events attended by our members contributes to the brand, and this in turn creates a marketing value for the Society and its members.

The CSC’s history, its name, its logo, its members and activities are what encompasses the “CSC Brand.” Increasing the CSC brand awareness and the potential financial gains to the Society are two important areas that this chair will focus on in 2013.

Carlos Esteves csc Public Relations Chair

CSC Web Site Redesign Project Report In February of 2012, discussions began at the CSC Executive level regarding the possibility of revamping the existing CSC web site. In March 2012, I presented a proposal to design and develop a new CSC web site to reflect the organization’s desire to stay current, and that proposal was approved and endorsed by the CSC Executive. The new CSC web site is currently in the development stage and has gone through a series of presentations at Executive meetings to solicit desired features and revisions by members of the CSC Executive.

Canadian Cinematographer - March 2013 •

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The most current phase of the project has been to migrate the existing CSC member database from the existing CSC website, which I have done successfully, and is this now under review by the CSC Executive. Once we have CSC Executive consensus on the finalized interface design and back-end coding of the new CSC site, content will begin to be added, including some exciting new features such as audio podcast interviews with directors of photography and video presentations. The plan is to launch the redesigned CSC website in 2013, and I am very proud to have been a part of this new chapter of the Canadian Society of Cinematographers.

Michael Jari Davidson Director Ex-Officio

members, preserving CSC prestige throughout our industry. For all this and more, the annual fees for members continue to be extremely low when compared with other similar organizations.

Treasurer’s Report

As treasurer, I am grateful for the large amount of time and expertise donated by the other executive and committee members; this society could not exist without this extensive volunteerism, under the able leadership of our President Joan Hutton csc. Since the CSC became a complex association with many programs and activities, we also rely on the incredible organization and commitment of our Executive Officer Susan Saranchuk and the team that she coordinates, and I extend her and them my heartfelt thanks and praise. My job as Treasurer has also been greatly simplified by the great accounting records maintained by Karen Longland.

During 2012, CSC members have all faced the challenges of a rapidly changing media landscape, adapting while maintaining the highest artistic and technical standards.

At the end of 2011, the CSC reported an accumulated surplus of $9,999.54, with a post-report adjustment of $220.00, yielding a final accumulated surplus of $10,219.54. This was the first positive position of the Society since 2005, and none of us want to experience the negative years in between again.

The current fiscal year ending 31 December 2012 did manage to generate another surplus, this time $12,569.83, which is modest for an organization with revenues over $280,000 and financial commitments over $200,000. Even though we do monitor the financial impact of each activity, this annual report recognizes that all endeavours are interlinked and important contributors, even those that might seem to receive a financial subsidy.

This year’s positive result was made possible by our great sponsors who recognize the significant value they obtain by addressing CSC members in their funded strategies. We are grateful for special invitations for CSC members from them to participate in relevant technology/process events, wherever a company does business across the country. Additionally, we are pleased to highlight sponsors in our publications, our educational events, our periodic meetings and our annual awards gala. Suggestions from staff have identified areas where we can offer extra value for advertisers in Canadian Cinematographer, and for contributors to the awards gala. Our financial wellbeing depends on this partnership with our sponsors, and we will ensure they receive great value.

Value for our members is also in constant discussion by the CSC executive and staff. Professional development is truly important as new processes are added to our options and doubly important when our members need to make, explain and support informed choices; this is a major focus of our education events, our periodic meetings, and our publication. Outreach initiatives have expanded on a national basis, and executive participation with other international cinematographic societies has enhanced the profile and reputation of CSC members globally. The high standards required by the membership committee for full membership status and by the juries for our annual awards benefit all

16 • Canadian Cinematographer - March 2013

According to the existing CSC bylaws, your treasurer is also responsible for overseeing our bylaws. In today’s climate of organizational transparency, it is important that our rules for “governance” reflect current practices and policies. Consequently, there is a comprehensive revision to our bylaws presented for affirmation at this AGM, after extensive discussion/review by the executive and advisor Bob Bocking csc. Details of this revision have been sent via email to members, so that comments and proxy votes can be submitted prior to this meeting.

