Canadian Cinematographer Magazine January 2020

CANADIAN SOCIETY OF CINEMATOGRAPHERS

$4 January 2020 www.csc.ca

Kim Derko csc: Rabid ProFusion 10th Anniversary

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A publication of the Canadian Society of Cinematographers

FEATURES – VOLUME 11, NO. 8 JANUARY 2020 Fostering cinematography in Canada since 1957.

The Canadian Society of Cinematographers was founded by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have joined the organization.

We facilitate the dissemination and exchange of technical information and endeavor to advance the knowledge and status of our members within the industry.

As an organization dedicated to furthering technical assistance, we maintain contact with non-partisan groups in our industry but have no political or union affiliation.

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Credit: Carlos Esteves csc

The CSC provides tangible recognition of the common bonds that link film and digital professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography.

ProFusion 2019

By Guido Kondruss

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

CORPORATE SPONSORS AC Lighting Inc. All Axis Remote Camera Systems Applied Electronics Limited Arri Canada Ltd. Canon Canada Inc. Cinetx Inc. Codes Pro Media Cooke Optics Deluxe Toronto DMG Lumière FUJIFILM, North America Corporation FUJIFILM, Optical Devices Division Fusion Cine Grandé Camera Henry’s Camera HD Source Inspired Image Keslow Camera Kino Flo Lee Filters Mole-Richardson MOSS LED Inc. Nikon Canada Inc. PRG Panasonic Canada Panavision Canada Quasar Science REDLABdigital RED Red Square Motion Rosco Canada S1 Group SHAPE Sigma SIM SIMMOD LENS Sony of Canada Ltd. Technically Yours Inc. Technicolor The Source Shop Urban Post Production Vistek Walter Klassen FX William F. White International Inc. Zeiss ZGC Inc. ZTV

Northern Exposure: Claudine Sauvé

csc

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Braves Arctic Cold for La faille

By Fanen Chiahemen

New Blood: Kim Derko

csc

22

Reimagines Body Horror in Rabid

By Trevor Hogg, Special to Canadian Cinematographer

COLUMNS & DEPARTMENTS 2 4 6 10 12 29 30 32

From the Editor-In-Chief From the President In the News CSC Member Spotlight – Stirling Bancroft On Set Tech Column CSC Camera Assistant Workshop Gallery Production Notes/Calendar

csc

Cover Actress Schelby Jean-Baptiste in a still from La faille.

Canadian Cinematographer January 2020 Vol. 11, No. 8 EDITORIAL BOARD EDITOR-IN-CHIEF Joan Hutton csc EDITOR EMERITUS Donald Angus EXECUTIVE OFFICER Susan Saranchuk, susans@csc.ca EDITOR Fanen Chiahemen, editor@csc.ca COPY EDITOR Patty Guyader PHOTO EDITOR Janek Lowe ART DIRECTION Berkeley Stat House WEBSITE www.csc.ca ADVERTISING SALES Guido Kondruss, gkondruss@rogers.com CSC BOARD OF DIRECTORS Serge Desrosiers csc Zoe Dirse csc Jeremy Benning csc Carlos Esteves csc Joan Hutton csc Kristin Fieldhouse Guy Godfree csc George Willis csc, sasc CSC EXECUTIVE PRESIDENT George Willis csc, sasc PAST PRESIDENT, ADVISOR Joan Hutton csc VICE PRESIDENTS Carlos Esteves csc Bruno Philip csc MEMBERSHIP CHAIRS Arthur Cooper csc Zoe Dirse csc EDUCATION CHAIRS Carlos Esteves csc George Willis csc, sasc AWARDS CHAIR Arthur Cooper csc DIGITAL PORTALS Carolyn Wong (Content Manager) RELATIONSHIPS Gaston Bernier OFFICE / MEMBERSHIP / SUBSCRIPTIONS 131–3085 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: admin@csc.ca, 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.

