Canadian Society of Cinematographers Magazine April 2013

Canadian Society of Cinematographers

$4 April 2013 www.csc.ca

Iris Ng Telling Sarah Polley’s Stories

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Robert McLachlan csc, asc: Game of Thrones • Shooting Zero Dark Thirty

Canadian Society of Cinematographers

Lighting Faces Workshop

By Professionals, For Professionals

April 20 and 21, 2013* Toronto ON, Canada Price: $450.00 CSC members $550.00 non-members Continental Breakfast, snacks and lunch will be provided.

Hands-on means experience The CSC believes that the best training comes from doing.

This two day hands-on lighting faces workshop offers the participants practical knowledge on the fundamentals of achieving the most efficient and captivating interview lighting setups.

Not your typical 3 point lighting setups Lighting faces isn’t a one-size-fits-all setup. Accredited “csc” instructors will demonstrate the importance of background geometry, perspective, texture and colour for the best camera placement. In this workshop we will focus on ways to create natural and pleasant lighting setups that will benefit both you and your clients.

Topics for this workshop will include - hard and soft lighting - contrast ratios - broad, short and glamour lighting - light control - modeling - depth of field - colour temperature - inverse square law - composition - single and two camera setups Participants are encouraged to bring a light meter (if you have one) for the practical exercises.

Instructors

CSC lighting workshop

Location and equipment courtesy of

Joan Hutton csc Alwyn Kumst csc Carlos Esteves csc

For an application and detailed itinerary please visit the CSC website: www.csc.ca telephone 416-266-0591 * CSC reserves the right to postpone workshop date(s)

The CSC since 1957

To foster and promote the art of cinematography

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 5, No. 1 April 2013

Courtesy of the National Film Board of Canada 2012, Michael Gibson

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.

Iris Ng: Telling Sarah Polley’s Stories By Fanen Chiahemen

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Robert McLachlan csc, asc Plays Game of Thrones

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By Fanen Chiahemen

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Credit: Jonathan Olley

CORPORATE SPONSORS All Axis Remote Camera Systems Applied Electronics Arri Canada Ltd. Canon Canada Inc. CinequipWhite Inc. Clairmont Camera Cooke Optics Ltd. Dazmo Digital Deluxe Toronto FUJIFILM North America Corporation FUJIFILM, Optical Devices Division HD Source Image Media Farm Kingsway Motion Picture Ltd. Kino Flo Kodak Canada Inc. Lee Filters Miller Camera Support Equipment Mole-Richardson Osram Sylvania Ltd./Ltée PS Production Services Panasonic Canada Panavision Canada REDLABdigital Rosco Canada Sim Video Sony of Canada Ltd. Technicolor The Source Shop Vistek Camera Ltd. William F. White International Inc. ZGC Inc. ZTV

Courtesy of HBO Canada

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.

Shooting Zero Dark Thirty: 10 Tidbits from the Trenches

By Bryant Frazer

Columns & Departments

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From the President In the News CSC Members Win at the Canadian Screen Awards CSC Awards Nominees Tech Column Camera Classified Productions Notes / Calendar Cover: Scene from Stories We Tell. Courtesy of 2011 National Film Board of Canada, Ken Woroner.

Canadian Cinematographer April 2013 Vol. 5, No.1 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.

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 www.csc.ca.

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he 56th CSC Annual Awards Gala has come and gone with a bang. It was a tremendous evening with over 300 people in attendance. I would like to congratulate all the winners for their outstanding achievement. It is an honour well deserved for work that exemplifies excellence in cinematography.

The winner’s names can be viewed at the CSC website, csc.ca. A full account of the gala will be published in the May issue of Canadian Cinematographer.

There is a new specialty television channel being floated, which could be a much-needed cultural shot in the arm for Canada. A CRTC application has been filed for Starlight, a channel devoted entirely to Canadian content, with a major emphasis on theatrical release features. The channel will also show Canadian made made-for-TV movies, documentaries and TV series.

Canadian features have become somewhat the orphans of our industry. They’re produced, but are mostly unnoticed by Canadians in general. Often, they have short theatre runs and then they’re gone. It’s not because we make bad movies, but quite the contrary. The production muscle backing Starlight attests to that.

All are esteemed filmmakers, internationally recognized artists with armfuls of awards. Its list of backers reads like a who’s who of Canadian filmdom; Robert Lantos, David Cronenberg, Atom Egoyan, Deepa Mehta, Denys Arcand, Paul Gross, Patricia Rozema, Denis Villeneuve and Niv Fichman to name a few. The channel will be run by Norm Bolen, former Alliance Atlantis content VP. Canadian broadcasters, at one time, included Canadian features in their schedules as part of their Canadian content obligations, but, that seems to have fallen by the wayside, with them opting for the American series format. Even when they did show Canadian features, it was spotty at best. This is not a complaint because our industry has done exceedingly well in the made-for-television department. It’s just not so good for Canadian made features.

A channel such as Starlight is a terrific idea and long overdue on our television landscape. It provides new life for our features and the chance for Canadian viewers to be touched by Canadian culture. In its proposal, Starlight is asking that the channel be included on basic cable to guarantee its revenue stream.

The channel would add about $10 yearly to subscriber’s bills, a small price for defining Canadian identity. Significantly, Starlight will plow $23 million of its revenue back into our industry to produce 10 to 12 movies a year.

Starlight’s proposal is scheduled to be heard by the CRTC on the 23rd of this month. I do hope the CRTC sees the importance and value of Starlight because this is a triple win situation, for our film & television industry, for our culture and for Canadian viewers.