Finally, there are some structural fee changes, as suggested by the executive board. I am convinced that the CSC will still remain the best value for any similar professional society.

Joseph Sunday, Treasurer

Membership Report The membership committee met twice in 2012 to review submissions of those who wished to upgrade to full membership.

We followed the standards laid out in our bylaws and regulations.

Twenty-seven cinematographers applied and 33 per cent of them were granted full member status. Our nine new full members are: Jonathon Cliff csc; Mark Foerster csc; Karim Hussain csc; Samy Inayeh csc; Bob Mattigetz csc; Pasha Patriki csc; Nicholas de Pencier csc; Bobby Shore csc; and Brendan Uegama csc.

In 2012 our total membership numbers in all categories increased, taking us to our highest membership count since 2003. We now have 495 members spread out across the country in every province except Prince Edward Island, and in 16 countries other than Canada. We also have 32 loyal sponsors.

Thank you to those who volunteered their time to the membership committee last year: Stan Barua csc, Arthur Cooper csc, Bert Dunk csc, asc, George Hosek csc, Antonin Lhotsky csc, Jim Mercer csc, Alwyn Kumst csc, Stephen Reizes csc, Peter Rowe csc, Ron Stannett csc, John Tarver csc, Kit Whitmore csc. Any and all full members are welcome to sit on the membership committee to help choose our new full members.

Philip Earnshaw csc and Gregor Hagey csc 2012 Membership co-Chairs

Technology Stakes Out Its Claim

Credit: ©2012 Warner Bros. Ent. All Rights Reserved

Tech Column

High Frame Rate

Still from The Hobbit.

D

epending on who you talk to, High Frame Rate cinematography (HFR) is either the next big thing or just a disastrous novelty that detracts from the real art of cinema. So far we have only one example of a feature, The Hobbit: An Unexpected Journey, that arrived in theatres in mid-December 2012.

HFR has been around for decades, most notably championed by Douglas Trumbull in the 1970s with the 60 fps/70 mm Showscan format. But in the analogue world of cellulose and sprockets, it was too expensive to shoot and exhibit in an industry where critical mass was stuck at 24 fps, which consumed less film.

“Also, projectors at the time couldn’t run that fast without blowing up,” says Bert Dunk csc, asc, the Technology Supervisor at Sheridan’s Screen Industries Research and Training Centre (SIRT).

Demand for a workable 3D solution and digital has opened the doors to make going to the theatre a more attractive value proposition, says Paul Salvini, chief technology officer, Christie Digital Systems. For theatres with late model projection units, HFR is a simple software shift, says Salvini, but for more widespread adoption some exhibitors will have to upgrade their hardware.

It’s a prudent investment, he insists: “Audiences can experience it the way it was meant to be seen. HFR is just one more tool for creative professional cinematographers.” As it stands with 24 fps, creative compromises have to be made, he says.

The possibility of HFR opens up options, especially for sports sequences, chases and action scenes, which of course drive box office sales. Instead of a wide shot to avoid blur, HFR opens up choices to longer lenses. And it’s not an either-or solution. Projectors can shift seamlessly from 24 to 48 and back again, Salvini says.

Technically, though, HFR seems to make sense. At 24 fps the capture misses half the action of 48 fps. Theoretically, then, at 60 or 120 fps, movement is captured more sharply.

SIRT has an HFR research and development lab and is working with Christie to develop and better understand the limitation and innovations offered from both the capture and audience aspect, looking at issues like shutter angles and frame rates. But from a training point of view, the decision to jump the frame rate is a simple one and requires no additional crew training, says Dunk. We’re ready, it’s as simple as that, he says, though the devil is in the details.

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Twice the data may be more synchronous to the human eye and render a more comfortable and lifelike experience, but double data means errors – or the “smoke and mirrors” of movie making – are more easily exposed, he warns.

The most attractive aspect of HFR – aside from the creative advantage – is that there’s virtually nothing to do to jump in, except add more lighting. “It’s just the frame rate, nothing else changes really,” he said, though he cautions it is not as forgiving in sloppy and low-budget productions where attention to detail lags. “You’re not going to use this on a $500,000 film. And you need another stop. 3D was always a light hog, with the mirrors and everything, it just gobbles up light, but with HFR you need even more light.”