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

2 • Canadian Cinematographer - January 2020

FROM THE EDITOR-IN-CHIEF Joan Hutton csc

I

am exceedingly pleased and equally humbled at being returned to the CSC board of directors in our last election. While I am a firm believer in our democratic process at the CSC, I am also dismayed by its arbitrary fickleness. In the election shuffle, the CSC lost one of its staunchest supporters whose value to our society is frankly immeasurable. Our former Chairman of the Board Joe Sunday did not garner the votes needed for a place on our new board. Not being a cinematographer, Joe is perhaps not immediately recognizable to many of our membership, which is a failing on our part. It’s not that Joe doesn’t have camera pedigree, because he does, having been a past CEO of ARRI Canada. He also has an astute understanding of our craft and industry, and above all, a passion for the CSC and its ideals. And for the past 30 years, he’s left his fingerprints throughout the CSC. Joe’s contributions to the CSC are considerable. Early in his association with our society, Joe’s fiscal expertise helped bring a floundering CSC back to financial health. He was instrumental along with Susan Saranchuk in lifting our annual awards celebration from a restaurant affair to the exalted level of an elegant gala. Joe also took our paper database into the digital age by writing a unique programme that is still in use today. He is the CSC website designer and has been its caretaker for more than a dozen years. As our most recent treasurer, Joe has updated our accounting programme, allowing him to provide accurate annual analysis of the CSC’s finances. But most importantly, Joe changed the structure of the CSC by rewriting the bylaws, thereby allowing for the formation of the board of directors. This is a common form of business governance, but an important one that allows the CSC to plot its future through consensual vision and group leadership. Amazingly, these are only a sampling of Joe’s tremendous accomplishments with the CSC. Joe is a wonderfully likeable person with a keen and powerful intellect, and an incredible clarity of thought. For many of us on the CSC board, executive and administration, Joe was our go-to guy for advice and guidance. With Joe Sunday no longer a part of CSC governance an enormous void has opened.

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-10°~40°C Canadian Cinematographer - November 2019 •

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FROM THE PRESIDENT George A. Willis csc, sasc

A

new year brings many changes, and sometimes it is difficult to know where to begin as one looks ahead to the future and all that the year may bring. Therefore, before racing off into thoughts associated with 2020, I would like to spend a few moments acknowledging a specific change within the Society toward the end of 2019.

The election process for a new Board of Directors began in November and was opened up to the entire Society’s voting membership. Specific dates were set to address the criteria required for the democratic process of electing the new Board.

Once the voting results were in, the members of the new Board were announced.

But before welcoming those successful candidates to the Board of Directors, I would like to take a moment to offer my sincere gratitude to those members who served on the Board for 2019. To those who gave of their time, your service is most appreciated, and your efforts will be catalysts in the ever-evolving Society.

Each year the Society has its share of challenges, and 2019 was no exception. The various challenges presented were met head-on with great enthusiasm, and what more can one ask for. The most rewarding aspect was the fact that all the Board members were ready for another year of offering their services to the Society. However, due to the democratic voting process, there were certain changes that took place and altered those valued intentions.

One of the changes resulted in the Board having to bid farewell to its long-serving treasurer and Chairman of the Board Joseph Sunday PhD. Joseph Sunday has for so long been a solid driving force behind the Society and the many endeavours associated with it. His knowledge and guidance have afforded the Society the ability to un-

4 • Canadian Cinematographer - January 2020

dertake many successful initiatives that will speak to his legacy. Thank you, Joe, from all of us with whom you shared your valuable thoughts, insights and wisdom. But above all, your great leadership will always be most appreciated.

We also bade farewell to Phil Earnshaw csc who served on the Board of Directors and prior to that the executive committee for the past 25 years.

During that time, he took on many responsibilities, acting as Treasurer, Membership Chair and Recording Secretary. Recently, he also started the current mentorship program. We also offer our sincere thanks to Phil for all of his dedication and commitment to the Society.

2020 will no doubt have its share of challenges and what we like to refer to as “targets of opportunity” with the glass always appearing to be half full. The optimistic outlook that we all share will help in seeing various initiatives and goals to satisfactory conclusions. We know that concerted efforts will be required to move ahead, and I have no doubt that all the members of the Board will be up to the various challenges that we will expect.

While not being specific about future plans, there is one major hurdle that has been undertaken, and I am pleased to report that the new website is now well underway and we look forward to continued growth in that regard. We all know and understand the enormous amount of work that is associated with running the Society, and I am sure that the new members of the Board of Directors will offer suggestions and solutions in efforts to take on the exponential growth that we expect and are looking forward to in the Society.

It would appear that the industry is headed for another successful year. And so, as we take on the future and all that it has to offer, I would like to wish you and your families a year filled with good health and prosperity.

In The News William F. White Acquired by Ashtead Group In mid-December, Paul Bronfman announced the sale of William F. White International to Ashtead Group through an affiliate of its wholly owned subsidiary Sunbelt Rentals of Canada, Inc. The sale of the wholly owned subsidiary of Comweb Corp., based in Toronto, to Sunbelt aims to further support and accelerate growth over the years, fuelled by the growing demand for media content worldwide driven largely by streaming services including Netflix, Amazon Prime, Crave, Disney+ and Apple TV+. The acquisition of Whites officially closed on December 2, although financial terms of the transaction were not disclosed.

Bronfman will continue in his role as CEO through April to aid in the transition. As of the announcement, he became co-chairman of the Whites operating division executive board, along with Ashtead Group CEO Brendan Horgan, focusing on strategic growth of the new platform. According to media reports, the Whites brand name will remain unchanged. Whites, Canada’s oldest and largest rental house, operates out of 13 locations across Canada and has more than 450 employees. Based in London, U.K., Ashtead has been a major equipment rental company in the U.S. since 1990, when it acquired Sunbelt Rentals.