In The News

IMAX Receives ACCT Technical Achievement Award

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he Academy of Canadian Cinema & Television in February named IMAX Corporation – which Graeme Ferguson co-founded – the recipient of the Outstanding Technical Achievement Award, an honour given for Recent Canadian Technical Achievements. “IMAX Corporation’s suite of entertainment technologies are gamechanging advances through which the Canadian-based company has had a profound impact on the movie-going experience for audiences around the world.

As we have also seen this year, IMAX has also had a tremendous influence on the bottom-line fundamentals of the theatrical film business globally,” Academy Chair Martin Katz said.

The Academy also announced that Julie Bristow, CBC executive director of studio and unscripted content, as well as Don Carmody, producer, have joined the Academy’s Board of Directors.

TV Cameraman, Director Driftmier dies Calgary-born, Ottawa-based cameraman and television director John Driftmier died on February 24 at the age of 30. Driftmier was in Kenya filming the documentary series Dangerous Flights, a program documenting ferry pilots delivering small, private planes around the world. He was filming aerial footage for the series when the small plane he was in crashed, killing him and the pilot. Driftmier specialized in factual television. His numerous credits include several Discovery series, including Highway Thru Hell and Licence to Drill. He is survived by his wife and parents.

Graeme Ferguson

ARRI Refreshes ALEXA Product Line

Credit: Courtesy of ARRI.

ARRI in February announced it is refreshing its ALEXA product line, incorporating new features inspired by feedback from professional users. The ALEXA XT, ALEXA XT M, ALEXA XT Plus and ALEXA XT Studio cameras will replace all previous models except for the original ALEXA. Owners of existing ALEXA Canadian Cinematographer - April 2013 •

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saving LED light features dial-in colour temperature control and full range dimming. There are also Canon’s portable, removable lens cameras – timesavers for cinematographers – as well as AadynTech’s weatherproof single-source LEDs.

Credit: Kayla-Jane Barrie

Those were just some of the products on display at the William F. White Centre in Toronto for the 2013 February Freeze, which brought more than 40 of the industry’s top suppliers – many from the United States – as well as 400 plus industry professionals and students.

Above: William F. White Chairman/CEO Paul Bronfman. Below: The Kino Flo Celeb

and Paddington Bear. Framestore’s decision to establish an operation in Montreal is based on the city’s significant software, creative and technological talent base and a proven track-record of attracting quality VFX work from major U.S. film studios.

This combined with the fiscal advantages offered by Quebec’s Film Tax Credit mean both Framestore and its clients will benefit from improved cost efficiencies.

Framestore’s other offices are in in London, Los Angeles and New York. cameras will be able to purchase individual upgrades that deliver most of the features of the XT configuration. The company is also offering an upgrade that equips all existing ALEXA cameras with one of the major features of the XT configuration: the new XR Module (Xtended Recording), which allows ARRIRAW data to be recorded in-camera to a new internal digital magazine that was co-developed with Codex and will replace the SxS module.

Framestore Adds Montreal Office Visual effects company Framestore recently announced the addition of a Montreal office to its worldwide chain. The Montreal studio will accommodate a significant proportion of Framestore’s growing slate of confirmed film VFX work for 2013, including RoboCop, All You Need Is Kill

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CinequipWhite February Freeze: Strong Turnout, High Hopes for Industry If William F. White Chairman/CEO Paul Bronfman’s predictions are correct, 2013 will turn out to be a strong year for local, as well as U.S., productions on this side of the border. “Canadian producers are becoming more and more recognized; their projects are becoming higher budget, production values are increasing, and I’m very bullish about the Canadian production side,” Bronfman said.

Among the technology those productions may be taking advantage of include the Kino Flo Celeb of which Whites was the first supplier in Canada. The energy-

Bronfman, who hosted the event at the WFW Centre along with Larry Lavoie, General Manager of CinequipWhite, expressed his optimism about the industry nationwide despite recent developments such as the elimination of the Saskatchewan Film Employment Tax Credit (see “An Industry in Crisis,” Canadian Cinematographer, February 2013). “We’re still keeping our Regina office open,” Bronfman said. “Yes, we are. Because we’re still hopeful that common sense will prevail.” He also expects that the annual technology showcase will only continue to grow in years to come. “We’re hoping to continue to add products and services every year to make it worthwhile for people to come back,” he said.

Letters to the Editor

T

hank you for your well-written and informative article “An Industry in Crisis” in the February issue of Canadian Cinematographer. Here in Vancouver our industry members are striving to inform our B.C. government of the value of tax credit incentives to bring productions here. There have been a number of uninformed people speaking out against such incentives recently. I think your article illustrates beautifully the economic value to the entire province these incentives potentially provide.

Regards, Jan Kiesser csc, asc

CSC Members WIN at the

Canadian Screen Awards

CSC congratulates the following Canadian Screen Award winners Best Achievement in Cinematography

Nicolas Bolduc csc, Rebelle Best Direction in a Children’s or Youth Program or Series

Philip Earnshaw csc, Degrassi – Scream, Part Two Best Photography in a Dramatic Program or Series Sponsored by Deluxe Toronto Ltd.

Paul Sarossy csc, bsc, asc, The Borgias – The Borgia Bull Best Photography in a Variety or Performing Arts or Sketch Comedy Program or Series

Dylan Macleod csc (with Pierre Marleau), Love Lies Bleeding

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Canadian Cinematographer - April 2013 •

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Iris Ng Telling Sarah Polley’s Stories

By Fanen Chiahemen

T

here’s a family secret revealed in

Stories We Tell, the first feature-

length documentary by Toronto native Sarah Polley. But it’s not the secret that’s under examination here, but storytelling itself and how each person’s version of the same story can cause the truth to mutate.