Here’s the math: at 48 fps, x 360 degrees divided by (shutter angle) 270 degrees, the exposure is 1/64th of a second. James Cameron, who is shooting the Avatar sequel at 60 fps and 180 degrees, arrives at 1/120th of a second, almost twice as fast an exposure.

Finding the sweet spot between shutter angle and creative vision is what Dunk and colleagues at SIRT will be working at this year. “I think you’ll see different shutter angles in the same film,” he says. “Forty-eight, 60, 120. The projectors can handle it, and HFR is fantastic in that way. It’s one more tool to work with as a storyteller.”

Meanwhile, the debate rages. Dunk’s only quibble with The

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Hobbit is that Jackson chose a 270-degree shutter angle and reintroduced blur to the action scenes.

Joe Sunday, longtime CSC treasurer and a technophile, says regardless of the doors it opens, from a technical perspective it also comes down to what additional restrictions are placed on the cinematographer to capture in terms of light and noise.

“How much more light do you need? What are the highlights and low light restrictions? Post? And then in exhibition? Are there limitations there?” he says. “Still, we went through something like this learning curve with HD.” With 3D somewhat less prevalent than a few years ago, HFR can’t be just a way to breathe new life into that technology. It has to add something. The nascent technology will spark heated debate among cinematographers, many of whom have been dismissive of the 3D HFR version, saying it is “too much like a video game” or “theme park ride” or “Monday Night Football-ish” and destroys the beauty of the cinema experience.

Still, says Sunday, it is audiences who will ultimately cast their votes at the box office.

Ian Harvey is a veteran Toronto-based journalist who writes for a variety of publications and covers the technology sector. He welcomes feedback and eagerly solicits subject matter ideas at ian@pitbullmedia.ca.

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BL III Camera Kit $3750 Or Best Offer gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) ARRIFLEX BL3 BODY WITH PL MOUNT, 4 PERF MOVEMENT, VARIABLE SHUTTER, FULL 35MM GATE, VIDEO TAP ELBOW, 2 X ARRI 400’ BL MAGAZINES, 2 X POWER CABLE, CASES FOR CAMERA, MAGS.

Short-Term Accommodation for Rent

1- Nikon 200mm F2 Century Conversion PL mount, std film gears on focus and iris (32 pitch-mod 0.8), Duclos reversing gear, shipping case included $4,500 excellent condition 1- Angenieux 25-250 T3.9 Arri bayonet mount with PL adapter, std film gears on focus, zoom, and iris (32 pitch-mod 0.8), lens support and collar, shipping case included $2900 1- Angenieux 25-250 T3.9 Arri PL mount, std film gears on focus, zoom, and iris (32 pitch-mod 0.8), lens support and collar, shipping case included $2900 1- Tamron 300mm F2.8 Arri bayonet mount with PL adapter, std film gear on focus (32 pitch-mod 0.8), 42mm filters: clear, 2 x 85, shipping case included $1,200 2- Tamron 180mm F2.5 Arri bayonet mount with PL adapter, std film gear on focus (32 pitch-mod 0.8), $900ea 1- Carl Zeiss Jena (DDR)180mm F2.8 Pentacon Six mount, with Arri PL adapter and Micro 4/3s adapter, $1,000 iris can be de-clicked and std film gears on focus and iris (32 pitch-mod 0.8) added on request $750 1- O’Conner 50 fluid head with Mitchell, Mini-Mitchell, 150mm ball bases and tie-downs, 2 quick release plates extra hardware (pan module needs fluid) $500 2- Working Chrosziel Fox single channel wireless systems and many spare parts: 4- working Handsets, 2- working MDRs, 1- dead MDR, 2- working FMG-6 motors, 1- working but jumpy FMG-6 motor, 1-FMG-6 motor for parts, all handsets have been converted to Sony L batteries, 2 Battery chargers, 3 batteries, 4 straight antennas, 4- 90º antennas, 28 focus scales, 4- 0.8 32 DP motor to lens gear, 3- 0.8 32 DP motor to lens gear (extended for lens travel), 3- 0.6 40 DP motor to lens gear, 4- 0.5 48 DP motor to lens gear, 4- 0.4 63 DP motor to lens gear, 7 motor cables, 4 Arri 24Volt power cables, 2- Aaton 12Volt power & run cables, 1- Heden motor cable, Arri 12Volt film camera power cable, 2-Panavision 24 Volt power cables, 1 12 Volt Aaton power cable, 1 P-Tap power cable, 1- Aaton run cable, Arri SR3 run cable, Moviecam run cable, Panavision run cable, 1- Video camera run cable 1- Arri 11 pin Fischer run cable $2500 Contact: stephen.reizes@gmail.com AATON XTR SUPER 16. Camera package includes body, video relay optics, extension eyepiece, three magazines, Cooke 10.5mm-60mm S-16 zoom lens, zeiss 9.5 prime lens 4x4 matte box, 4x4 filters (85, 85N6 polarizer, ND6, clear) follow focus and cases – $12,000 Separately: - Nikon 50mm-300mm F4-5E.D. lens with support – $1000 - Kinoptik 9-8mm-35mm format lens comes with sunshade – $1,400 Contact: stringercam@shaw.ca 1) Panasonic 3D Professional Full HD Video Camera (AG-3DA1) The AG-3DA1 is the world’s first professional, fully-integrated Full HD 3D camcorder that records to SD card media. The AG-3DA1 will democratize 3D production by giving professional videographers a more affordable, flexible, reliable and easier-to-use tool for capturing immersive content as well as providing a training tool for educators.