CSC Members Among ASC Documentary, Television Award Nominees

C. Kim Miles csc, mysc

Craig Wrobleski csc

CSC Member Projects Among TIFF’s 2019 Top 10 Canadian Films Projects shot by CSC members are among the Canada’s Top Ten list selected by TIFF for 2019, it was announced in December. Among the feature films are The Body Remembers When the World Broke Open (Norm Li csc) and Murmur ( Jeff Wheaton), while Please Speak Continuously and Describe Your Experiences As

6 • Canadian Cinematographer - January 2020

They Come To You (Karim Hussain csc) was selected as one of the top 10 Canadian shorts of 2019. The Canada’s Top Ten list is compiled by TIFF’s team of programmers in collaboration with film programmers and critics across the nation.

Bell Media, HBO Max Ink Programming Deal In late October, Bell Media announced a new long-term exclusive deal with

Credit: Courtesy of Anthropocene Films Inc. © 2018

Credit: Courtesy of Netflix

Brendan Steacy csc

Credit: Courtesy of the ASC

Credit: Courtesy of the ASC

The CSC congratulates the following members who have been named documentary and television nominees for the 34th Annual American Society of Cinematographers Outstanding Achievement Awards: Documentary: Nicholas de Pencier csc – Anthropocene: The Human Epoch Episode of a Series for Non-Commercial Television: Brendan Steacy csc – Titans, “Dick Grayson” (DC Universe) Episode of a Series for Commercial Television: C. Kim Miles csc, mysc – Project Blue Book, “The Flatwoods Monster” (History) Motion Picture, Miniseries, or Pilot Made for Television: Craig Wrobleski csc – The Twilight Zone, “Blurryman” (CBS All Access) Winners will be announced at the organization’s gala on January 25 in Los Angeles.

Nicholas de Pencier csc

Warner Bros. International Television Distribution that brings original programming from WarnerMedia’s HBO Max to Canada, beginning this year. The announcement is the first for HBO Max programming outside of the U.S. The agreement extends Bell Media’s programming partnership with HBO and establishes a new alliance with HBO Max, making original series from the new service available to Canadians via Crave and Bell Media’s

suite of CTV-branded platforms. In addition, the deal encompasses new scripted series primarily produced by the divisions of the Warner Bros.

Television Group for HBO Max.

not disclosed, Netflix’s investment is expected to kick in early this year, according to media reports.

DGC, NSI Partner for Indigenous Training Rogers, Creative BC Announce Programs Development Fund In November, the Rogers Group of Funds and Creative BC announced new support for domestic creators in British Columbia that will encourage the development of motion picture projects in the documentary series and factual series formats. The new $800,000 Rogers + Creative BC Documentary and Factual Development Fund will be delivered over two years, launching this month. Each partner is contributing $400,000 to the Fund. Its key feature is to support individual documentary and factual projects, before being greenlit by the market during early-stage development only. More information about the fund, including guidelines and detailed application criteria, can be found at creativebc.com.

Netflix, TIFF Industry Announce Partnership to Support New Talent In early November, the Toronto International Film Festival announced a new three-year partnership with Netflix, which will support the festival’s Talent Accelerator initiative. The program aims to provide professional development and business opportunities for upand-coming talent. The streaming giant will also contribute towards the TIFF Filmmaker Lab, a series of workshops and networking events during the annual festival. Although financial details of the agreement were

In November, the National Screen Institute announced it has entered into a three-year agreement with the Directors Guild of Canada as an Indigenous training program partner.

The partnership supports the delivery of the training programs NSI New Northern Voices, NSI IndigiDocs and CBC New Indigenous Voices, presented

by NSI, and includes boot camp sessions delivered by DGC members, such as award-winning director Shane Belcourt. Additionally, the new $500 Directors Guild of Canada Award for best director in the NSI Online Short Film Festival was recently introduced.

From A to Z and Beyond

Telefilm Canada Adds Two Members to Executive Leadership Team In late October, Telefilm Canada announced that René Bourdages had been named Senior Director, Cultural Portfolio Management, while MarieClaude Lavigne had been named Director, Government & Public Affairs.

Bourdages was previously with the National Film Board, where he served as the Director General, Creation and Innovation since 2016. Bourdages will oversee the organization’s core activities, including Project Financing, Business Affairs and Coproduction, and the Canada Media Fund Program Administration. Lavigne has 20 years’ experience in strategy, public affairs, and government relations.

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ACCEPTANCES / AWARDS / NOMINATIONS Tony Mirza, associate member (cinematographer) Tipped (short comedy), winner: Best Cinematography: Southern Short Awards, Atlanta, November 16, 2019 Kevin Rasmussen, associate member (cinematographer) Alaska (short film), winner: Best Canadian Short Film, Toronto After Dark Film Festival, Toronto, October 17, 2019

Canadian Cinematographer - January 2020 •

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TORONTO | MISSISSAUGA | OTTAWA CALGARY | EDMONTON

VISTEK.CA

ProFusion 2019: 10 Years in the Making

CC: What are your thoughts on the 10-year anniversary of ProFusion?