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The documentary captures that essence by interweaving testimonial-style interviews, home movies from the 1960s, 1970s and 1980s – shot mostly by Polley’s father, Michael – with dramatized recreations of events shot to look like they were captured during that era. “[Polley] wanted to closely match the 8 mm archival footage shot by family, and to blur the lines between what was archival footage and what was an interpretation of the past,” director of photography Iris Ng explains. “The intention was not to trick the viewer but encourage them to question what they were seeing. To wonder how much is fictionalized and filling in of gaps, which tends to happen when you’re dealing with something that occurred 30 years ago.”

It was Ng’s use of Super 8 film on another project that brought Polley to the cinematographer. “Iris made a beautiful short film several years ago called Point of Departure which examined her own family history in a really innovative way,” Polley says. “I remember the film opened with a Super 8 shot, and it moved me to tears, partially because of the way the format itself was being used. The aesthetic and tone of her film became the seed of inspiration for Stories We Tell.”

Ng used the format for the recreations, and the production amassed several Canon 1014XL-S cameras – the DOP bought one herself from another filmmaker, while the National Film Board purchased several from New York-based Du-All Camera and rented from CSC member Justin Lovell. She shot with the Kodak Ektachrome 100D reversal film (7285), as it was the closest film stock to the Kodachrome, which had been discontinued but was commonly used in that era, having an inherent smoothness to the grain and a distinctive falloff in the shadows.

Scene from Stories We Tell.

Left to Right: Sarah and Michael Polley.

Courtesy of the National Film Board of Canada 2012.

“We tested a whole bunch of stocks – negative mostly – which captured so much more information,” Ng says.

“Even though we had the option of manipulating them in post, it was apparent, as my colourist Mark Kueper offered, that ‘right out of the box,’ the reversal had all the inherent qualities we were going for.”

Because the film was a daylight stock, Ng primarily had daylight balanced light, namely 400W up to 6K HMIs, Kino Flos, and Photoflood bulbs, playing them as mo-

tivated sources whether they were practicals or natural daylight from outside a window. Also, Ng noticed in watching the authentic archival Super 8 footage the use of a spotlight that was obviously mounted on top of the camera. “I think because Kodachrome came in such a low speed at the time, probably 40 ASA, that for any interior shooting they would need these sun guns,” she says. “So in the interior scenes of the home movies, you would see someone lit by the spotlight, and everything in the background would quickly fall off.

That was the case for a lot of home movies from that era because of the low film speed.”

So Ng did some research and found an array of sun guns that could be mounted on cameras, eventually procuring from Craigslist a Kodak Instamatic Movie Light that could be attached to certain Super 8 cameras of the time. “I tested the effect with the Instamatic and found that it reproduced the same quality and intensity we were seeing in the home movies, so key grip Zach Zohr created a mini rig which allowed it to be positioned on top of the camera,” she explains. “Although not conventionally desirable because it was flat and created an obvious shadow behind the subject, it really sold the look we were going for.

But because we were shooting at a low speed and on a daylight-balanced reversal stock, it was particularly hard to balance the colour of that light. And it was way too hot to place a gel anywhere near it, so using an 80C filter on the lens was a happy medium between losing two stops with a full correction and having too far to go in terms of balancing the colour in post.”

Although the recreation scenes were challenging to light, they were also exciting for Ng because it required her to embody the character of the person who shot the archival footage she was trying to emulate. To that end she would mimic the shooting styles she observed in the home movies. For example, she noticed that Michael Polley would often use an “in-camera editing trick” while shooting. “There’s a shot of Diane [the director’s mother] lying on the grass, and he shoots about two seconds of her straight on, and he stops the camera, and clocks it 15 degrees, and then there’s another burst where he shoots another two seconds, and he repeats this maybe eight times in a sort of pinwheel fashion, and it’s just one of those playful things that he did very spontaneously, but it was something that I mimicked during one of the more playful moments.”

Canadian Cinematographer - April 2013 •

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Above: Stories We Tell director of photography Iris Ng, left, with director Sarah Polley. Middle: The director’s father Michael Polley in Stories We Tell.

Bottom: Scene from Stories We Tell. Left to right: Michael Polley and Sarah Polley.

Images on this page: Courtesy of the National Film Board of Canada 2012.

Ng also noticed that when Michael Polley was operating the camera he would frequently pan away from the human subjects and shoot what was in the background, say a field or a rooftop.

“As he mentions in the beginning of the film in his interview, his style of shooting home movies was not to pay attention to the people too much. So I would keep that in mind and I would drift when shooting in the way that Michael’s camera might have drifted to emulate that style he has.”

This technique served to make it more difficult for the viewer to identify a scene that had been reconstructed, Ng says. “If the attention was always on the central character, I think the connections would have been too literal; it would give away the fact that they were recreations.”

Ng would also sometimes operate the camera in such a way that it looked amateurish. “I had to embrace the flaws that a novice shooting home movies might make,” she explains. “Like things going soft sometimes or second-guessing one’s panning or tilting at times.”

Because shooting in Super 8 meant having a turnaround of two days to see dailies – by which time the crew was usually out of

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the location – there was no opportunity to evaluate footage as it was shot, so testing in pre-production was crucial.