At less than 6.6 pounds, the AG-3DA1 is equipped with dual lenses and two full 1920 x 1080 2.07 megapixel 3-MOS imagers to record 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p and 50p in AVCHD. Camera is very new. Includes Kata Carrying case, 4 batteries. To view photos/questions email frank@tgtvinc.com or call 416-916-9010. Asking price: $17,500 (includes tax). Will ship out of province.

BL IV Camera Kit $8,950 Or Best Offer gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) ARRIFLEX BL4 BODY WITH PL MOUNT, 4 PERF MOVEMENT, VARIABLE SHUTTER, FULL 35MM GATE, ARRIGLOW MODULE AND ARRIGLOW GROUNDGLASS IN RED, CEI COLOR 4 VIDEO TAP CAMERA AND ELBOW, CEI ELECTRONIC RETICLE GENERATOR, BL4 VIEWFINDER EXTENSION, WIDEANGLE EYPIECE WITH HEATED EYECUP, POWERCABLE FOR HEATED EYEPIECE, ARRIFLEX 4 x 5 SWINGAWAY MATTEBOX, ARRI FF2 FOLLOW FOCUS WITH EXTENSION, WHIP AND 2 GEARS, 15MM ARRI SLIDING BASEPLATE SET WITH 2 X 18” AND 2 X 12” STAINLESS STEEL 15MM RODS, 5 X ARRI 1000’ BL MAGAZINES, 2 X ARRI 400’ BL MAGAZINES, 3 X DOUBLE POWER 12 VOLT BATTERIES, 2 X 12 VOLT CHARGES, POWER CABLE, CASES FOR CAMERA, MAGS, MATTEBOX, ETC.,FILM TEST HAS BEEN SHOT. gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) JVC GY-DV300 Broadcast Quality camcorder. 4x3 or 9x16 switchable 750 horizontal lines with several extra batteries and carrying case. Plus and external Shure VP88 stereo microphone with Rycote bracket and wind screen with high wind cover and extra mic cables. Asking $ 1200.00.

Contact Robert Bocking csc 416 636-9587 or rvbocking@rogers.com for more information.

Equipment for sale!! All equipment in excellent shape!!

Panasonic AJHDX900P High Definition Camera, Panasonic Stereo Microphone, Canon Zoom Lens 8x160 (J20a x 8B4 IRS), Dionic 90 Anton Bauer Batteries & charger, Anton Bauer mini fill light 12 V, Marshall 7” HD-SDI LCD Monitor & accessories, 2 x Porta Brace camera bags, Sony Digital Betacam (DVW700) and accessories, Sachtler fluid head VIDEO 20 III & Sachtler tripod legs fibre & fibre case.