RS: I couldn’t be happier celebrating the 10th anniversary of ProFusion.

It is amazing to see how it has taken shape over the years and what once was just an idea has now transformed into this massive event that brings together the very best of tradeshows like Cine Gear, IBC, NAB and Photokina right here in Canada.

CC: And how did the ProFusion idea come about?

RS: Our VP at Vistek, Kevin Parker, was the original mastermind. He saw a real opportunity to fill a gap in the Canadian market when it came to tradeshows that focused on all of the equipment and technologies available to image makers, meaning photo and video for both emerging artists and pro-level creators. Kevin looped in our Creative Director Christopher Huchenski to help bring it all to life.

When I originally saw their plan in early 2009, I was like, “Wow, if we can pull this off, it could really be

8 • Canadian Cinematographer - January 2020

CC: What is different between 2009 and 2019?

RS: So much has changed since we originally launched – we went from a tiny tabletop exhibition of under 9,000 sq. ft. at the Toronto Congress Centre (out by the airport) to taking over 100,000 sq. ft. at the Metro Toronto Convention Centre in the heart of downtown Toronto. Back then, even key players like Sony, Canon and Nikon only took on small booth spaces. It was really just a testing ground to see if we could gain some traction and interest in this event. The answer was definitely yes, and now these vendors are building huge installations, creating fully interactive and immersive experiences right on the tradeshow floor.

CC: Why has ProFusion succeeded when others before it have failed?

RS: I think part of its success is we had the unique ability to tie both the photo and video worlds together so seamlessly and because Canada absolutely needs a show like ProFusion.

Shows like ProFusion inspire creators to create and fuel new energy into our entire industry. Our Vistek team and

Ron Silverstein

Courtesy of Vistek

CC: Has ProFusion succeeded with its original goal?

RS: I would definitely say so. Our original goal was to create a worldclass pro-imaging event with an educational focus that brought together manufacturers and end users here in Canada. You can really feel the energy and excitement the show creates for both exhibitors who are eager to showcase their products and share their expertise, and image makers eager to explore and broaden their scope of knowledge. It’s so rewarding for us to see both sides of the industry come together, and the sense of community ProFusion creates.

all our vendors understand this, and that’s why they dedicate 110 per cent to making it better every year. We’re constantly working to make it bigger, more interactive, more educational and more over-the-top than the year before.

CC: What is in store for ProFusion in the future? Any hints of big things to come?

Credit: Carlos Esteves csc

P

something special,” and right then and there, ProFusion Expo was born.

Credit: Brian More

By Guido Kondruss roFusion 2019 was the 10th anniversary of Canada’s top technological imaging exposition for professional cinematographers and photographers. For 10 years, ProFusion has been quenching the eternal thirst of filmmakers and artists alike in their need to see, touch and observe advanced production technology and the latest gear in action. For two full days, it’s a tekkie’s dream with a “wow” factor that’s off the scale. Produced by Vistek, one of Canada’s leading prosumer retailers, ProFusion is a resounding Canadian success story that attracts thousands of attendees annually. President, CEO and founder of Vistek Ron Silverstein shared his thoughts with Canadian Cinematographer on ProFusion 2019 and its remarkable 10 years.

RS: ProFusion has always been driven by technology and education so we won’t stray far from that formula, but we will always push to make things new and exciting for our visitors. That means you can expect us to be pushing our vendors to bring their latest cameras, lenses, drones, stabilizers and all the other equipment and accessories you need to really make things work in production. I’m also certain we’ll have more incredible lineups of creators eager to share their experiences and artistry with our guests. Plus, with 6K and 8K already on the horizon, we’re bound to see a number of manufacturers releasing new technologies with those capabilities, and I’m sure that will be the hot topic for ProFusion 2020.

Credit: Carlos Esteves csc

Canadian Cinematographer - January 2020 •

Seven photos bottom right Courtesy of Vistek

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Credit: Brian More

Credit: Brian More

Credit: Brian More

Credit: Carlos Esteves csc

Credit: Brian More

CSC Member Spotlight

Colin Watkinson asc – they find important stories and tell them with novel and stunning images.

Credit: Kailey Schwerman

What is one of your most memorable moments on set?

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

Speed (1994). I was 11 years old and couldn’t get enough of a bus that couldn’t slow down.

Name some of your professional highlights.

I never enjoyed it, so I moved on to writing, but began to understand how few people were reading these days. Film production began to make a lot of sense to me. I went to film school and then began to grind out as many passion projects as I could.

Who have been your mentors or teachers?