Also, as Super 8 was “a format that was never meant to be professional,” Ng says she did not always trust the camera to hold up. The solution, she and the crew decided, was to shoot a take they were happy with and then capture another take on a backup camera. “We would always have two in use, plus any backups ready, knowing one would jam or fail in some way. In total, we went through six cameras over a three-week shoot.”

Shooting the testimonials with Sony F900-Rs was a lot more straightforward. “We wanted a very naturalistic look so we wouldn’t be imposing a heavy-handed visual interpretation that would influence how the viewer should feel about the story or the storytellers. We just wanted something very neutral.”

Rather than undermine the narrative, the divergent techniques and approaches to composition that went into making Stories We Tell ultimately converge into a compelling film, and Polley’s faith in Ng’s instincts and judgment went a long way to bringing together the final product.

“Sarah’s a very collaborative and trusting director, and I think this film especially put that to the test because shooting in Super 8 you have no means of monitoring what the DOP is doing,” Ng offers. “And she put that trust in me from the very beginning, and that allowed me to be free to follow the action in the way that I felt was the most natural. It was just a great experience.”

During interviews, Ng would situate the subjects beside a window with diffused light, shooting them at a medium range to discourage too much focus on their emotions. “We weren’t always in situations where there would be sufficient natural light, so I would have a 575 HMI or tungsten fixture with CTB on hand, which I diffused and did my best to play as natural light,” she says.

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Throughout the documentary, behind-the-scenes style shots of the crew filming the subjects are interspersed among the recreVANCOUVER CALGARY ations, home movies and testimonials, a device that came about 604-527-7262 403-246-7267 somewhat organically, according to Polley. “When we were 604-527-7262 403-246-7267 shooting our first interview, Iris had the idea to shoot some B roll of behind-the-scenes footage on Super 8 since we knew we would be using so much archival Super 8 in the film,” the director recalls. “When we watched the footage we realized that it helped articulate one of the central ideas of the film – the feeling of nostalgia triggered by the format immediately calls into question the accuracy of memory, and how a moment that has only just been captured or lived is already relegated to the past and is unknowable and its truth subjective.”

Canada Client: Panavision _____________________________________________________ Docket:PAN-COR-1634-08R1 ________________ CSC News Media: _____________________________________________________ Placement: ____________ W x 2.125" H N/A Trim Size:5.25" ______________________ Safety: ____________________ Bleed: N/A ________________ B&W 7, 2010 Colour: ________________________ Publ. Date: 2010 _________________ Prod. Date: Jan ____________

Stories We Tell Camera formats:

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Fax: 416-423-7629

E-mail: dmaguire@maguiremarketing.com

Canada Client: Panavision _____________________________________________________ Docket:PAN-COR _______

CSC News Media: _____________________________________________________ Placement: ___

Interviews: HD-CAM - Sony F900-R “Archival” recreations: Super 8 - Canon 1014XL-S (Kodak 7285 100D), transferred at Technicolor New York Real archival footage: Regular 8 mm (transferred at Frame Discreet)

YOU TO ARCHIVE WWHEN x 2.125" H CHOOSESafety: N/A Trim Size:5.25" ______________________ ____________________ Bleed: N/A _______ ON FILM, YOUR WORK LIVES ON.

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Behind the scenes footage: Super 8 - Canon 1014 Auto Zoom, Nikon R8 (Kodak 7219 500T, 7213 200T) “Modern-day” recreations: Super 8 - Nikon R8 (Kodak 7219 500T, 7213 200T)

Canadian Cinematographer - April 2013 •

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Credit: Courtesy of HBO Canada

Robert McLachlan csc, asc Plays

Game of Thrones

By Fanen Chiahemen

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B

Credit: Sean Leonard

eing enlisted to shoot a couple of episodes of a series as popular and acclaimed as Game of Thrones comes with its fair share of pressure. As Vancouver and Los Angeles-based director of photography Robert McLachlan csc, asc remarks, after two successful seasons, “the bar has been set pretty high.”

What McLachlan discovered, when he teamed up with director David Nutter to film the climactic last two episodes of the HBO series’ third season, was that for all its intricate plotlines and fantasy elements – the series features seven noble families warring for control over a mythical land –the key to maintaining the show’s standards was to keep things pretty simple.

McLachlan says Nutter favoured substance over style, in keeping with the show’s ethos. “The template as a rule is quite naturalistic, and as much as possible true to the era we’re supposed to be shooting in where there aren’t a lot of artificial sources of light,” the cinematographer explains.

This meant using natural light or modified natural light as much as possible, softening with negative fill when necessary to give some modelling to a subject. The ARRI ALEXA helped facilitate the show’s shooting style even in low-light situations, and it was thanks to the camera that McLachlan was able to capture a scene he says is going to be the series’ most shocking yet – a scene he filmed almost entirely with candlelight.

McLachlan explains, “It starts with a big happy occasion, and what I wanted to do with the scene was put the viewers at ease. On Game of Thrones even the simplest scene is shot in a very contrasty, moody, dark light, with a lot of dark shadows where things are lurking. So I lit this hall quite a bit brighter by Game of Thrones standards. I had the art department put extra torches in and twice as many light sources as I would normally have, and I brought the light levels quite a ways up substantially, just to get the viewers subconsciously feeling there’s no way anything bad can happen.

“And then, organically, within the scene there’s a point at which the party is led out of the hall and most of the people leave, and because it’s obviously dark throughout the rest of the castle, I got all the extras to grab most of the torches and candelabra and leave with them. So as they walked out, they picked up the actual instruments that were lighting the scene, and the hall naturally got much darker and suddenly spookier, and that’s when really horrible things start to happen. The beauty of the candlelight made a really fantastic visual counterpoint to the brutality that followed.”