Call 613-255-3200, Total $ 25,000.PL mount prime lens set (Sony) 35mm, 50mm 85mm all T2.0. Mint condition. Used briefly for one shoot $5200.00 John Banovich, csc 604-726-5646 JohnBanovich@gmail.com Panasonic BT-S950P 16:9 / 4:3 SD Field Monitor for Sale (Excellent Condition) - $100.

Portabrace included Please contact Christian at (416) 459-4895 or email cbielz@gmail.com OWN A PIECE OF CINEMA HISTORY: selling a vintage Bell & Howell 2709 camera with mags. THE film camera of the 1920s and ‘30s; assorted other goodies. Contact: dkoch198@hotmail.com.

VIDEO & AUDIO GEAR FOR SALE: (2) HVX-200 Panasonic P2 Camcorders $1,500 each; (1) DSR1500 Sony DVCAM recorder, $1,500; (1) Sony DSR-1 DVCAM dockable recorder $1,000; (3) Sony PVV-3 Betacam recorders $500 each; (3) Mitsubishi XL25U video projectors $500 each; (1) Mackie 1604VLZ audio mixer $500; (1) Glidecam PRO2000 camera stabilizer $200; (1) Glidecam DVPRO RIG camera stabilizer $300; (1) Yamaha P2075 amplifier 75W stereo/150W mono $500; (3) HVR-Z1U Sony HDV camcorders $1,000 each; (1) Sony DSR-300 DVCAM camcorder $1,500; (1) For-A VPS-400D 8 input SDI switcher $2,700; (2) Sony WRT822/WRR861 wireless transmitter/receiver – no mic - $750 each; (2) Sony BRC-300 remote control P/T/Z cameras $1,990 each. Call Ted Mitchener at ZTV Broadcast Services 905-290-4430 or email ted@ztvbroadcast.com.

2) Proline 17 inch Teleprompter Included is both PC AND Mac versions for our industry leading Flip-Q teleprompter software. Flip-Q automatically “Flips” the secondary output on your laptop so both the operator and talent will see perfect reading left-right text. The ProLine 17 standard LCD panels are the lightest weight, lowest profile designs in their class. In addition, they offer both VGA and composite video inputs adaptable with any computer output or application. They also offer flexible power options including 100-240V AC or external 12v DC input. Price includes Tripod attachments and Pelican carrying case. Complete tool-less set-up. To view photos/questions email frank@tgtvinc.com or call 416-916-9010. Asking Price: $2,000 (includes tax).

Services Flicker-Free HMI & Hi-Speed Cameras available with operator/gaffer (Toronto) Includes a new ARRI M18 1800W lensless HMI with Arri 1000Hz Flicker-Free Ballast, stand, and lots of head cable. It’s as bright (or brighter) than a T5 but runs on household AC 120V and draws less than 20Amps. We also have the Sony FS700 Super-35 CMOS sensor high-speed camcorders with PL, Nikon, Canon, or Pentax mounts. Great for overcranked product shots on a budget. 60fps, 120fps or 240fps @ 1080p and 480fps @ 720p. Other camera/grip/electric & 3D support gear available as well. Contact Tim at 1-888-580-3274 ext.700 or tim@dashwood3d.com

Arrisun 5 - Arri 575w HMI PAR: 575W HMI lamp head, barn doors, 5 lenses with case, 50ft cable, 575W/1200W electronic ballast, spare bulb and a large solid traveling case. 214 hours on the head. all in excellent condition $5,900 stefan@stefan-n.ca

Need your reel updated? Looking for an editor? I am a CSC associate member who is also an editor with my own FCP suite. I am willing to trade my edit suite time in exchange for rental of your gear, or shooting advice, or both. Please send email to miurabucho@gmail.com.

Sony PMW-F3 with S-Log Excellent conidition with low hours, Optional RGB S-Log upgrade installed, Kaiser top handle, Optional on-board mic, 32GB SXS card “A series” - 100mb/sec, All factory accessories and manual $11,000.00

Camera Classified is a free service provided for CSC members. For all others, there is a one-time $25 (plus HST) insertion fee. Your ad will appear here and on the CSC’s website, www.csc.ca. If you have items you would like to buy, sell or rent, please email your information to editor@csc.ca.