I photographed Adventures in Public School (dir. Kyle Rideout, 2017) which premiered at TIFF and showed in my hometown at VIFF. A year later, Freaks (dir. Adam Stien and Zach Lipovski) did the same but also earned a 100-theatre theatrical release. I feel a great sense of privilege to be able to make films I enjoy with talented directors who love the craft.

Ian Kerr csc was my cinematography professor when I studied at UBC. He would always threaten us “not to phone it in,” and “if you’re going to make it, make it good.” Four of us from his class became cinematographers – Oliver Millar csc, Collin Morrision, Anna Macdonald and me.

How did you get started in the business?

What cinematographers inspire you?

I went to Studio 58 to study acting, but

10 • Canadian Cinematographer - January 2020

Bradford Young asc, Reed Morano asc,

I was working with Kaare Andrews and Norm Li csc on a film in the Dominican Republic. We were getting some driving shots on a work/travel day as we moved between Santo Domingo and Samaná, and we got hit by a torrential downpour, so we pulled over to de-rig cameras.

When we were safe, we noticed we had arrived at a little outdoor bar. We spent an incredible afternoon salsa dancing with our local crew until the rain finally passed.

What do you like best about what you do?

All the espresso.

What do you like least about what you do?

Staying up late. Waking up early. No days off.

What do you think has been the greatest invention (related to your craft)?

I think depth metadata will change the way we work on set. If we had depth information for every photosite, we wouldn’t need green screens to separate foreground elements from backgrounds.

2D-3D conversion could be relatively painless, and you could add virtual lights in colour grading or use the depth info to create realistic virtual haze.

How can others follow your work?

Follow me on Instagram: @stirlingbancroft

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CSC Welcomes New Sponsor Quasar

B camera team on location with Netflix’s Jupiter’s Legacy. Left to right: dolly grip Stewart Grayburn, camera/Steadicam operator Richard Wilmot, 2nd AC Stephan Maia, 1st AC David McKane.

Credit: Jonathan Chung

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Credit: Courtesy of Richard Wilmot

The CSC is pleased to announce that advanced lighting instrumentation company Quasar Science LLC has joined the society as its newest sponsor. Founded by a small group of IATSE lighting technicians in 2013, Quasar, in celestial brilliance, bust upon the film and television industry as the world’s first motion picture compatible LED light bulb company. Set lighting has never been the same since. Located in Los Angeles, Quasar, through its product innovation, immediately became a global leader in LED technology and logistics and is credited as one of the foremost reasons behind the new light source becoming an industry staple. In the hands of cinematographers, Quasar LED lights and accessories are powerful and versatile tools helping them to create their cinematic visions.

A hearty CSC welcome aboard to Quasar Science!

Cinematographer and A camera operator David BercoviciArtieda on the set of The College Admissions Scandal.

Associate member Justin Black shooting a condo commercial produced by PUREBLINK.

12 • Canadian Cinematographer - January 2020

Credit: Leanne Beck

Director of photography and associate member Chris M. Oben (far right) shares a laugh with the cast and crew on the green screen set of Cassie and Friends. Clockwise from left: Scott Aiken (sound) Kirsten Niedtner (puppeteer), Cam Hayduk (director), Kim Morales (production coordinator), Liz Kirkland (puppeteer), Rob Piercy (1st AC), Randi Edmunson (puppeteer).

Credit: Courtesy of TurtleBox Productions

On Set

Cinematographer and associate member Kevin Rasmussen shooting a M.A.D.D. PSA (Jack Royal Productions).

he new series La faille follows Sergeant-Detective Céline Trudeau (Isabel Richer), who is assigned to a bizarre murder case in the small mining town of Fermont in northeastern Quebec. Everyone is seemingly a suspect in the crime that has shaken up the municipality and brought old wounds to the surface. The eight-episode series, produced by Pixcom in collaboration with Quebecor Content, is directed by Patrice Sauvé (Le monstre) and features Richer (Babine, Eldorado) and Maripier Morin (The Fall of the American Empire) among its principal cast.

Series DP Claudine Sauvé csc (who is of no relation to the director) describes how the stark setting of the northern town inspired the look of the show. During her first scouting trip to Fermont by plane, Sauvé was impressed by the landscape even from the air.

“You’re on the plane looking down and you see snow – it is white, white, white, and then there is a strong contrast with the dark forest, and then you are impressed by a huge hole in the earth, the mine site, one of the biggest in North America, the size of 5,000

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Canadian Cinematographer - January 2020 •

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Photo of Claudine Sauvé csc: Etienne Didelot-Pothier

Photo montage of police searching a locker in the Wall during a power failure and Claudine Sauvé csc on set.

Actors Alexandre Landry, Isabel Richer, Mélanie Langlais and David Savard in the recreated Fermont Arena Zamboni room transformed into a morgue.

Fermont and the Wall.