With so few candles left in the room, it was just a question of adding very soft studio light to pick up some of the residual smoke that was in the air from all the candles. He adds that he often uses smoke as a lighting tool. “Slightly backlit smoke

Robert McLachlan csc, asc in Morocco utilizing Schneider Optics’ Hollywood Black Magic filters on Season 3 of Games of Thrones. Previuos page: Candles are used often in Game of Thrones.

Canadian Cinematographer - April 2013 •

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Credit: Courtesy of HBO Canada

Still from Game of Thrones.

becomes your fill light, so you don’t have to throw a bunch of other light in from the front, and you end up getting a much more naturalistic feeling, so in this case I was doing the same,” he says.

By using smoke for fill light, which helped open the shadows up, McLachlan could often get away with a 20K just outside a window streaming in – when shooting in a large castle hall, for instance – and almost no extra fill light from the floor. “Also, we used this wonderful unit we hadn’t used before made by Dedolight called the Octodome; it’s one of my favourite lighting tools,” McLachlan says. “It just throws an incredibly soft light; it doesn’t have a very deep profile. One person can move it around, and we usually softened it through a full grid cloth. There was no unmotivated backlight ever used.”

To help maintain the visual continuity throughout the series, which switched out the director and DOP every two episodes, the cinematographers, directors, producers and executives, were given new retina display iPads loaded with the PIX System for posting dailies. “You just downloaded it off the Internet and everything that was shot throughout the season was loaded on it, as well as episodes from last season,” McLachlan explains.

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“You could go in and see what somebody had done either the day before or the year before on a similar set. I think by and large people won’t see much of a difference from DP to DP.”

For the episodes he shot, McLachlan worked in Croatia, Morocco and Northern Ireland, and he adopted a simple philosophy to deal with the unique obstacles each location provided: “You take what you’re given and work with that as best you can rather than fight it. Because when you fight what you’ve got visually or go against what the location gives you in terms of natural light and conditions, and look and feel, you generally fail.”

Fortunately, working on such a large production, McLachlan was granted the luxury of time to plan ahead. For example, in June of 2012 when he and Nutter scouted locations in Morocco, where they would be shooting in November, they used sun-tracking software uploaded on an iPhone to determine exactly where the sun was going to be at the time they would be shooting. “So we had four months to formulate our plan for how we were going to shoot it,” McLachlan says. “That way you’re not dragging a lot of cranes or lighting lifts around. You can just let Mother Nature do it if you’re in the right place at the right time. It turned out really gorgeous, and we were able to use natural light and none of our own light. It’s when you’re fighting the elements and shooting a scene that’s taking forever, and not necessarily where or when you want to be doing it, that you have to start pulling out a lot of equipment to control it.

“That’s why throughout my whole career I’ve always pushed directors as much as they could to know before they get to a location how and where they were going to be shooting, where they want to look and how the scene is going to be blocked,” he continues. “Most don’t like to be nailed down that much for whatever reason, but most of the directors they had on the show this year either understood or were made to understand by the DOP that we had to work this way.”

What McLachlan struggled with abroad was adjusting to the way jobs were classified. “In Britain they don’t have grips like we’re used to having in North America,” he explains. “It comes down to the rigging crew to do a lot of that stuff. When you need a big green screen on location, it’s a bit more of a cumbersome process there than it is here. Here if you need a 12 or 20 x frame or something you tell the grip, and it’s usually up in a flash. In the British system the electrical department does all the lighting stuff, as well as light modification, so things that would normally fall in the grip department here are all under lighting department there.”

McLachlan credits much of his success on a show of such scope to his working relationship with Nutter. “I’ve worked with over 250 directors, and I’ve never worked with anyone more prepared than he is. When you have someone that dedicated and experienced who has all their ducks in row and knows exactly what you’re meant to do, it just makes a huge amount of difference,” he says. “But quite apart from that, he is an absolute prince of a man – kind, empathic and generous to a fault. The cast and crew are all demonstrably happy when they know he is directing that day.”

Accuracy, Simplicity, Compatibility

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What Happens in Post Determines the Look of Your Final Product Your film isn’t finished until it’s up on screen.

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Canadian Cinematographer - April 2013 •

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Credit: Jonathan Olley

Greig Fraser acs, director of photography on Zero Dark Thirty.

Shooting

Zero Dark

Thirty

By Bryant Frazer, StudioDaily.com

With awards season running at full throttle, much ink has been spilled about the political implications of Zero Dark Thirty. The controversy has nearly overshadowed director Kathryn Bigelow’s pulse-quickening achievement in translating the boots-onthe-ground details of the CIA’s long-running manhunt for Osama Bin Laden to the screen. The press and punditry will continue to dissect the film’s attitude toward torture. Meanwhile, we dug into some of the behind-the-scenes details of the film’s making that have been released in various outlets to pull out some nuggets about how Bigelow’s crew pulled off the immense feat of principal photography.

14 • Canadian Cinematographer - April 2013

hes 10 Tidbits from the Trenc I

1 2 3 4 5 6 7 8 9

Greig Fraser ACS chose the ARR Director Kathryn Bigelow and cinematographer s in the film’s climactic raid sequence.

ALEXA because of demanding low-light condition the need to capture the low light of “It was a very specific decision, driven in part by are wonderfully sensitive to light, the raid in Abbottabad,” Bigelow said. “The cameras light source possible, allowing us to so we were able to utilize the softest, dimmest more accurately simulate a moonless night.”