Canadian Cinematographer - March 2013 •

19

Camera Classifieds

Equipment Wanted

PRODUCTIONS & CALENDAR

CSC Member Production Notes Arrow (series); DOP Glen Winter csc & Gordon Verheul csc (alternating episodes); to April 18, Vancouver Beauty and the Beast (series); DOP D. Gregor Hagey csc & David Greene csc (alternating episodes); to April 18, Toronto Continuum II (series); DOP Michael Wale csc (alternating episodes); to June 4, Vancouver Copper II (series); DOP Pierre Gill csc; to July 3, Toronto Debug (feature); DOP Gavin Smith csc; to March 8, Toronto Listener, The IV (series); DOP James Jeffrey csc; B Cam Operator Kit Whitmore csc, to April 13, Mississauga Nikita III (series); DOP Glen Keenan csc & Rene Ohashi csc, ASC (alternating episodes); B Cam Operator Peter Sweeney; to April 13, Toronto Queen of the Night (feature); DOP Paul Sarossy, csc, BSC; to March 15 Supernatural 8 (series); DOP Serge Ladouceur csc; OP & 2nd Unit DOP Brad Creasser; to April 19, Burnaby

Calendar of Events March

CANADIAN SOCIETY OF CINEMATOGRAPHERS

$4 December 2012 www.csc.ca

CINeMATogrAPhers CANADIAN soCIeTy of

$4 Februar y 2013 www.csc.ca

2-3, CSC Advanced Lighting Workshop, Cars, Toronto, csc.ca 14-25, International Film Festival on Art, Montreal, artfifa.com 23, CSC Awards, Westin Harbour Castle Conference Centre, Toronto, csc.ca

April 5-14, Cinéfranco, Toronto, cinefranco.com 11-20, Images Festival of Independent Film & Video, Toronto, imagesfestival.com

Brendan Uegama csc Captures

Random Acts of 9-DEC

From Vintage Lenses to Green csc Screens, Tom Burstyn shows 07

20-21, Lighting Workshop for Faces, Toronto, csc.ca

Never Ever Do This At Home •

In Memoriam John C. Foster

An Industry in Crisis 0

56698 94903

CSC_December_2012.indd

25-May 5, Hot Docs, Toronto, hotdocs.ca www.c sc.ca $4 Januar y 2013

June

Canadian

Cinematogr SoCiety of

09/11/2012 15:07

SOCIETY OF CINEMATOGR APHER

S $4 Novem ber 2012 www.c sc.ca

9-12, Banff World Media Festival, banffmediafestival.com

O O O O

vercoming Darkness Gill csc Braves and Cold Pierre

The Colony

On the Road with

rd • CSC at the

the Roy Tash Awa

Documentary

Summit Samy Inayeh csc: Cybe

rgeddon • Jerem y Benning csc:

World War II Hero

es

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CUT. SHAPE. FOCUS. TUNE. ARRI introduces the first LED-based lights to truly match the versatility and homogeneity of conventional tungsten Fresnels: a new generation of focusable, tuneable lights that offers complete control, combining breakthrough performance with incredible efficiency.

www.arri.com/l-series

“Louie, I think this is the beginning of a beautiful friendship.”

That was a significant moment in filmmaking. The F55 from Sony is another. Destined to become a regular on film sets around the world, Sony’s PMW-F55 Cinematographer 4K Digital Camera, featuring an 8.9 MP Super 35mm image sensor, is capable of capturing 4K, 2K and HD resolution video in a variety of formats via the camera’s internal recorder. Moreover, the F55 is among the first digital motion picture cameras with a global shutter, which completely eliminates motion skew and other “rolling” shutter distortions. Talk to a member of Vistek’s Professional Video Solutions Group. Find out why this camera is turning heads and making new friends.

sales • systems • solutions • service

commeRcial PRo Video Direct: 416-644-8010 • Fax: 416-644-8031 • Toll-Free Direct: 1-866-661-5257 • CommercialVideo@vistek.ca

Photo | Video | digital | SaleS | RentalS | SeRVice

The Visual Technology People

www.ViStek.ca