16 • Canadian Cinematographer - January 2020

football fields,” she says. “You keep going and there is Fermont, a little city in the middle of infinite white snow, dark blue-green spruce trees and threads of orange from the rust coloured dust of the mine,” which became the colour palette of the show.

In addition to the mine, one of Fermont’s most notable features that is used in La faille is a massive residential and commercial structure 1.3km long, built in the 1970s to shelter the townspeople from glacial arctic winds. The huge self-contained structure houses apartments, as well as amenities like a police station, town hall, kindergarten, arena, hair salon, school and a strip club. This landmark – known as the Wall – becomes the crime scene in the series after the body of a local stripper is found in the ventilation system in the basement.

“The Wall is an important character in the show,” Sauvé explains. The production therefore had to find a building that could double as the interior of the structure. “The thing is it looks pretty much like a very long shopping mall,” the DP says.

“So we needed to find an old empty mall from the ‘70s in the Montreal area to recreate it, and we were very lucky to find one.”

Once the location was selected, the next challenge was to find a way to photograph it aesthetically. “It can be really boring to shoot in a shopping mall for many, many weeks,” Sauvé says. “I didn’t want to light it with bright fluorescents, with no ambience. Also, we didn’t want our series to look like ‘Murder at the Mall.’ But we wanted it to look realistic at the same time, and a bit gritty, like the rocks of the mine. So I kept thinking about contrast, inspired by nature outside. Again, blue-green dark forest, warm rust and bright white snow. You know when you’re

outside for hours, then you go inside, and it always feels really dark? That is the feeling I was looking for.

I wanted the audience to feel like it’s a bit scary when they follow our characters inside. You are not able to see everything that happens in every corner. When you go back outside, you have to squint your eyes, and you are blinded, literally and figuratively, for a moment. And during these moments, terrible things can happen, and nobody is aware.

“So I designed it in a way that when my characters are walking in the Wall, they’re always crossing contrasts of light and colours,” she explains. “Most of the fluorescents on the ceiling of the Wall’s set were a mix of rows of industrial Warm White and Daylight Deluxe, so I was able to change the ambiance quickly and my characters were always in nice contrasts of colours everywhere in this huge set. I had to visualize and prelight it piece by piece as the art department was dressing every little corner.”

For the police station, “we chose the biggest empty room in the mall and designed it in the way we wanted,” she says. “We imagined it with a lot of windows and transparency so you can feel the outside, you feel the brightness and the snow. And you see the interior of the Wall from the other side. I designed the practical lights hanging from the ceiling with Jean Babin, the production designer, in a way that I could put my Astera tubes inside and then control their colour and intensity with my gaffer Hugo Roy from his iPad, which has been a real revolution for me in my approach to lighting over the past year or so, and it gave me so much joy and freedom in subtle adjustments and creation.”

The set was designed much like a lighting grid on the ceiling but made of practicals that are visible on screen. “These suspended lights were really focused,” Sauvé says. “So I also used a lot of other practical lights on the police officers’ desks. Most of the time, I was bouncing them directly on the wooden desks to keep a soft warm ambiance on the characters’ faces. We also added small gold bounces in corners to accentuate it. And I kept working on these warm accents of light in post with my colourist Vickie-Lynn Roy.” During the first week of production, it was too cold for the crew to shoot in Fermont, so they shot in the town of Saint-Zénon, roughly two hours from Montreal. But it was “still minus 35 and there was tons of snow, so the feeling of being lost in northeastern Quebec in the middle of nowhere was exactly the same. In altitude, Fermont is supposed to be the highest city in Quebec, and the other one fighting for the title is Saint-Zénon,” according to Sauvé.

“During that first week, we shot in a small cabin on a very isolated lake in front of a beautiful cliff, really far from the road. We had to get around and bring all the equipment, cast and crew on Ski-Doos, and there was no electricity,” the DP recalls. “I could only use small generators and batteries, so I used a lot of LED lights. I designed all my lighting with SkyPanels from the exte-

Top: Actress Isabel Richer.

Middle: Actors Alexandre Landry, Isabel Richer, Maripier Morin and Jean-Philippe Perras.

Bottom: An aerial view of a crime scene.

Canadian Cinematographer - January 2020 •

17

Photo credit: Jocelyn Blanchette

Top: Actor Marc Messier at the mine site.

Bottom: Claudine Sauvé csc on set with Yanka Pelletier and Nicolas Mignot.

18 • Canadian Cinematographer - January 2020

riors, bouncing from the windows, and Astera tubes hidden in the corner of the cabin.” She used the same lighting technique for exterior night scenes. “With my key grip Nicolas Mignot, we designed 4x8 lightweight frames and we used tie-wraps to fix Astera tubes on them. Then we could bring these frames into the middle of the forest, in metres of snow, and have a little spill of light to backlight the trees. We designed nice simple lighting setups like this, which could last hours on batteries.”