M recorders.

ARRIRAW data was recorded to Codex Onboard handheld, Codex recorders and For scenes when the camera crews were working packs given to the camera assistants other accessories were mounted on special back ex Datapacks, modding them to

by Digilab Services. Digilab also redesigned the Cod tion-molded plastic. replace their aluminum shells with lightweight injec Codex was used to archive the The brand-new LTFS tape offloader module from to LTO-5 tape.

276 hours of footage gathered during the shoot line, and DNxHD MXF media was Dailies were graded using the ACES colour pipe rendered out for editorial. close personal friends, making Fraser and production designer Jeremy Hindle were was a shot that looked like it was a collaboration quick and easy. “Every time there look at each other and say, ‘Oh God, we reference to another movie, Greig and I would ge it to look a little less familiar, and shouldn’t do that,’” Hindle explains. “So we’d chan strip it back to be as bare and natural as possible.” of huge crowds gathered to watch Shooting in Chandigarh, India, was difficult because to solve this was to distract a crowd the Western filmmakers. “We found that one way Mark Boal, “including one where we with ‘fake shoots,’” said producer and screenwriter al shot we needed elsewhere.” had one of our grips dancing, while we got the actu

10

film’s climactic sequence were CG, VFX Even though the stealth helicopters used in the real Jordanian Black Hawk helicopters supervisor Chris Harvey recommended shooting in flight as well as the interaction with first to capture the motion of a real helicopter dust in the environment.

3D models of Osama Bin Laden’s The visual development team at Framestore built the production design team dug in secret Abbottabad compound for Hindle before ca of the compound out of aged and spent three months building a full-scale repli that it could withstand real Black cinder block. “We had to build the compound so built the structure on six-to-nine-foot Hawk helicopters flying right down on it, so we caissons underground,” said Hindle.

-night, and a second time with a “night Most of the raid was shot twice — once night-for what the SEALs would have seen during vision” lighting scheme that sought to replicate s of infrared lights, and then making the actual event. “We did that by wiring up a serie accurate to what SEALs see because them film-friendly. This turned out to be pretty er. they also have mounted infra-red lights,” said Fras Daily.com.

This article is reprinted with permission from Studio

Canadian Cinematographer - April 2013 •

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THE

CORPORATE/EDUCATIONAL CINEMATOGRAPHY Nigel Akam • Kraft Slice of the Living Dead Sarorn Sim • Dow Chemical Company Sonata Kelly Wolfert csc • Edmonton International Airport Keith Walker Glass

TH

LIFESTYLE/REALITY CINEMATOGRAPHY Kristoff Rochon, Tom Bellisario • Canadian Pickers “Win Some, Lose Some” Allan Leader csc • Hail Mary “Open Tryouts”

A nn u al

CSC Awards Nominees

DIRECTOR OF PHOTOGRAPHY AWARDS: DOCUDRAMA CINEMATOGRAPHY Jeremy Benning csc, Kim Bell • We Were Children Daniel Grant • The Real Inglorious Basterds George Hosek csc • In Her Footsteps

ROBERT BROOKS AWARD FOR DOCUMENTARY CINEMATOGRAPHY Sponsored by:Vistek

SPECIAL HONOUREES: THE PRESIDENT’S AWARD George Willis csc, sasc “For outstanding service to the Canadian Society of Cinematographers.”

Stephen Chung • The Defector: Escape from North Korea Barry Lank csc, Ian Kerr csc • Smarty Plants Vic Sarin csc • Desert Riders

MUSIC VIDEO/PERFORMANCE CINEMATOGRAPHY

THE BILL HILSON AWARD

Sponsored by: William F.White

Graeme Ferguson “For outstanding service contributing to the development of the motion picture industry in Canada.”

Ray Dumas csc • Skrillex Devil’s Den Pasha Patriki csc • Saidah Babah Talibah Revolution Bobby Shore csc • CFCF Exercise #3 (Building)

THE KODAK NEW CENTURY AWARD

DRAMATIC SHORT CINEMATOGRAPHY

Ron Stannett csc “For outstanding contribution to the art of cinematography.”

THE CAMERA ASSISTANT AWARD OF MERIT Eddy McInnis “For excellence and outstanding professionalism in the performance of the AC duties and responsibilities

Sponsored by: REDLAB digital

Kris Belchevski • Malody Guy Godfree • Frost Pasha Patriki csc • Air Balloon Circus

FRITZ SPIESS AWARD FOR COMMERCIAL CINEMATOGRAPHY

STUDENT CINEMATOGRAPHY AWARD

Sponsored by: Dazmo Digital

Sponsored by Panavision Canada

Rasha Amer • Layers Vancouver Film School Jerome Riel • The Great Maldini Humber College Brian T.C. Smith • Der Kandidat Humber College

Vinit Borrison • Tattoos by Ben Christopher Mably • Nike Football Vapor Trail Dylan Macleod csc • Jackson Triggs Lights Adam Marsden csc • Volvo In Your Hand

CINEMATOGRAPHER AWARDS:

TV DRAMA CINEMATOGRAPHY

THE ROY TASH AWARD FOR SPOT NEWS CINEMATOGRAPHY

Boris Mojsovski csc • The Day Vic Sarin csc • A Mother’s Nightmare Glen Winter csc • Arrow (Pilot)

Adam Dabrowski, Nick Vyfschaft, Rohan Mcleish, Jeremy Cohn • Danzig Shooting, Global News Toronto Adam Dabrowski, Nick Vyfschaft • Newtown Shooting, Global News Toronto Liam Hyland • Hurricane Isaac:The Day After the Flood, CTV News