Sauvé opted to shoot La faille on the RED GEMINI, in part because of the camera’s dual sensor, which would facilitate shooting in a location with no electricity while keeping the look as natural as possible. “I shot some night scenes like this at 3,200 ISO, but it was kind of strange for the actors because we were shooting in such low light conditions that they could barely see each other,” she says. “The camera definitely sees much more than us.”

Some night scenes were shot in dark sheds and lit almost entirely with lanterns and flashlights. “I wanted it to feel that these are the main lights and this is the real old oil lamp that is creating all the warmth around them,” Sauvé says.

The arctic temperatures they would be shooting in also influenced her choice of camera and lenses. “We needed our equipment to be able to fight the weather,” she says. “The camera did really well. I was impressed, and I have to thank RED for that.

I also have to thank my 1st AC Marie-Julie Besse, who was really well-prepared and took good care of all this. Every little part of the camera, monitors and lenses were covered with heating rings. There was a lot of cold management, but because of that the camera and the lenses never let us down.”

After various lens tests, they settled on the ARRI Zeiss Master Primes. “Patrice and I really liked the Master Primes. It was a cleaner look than what we thought at the beginning, but it was

Canadian Cinematographer - January 2020 •

19

Photo credit: Eric Myre

Claudine Sauvé csc on set.

really interesting for the wide winter landscape, and in the end, it matched pretty well with our wide impressive drone shots realized by Drone Studio,” Sauvé asserts. “But the Master Primes also have this nice soft personality when you shoot at 1.4, and they are one of the best sets you can bring with you and trust at minus 40.”

Sauvé did all the camera operating on the series except for a couple of days when Simon Blouin operated a Steadicam. “We used it for walking with our characters through the corridors in the Wall to make it feel that it could be a long way from one door to another, but everything is connected in that space,” the DP says. “Otherwise, it was mostly elaborate dolly shots staged

by Patrice that my dolly pusher Yanka Pelletier and I achieved.

And we’d go handheld when there was rough conflict between characters.”

Despite the remoteness and small size of the northern town, the community could not have been more accommodating to the production, according to Sauvé. “They were so great from the first time we went there in December 2018. We already made friends that were working at the mine who helped us so much to organize everything there, and we were allowed to come back in March 2019 and shoot at the mine,” she says.

In a revealing anecdote, she recalls how the script called for a city-wide power failure at one point. In pre-production, the crew mulled over how to pull it off. “But when our production

20 • Canadian Cinematographer - January 2020

manager talked about this with Fermont’s mayor while we were shooting there, he said, ‘Well, I am sure we can cut the main power of the town for few minutes during the night.’ And we did it. I had two drones in the air and my camera ready on a snow hill with fake emergency lights ready to go on inside the Wall, all controlled from the outside by my gaffer. And at midnight, we shut down the entire city for five minutes. That was an incredible feeling; we were so excited.”

To everyone’s relief, the production managed to get through the La faille shoot without any major catastrophes. “I’m really proud that everybody survived,” Sauvé jokes. “Nobody lost their fingers. Even if on the first day of the shoot when we had to shoot car rigs, drone shots, a wolf in the woods, there was a snowstorm, a house caught on fire near our set, and my 2nd AC was knocked by a van door shut on his head, etc. And I remember I was shivering at the end of the day; I was shaking for an hour and a half after I came back to the hotel. And I had like three coats on and a lot of Merino wool under my big Canada Goose coat, and I always had on three pairs of socks in my big boots. But it was worth it. I think we captured this wonderful winter landscape. And because it was so gorgeous and impressive outside, my biggest challenge was that you’re not bored visually when you go inside, and I think we achieved it. There’s a lot of atmosphere in our show, and I hope our locations and characters look far from ordinary.”

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Canadian Cinematographer - January 2020 •

21

n experimental stem-cell treatment used for facial reconstruction has terrifying side effects for a young woman originally played by Marilyn Chambers under the direction of David Cronenberg (Eastern Promises) in 1977. Forty-two years later, Rabid gets reimagined by twin siblings Jen and Sylvia Soska (Vendetta) with Laura Vandervoort taking over the lead role. Assisting the Soska Sisters in visualizing the body horror tale were cinematographer Kim Derko csc (A Winter Tale), and camera operators Tamara Jones (Wu Assassins) and Paula Tymchuk (Cardinal).

Unique for the project was the high percentage of women crew members. “It did have an effect on the dynamic but in subtle ways,” Derko notes. “The conditions that led us to having two female camera operators was nothing to do with any affirmative action; Paula Tymchuk [B camera] and Tamara Jones [A camera] were the best people around for the job.”

22 • Canadian Cinematographer - January 2020

Actress Laura Vandervoort in a still from Rabid.

Canadian Cinematographer - January 2020 •

23

Credit: Amanda Matlovich

(Left to right) Paula Tymchuk, Kim Derko csc, Jen Soska, Sylvia Soska and Tamara Jones.