THE STAN CLINTON FOR NEWS ESSAY CINEMATOGRAPHY George Glen • Wild Horses, Global News Calgary Nathan Luit • Invest YYC, Global News Calgary Peter Szperling • Pipe Organist, CTV Ottawa, “Regional Contact”

NEWS MAGAZINE CINEMATOGRAPHY Allan Leader csc • Daily Planet “Beluga” Kirk Neff • 16:9 “Off the Grid, Disposable Labour” Kirk Neff • 16:9 “High Drama”

16 • Canadian Cinematographer - Apirl 2013

Sponsored by: Sim Digital

TV SERIES CINEMATOGRAPHY Sponsored by Technicolor Toronto

Eric Cayla csc • Bomb Girls “Jumping Tracks” Paul Sarossy csc, bsc, asc • The Borgias “The Borgia Bull” Glen Winter csc • Arrow “Vendetta”

THEATRICAL FEATURE CINEMATOGRAPHY Sponsored by Deluxe

Kamal Derkaoui csc • The Tall Man Philippe Lavalette csc • Inch’Allah Brendan Steacy csc • The Lesser Blessed

Tech Column

Sony’s F5/55 Puts Users into the Picture

S

ony’s new F5 and up-model F55 have been called the “RED Killer,” but company reps play down the notion they’re gunning for any particular camera maker or model. RED Digital Cinema might say the same thing, noting their dramatic 50 per cent price drop for the Epic to $19,000 – putting it smack at Sony’s F5 pricing level – was merely coincidental. Coincidences like this, however, only happen in movie scripts, don’t they?

the internal cards. Both cameras have 4K RAW to the AXS-R5 ($6,300) SSD modular recorder which clips on to the body.

Nudges and winks aside, however, these black boxes have intrigued the marketplace with their technology and modular design. Officially, they are the PMW-F5 Cineastes 4K and PMW-F55 Cineastes 4K Camera, clocking in at $19,400 and $34,900 respectively. What you get is a modular system weighing in at about five pounds before you slap a rig or glass on it.

It’s 4K ready from capture to distribution with 2K/HD options and 4K/2K RAW recording options.

Extras include the DVF-EL100 OLED Viewfinder at $5,800, the DVF-F350 3.5” LCD Viewfinder for $3,800, and the DVF-L700 LCD viewfinder for $5,000.

Lens packages are the SCL-PK6/F PL sixlens set for $24,600 with the SCL-PK3/F PL mount three-lens set for $13,600.

Recording is either through two internal Six’s Flash memory card slots with MPEG2, MPEG4 compression, while the F55 also compresses 4K internally to

There’s 60 fps out of the box (XAVC HD), 120 fps (XAVC 2K/HD) with upgrade, and 120 fps 2K RAW with the AXS-R5 in 16-bit. On the front end, there are PL and FZ lens mounts with thirdparty adaptors for a variety of glass such as Nikon, Cooke, Canon and Leica.

The adage that form necessarily follows function is fading to black in the digital age, which perhaps gives designers more time to research how their products are actually used on the front lines and to incorporate that feedback into their output.

François Gauthier, Sony Canada market manager - broadcast acquisition and

production, says Sony made a concerted effort to go out and poll users and shooters for their wants and needs and then built accordingly. “Also, and this is new, the F5/55 is more of a platform which can be built out for what the user needs” rather than just a purpose-built camera, said Gauthier. “And it has a wide range of connection options from HDSI to HDMI.” The F5 is a video camera that can be used for broadcast capture, for studio, for documentaries, even cinematography, while the F55 is a cinematography capture device that can be used for video shoots.

“It’s very popular with the rental houses already,” said Gauthier, because it’s a flexible platform, which meets their clients’ diverse range of needs.

Sony made sure not to depart from standard menus and workflow, and it will be also familiar to anyone who uses Sony equipment now. There’s already a range of rigs and accessories available from a variety of sources including ARRI. It’s also relatively light at 5 lbs in base Canadian Cinematographer - April 2013 •

17

form, which is either a plus or a minus, depending on point of view, says Gauthier: “A lot of Steadicam operators prefer something a little more robust.” Still, it’s also slim enough to work in a side-by-side capture for 3D, which is a plus, he adds.

Toronto-based director of photography Nigel Akam, an 18-year veteran of the industry, was among the first to shoot with the F5 last summer using a pre-production model with an early firmware version that was upgraded for the February launch.

“My first impression out of the box is I think they got it right,” he said. “It addresses a lot of the things people have been asking for over the last couple of years in this space.” He likes the diversity of range: “It fills a lot of different needs from corporate video, to commercials, documentaries and film. It has a lot of different flavours of codecs to address what anyone wants to shoot, incorporates 4K, and it’s got some future proofing.” The latter is important, he says, because lifecycles on cameras are shortening dramatically. Those old Betacams that cost $120,000 back in the

18 • Canadian Cinematographer - April 2013

day may have required a mortgage but they lasted a decade or so. Today’s gear is quickly eclipsed by something newer, faster, lighter and most often, cheaper.

at the talk around 4K and asked, ‘What are you going to do with all that data?’” he said. “But that’s where the market is going.”

The convergence of the H265 codec approval and the release of the F5/55 is also a happy coincidence, he notes. “All of a sudden, the 4K codec makes it more manageable for people to shoot RAW because there’s a big segment of the market which doesn’t have the capability to handle that workflow.” What’s also interesting is the controls setup, said Akan. “As an owneroperator, the controls are set up on the left side, which is normal for me, but for film, an Alexis, for example, would be set up with the controls on the right for the camera assistant,” he said. “However, there’s a remote control option, and there’s also an iPad Wi-Fi control option, too, which is really 21st century.”

Even if 4K isn’t the intended output, 4K is the default capture, just as HD became the default even before the rest of the world caught up. “They finally realized that instead of building a camera and saying, ‘Here it is,’ they should go out to the field and build a camera back to the factory,” Mitchener said. “We’ve had a lot of interest and got a few on order for customers. The real advantage is that the 35 mm sensor gives you so much creative control.”

Ted Mitchener, sales manager at HD Source and business development manager at ZTV Broadcast Services, says the arrival of the F5/55 has turned his head.

“Six months ago I would have laughed

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.

Edmonton Film Cooperative wants your unused Arri 35 mm camera. Do you have film cameras languishing on a shelf? Give it a new life, give it to a film coop and we will give you a healthy tax credit.

Have a 35BL, a 235, a 435 gathering dust because everyone is Red cam nuts? Have other great camera accessories? Let us know, let’s make a deal. Contact Andy @ rentals@fava.ca and work a great deal.

Short-Term Accommodation for Rent Visiting Vancouver for a shoot? One-bedroom condo in Kitsilano on English Bay with secure underground parking, $350 per week. Contact: Peter Benison at 604-229-0861, 604-229-0861 or peter@peterbenison.com.

Liberty Village Office Space Approximately 1,250 sq ft of fully furnished, turn-key office space in prime Liberty Village location available to established television or new media production company in shared office setting. Features include glassed boardroom, 2 closed door offices, internet access, alarm system and shared kitchen. Please reply by email to john@hlp.tv or call John at 647.891.4027

5D, 7D, 60D, Black Magic Cinema, Red MX, Red Scarlet, Red Epic $800.00 new plus shipping and taxes.

Asking only $600.00 GoPro Hero2 camera - Outdoor package In excellent condition with minimal use 11MP HD HERO2 Camera, Waterproof Housing (197’ / 60m), HD Skeleton Backdoor, Rechargeable Li-ion Battery, USB Cable, Helmet/Chest Strap, Head Strap, unused Adhesive Mounts, Three-Way Pivot Arm, Manual/instructions, 4 GB SanDisk SD card, Original packaging $300 Photos available. Contact John Banovich 604-726-5646 or JohnBanovich@gmail.com Nikkor AF-S VR 500mm F 4 IS ED Lens. Super rare and very hard to find!!! Serial # 204153 Perfect condition. Not a scratch on it!!! Only one year old. Included Hard Shell Case, Lens Hood, Lens Strap, Case strap. Come with Manfrotto Carbon Fiber tripod, Jobu head and Jobu Mounting Bracket. Asking price $9000.00 gandalf-merlyn@shaw.ca, 604.566.2235 (Residence), 604.889.9515 (Mobile) 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.

Equipment for Sale 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.

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).

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 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 Shape Composite F3 Shoulder Mount - NEW NEW!! Never Used. Still in box. Can be used with Panasonic AF-100, Sony FS-100, FS-700, HDSLR, Canon

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) DSR-1500 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 905290-4430 or email ted@ztvbroadcast.com.

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 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.

Do you travel between Toronto and Hamilton for production every day? Need a place to: screen dailies, host your production office that’s close to both? Hill’s Production Services www.hillsvideo.com.

We are a full Service Production Company with cameras and edit bays for making EPKs. Some grip gear, if you find yourself in the field, short of one or two items. Hill’s also has office space and a mobile screening room. Located just off the QEW in Burlington, check us out 905-335-1146 Ask for Rob Hill.

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 - April 2013 •

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Camera Classifieds

Equipment Wanted

CSC Member Production Notes Arrow (series); DOP Glen Winter csc & Gordon Verheul csc (alternating episodes); 2nd Unit DOP Gordon Verheul csc; to April 18, Vancouver

Beauty and the Beast (series); DOP D. Gregor Hagey csc & David Greene csc (alternating episodes); to April 18, Toronto

Berkshire County (feature); DOP Michael Jari Davidson; OP Steven Szolcsanyi; to May 16, Toronto Continuum II (series); DOP Michael Wale csc (alternating episodes); OP Greg Fox; to June 4, Vancouver Copper II (series); DOP Pierre Gill csc; to July 3, Toronto Covert Affairs IV (series); DOP Colin Hoult csc (alternating episodes); to October 3, Toronto Killing III (series); DOP Gregory Middleton csc; to June 14, Burnaby A Fighting Man (feature); DOP Bobby Shore csc; to May 6, 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

Pompeii (feature); DOP Glen MacPherson csc, asc; to July 5, Toronto Supernatural 8 (series); DOP Serge Ladouceur csc; OP & 2nd Unit DOP Brad Creasser; to April 19, Burnaby

New CSC Sponsor

Miller Camera Support Equipment

Calendar of Events

APRIL

5-14, CinĂŠfranco, Toronto, cinefranco. com 11-20, Images Festival of Independent Film & Video, Toronto, imagesfestival.com 20-21, Lighting Workshop for Faces, Toronto, csc.ca

Darren Burns, manufacturing manager (left) and Paul Maroni group sales and marketing manager of new CSC Sponsor Miller Heads with the top of their line, the Skyline 70 fluid head.

20 • Canadian Cinematographer - April 2013

JUNE

25-May 5, Hot Docs, Toronto, hotdocs.ca 9-12, Banff World Media Festival, banffmediafestival.com

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