Rabid marked the first time that Jones has served as the A camera operator and she enjoyed the experience of being surrounded by female colleagues. “Not only is Kim really good at lighting but also knows when to give you creative control and when to guide you. In that respect, it didn’t have to do with gender. It had to do with being a great human being. I have worked with men like that too,” Tymchuk adds. “The odd thing is that I forget that I’m any gender until it’s brought up. I’m focused on what the shot is, what’s required, and doing my job to the best of my ability.” Other key crew members were gaffer Morgan Sainsbury, key grip Tex Entsch, B camera operator Perry Hoffman (who filled in a few days for Tymchuk), 1st AC A camera Cylvan Desrouleaux, 2nd AC A camera Jay Jay Callan, 1st AC B camera Lem Ristsoo, 2nd AC B camera Juho Kepanen, camera trainee Daniel Glegg and stills photographer Amanda Matlovich.

The new version is an homage to the original. “We did a few scenes driven by David Cronenberg’s cinematic style; however, the script was different,” Derko states. “The Soska Sisters did American Mary, and their forte is body horror, which is part of why they admire Cronenberg’s work. Dario Argento [Suspiria] is a big reference in a lot of the work.”

24 • Canadian Cinematographer - January 2020

Jones was given a few films to watch as visual references. “I looked at obscure Italian horror films and even The Handmaids Tale. I didn’t have Crave so I had to research that, which of course now I’m hooked because the show is so amazing. I was looking at framing like that and lots of use of foreground. I also did Steadicam so had to figure out how to incorporate that as well,” she says.

Listening was a critical part of the job. “From listening you get enough of a feel to understand which way you should go,” Tymchuk notes. “Obviously, with lenses we would know what kind of coverage they were looking for. We were given so much creative space that we could try our own input. If it didn’t work then the Soska Sisters would gently guide us to what they were looking for.”

The original cinematography was an influence. “Rabid was an early work of Cronenberg, shot pretty rock and roll, and on film,” Derko notes. “René Verzier [The Morning Man] did a great job. I love that cyan colour which is in that era. We pulled a lot of shots of that cyan colour into the remake and utilized extreme saturation in a way that Dario Argento uses in his films.”

A look book was put together for DIT Dwain Barrick. “I sampled a whole bunch of Coca-Cola bottle green glass and had several pictures of those that I gave to Dwain. I said, ‘I want this when there’s a window or a piece of glass.’

Dwain did fantastic tweaks for dailies and kept bringing the iPad in-between setups. We would discuss and he’d try to relay something back, which was similar to the direction we were going.” The other two prominent colours

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Laura Vandervoort in a still.

were tobacco and red. “The grading was done at Urban Post with colourist Mila Patriki; we spent a few hours each day for a week when she was colouring grading the finals,” Derko says.

Principal photography lasted 20 days. “We shot at a now closed hospital in West Toronto, did a bit of work in a studio in Hamilton and Etobicoke,” Derko states. “I was able to be there for quite a while, five or six weeks before.” A couple of scenes were storyboarded. “It wasn’t the kind of movie where we go into a studio and shot-by-shot we copy the storyboard. It was very location oriented. We worked from floorplans mostly, which is an efficient way to work. This is where the camera operators come in as they can see a beautiful angle somewhere that a storyboard artist or the directors had not imagined.”

However, challenges arose from being location dependent.

“Some of our locations fell through the day of or we only had a location for a certain amount of time,” Jones remarks. “There were a few things where we needed to quickly improvise. In one location we didn’t have access to close the blinds. The light was coming in from all angles, so we had to shoot in a small contained corner.”

Tymchuk notes, “I don’t know how important the actual location was in the sense that the acting, the story, and the Soska Sister’s vision was so strong that it was almost easy to make that

26 • Canadian Cinematographer - January 2020

come through visually regardless of where we were.”

One of the scenes took place in a tight location. “The alleyway was 30 by 30 feet and we had a false wall on one side and a real wall on the other side,” Tymchuk explains. “There were a couple of 18Ks up in the distance. To get the angles that we needed to do and avoid getting blown out too much in the back, we had to adjust a few things, especially because we had a limited space. I understood why we needed this large light in the distance. We had the two cameras, and Tamara was on the Steadicam so she was moving around more and there wasn’t much room for too much dolly track. I was more or less stationary. To maneuver to find a spot that I could avoid the light, stay out of Tamara’s way, and still capture the action was hard, but I love finding an interesting way to show what is occurring with these challenges.”

Camera and lighting equipment were supplied by William F. White. “We were shooting with two cameras a lot so were able to double up if something was particularly good by having them side by side,” Derko states. “We shot on an ARRI ALEXA Mini and I love the palette of ARRI.” The selection of lenses included 18 mm, 21 mm, 25 mm, 29 mm, 35 mm, 40 mm, 50 mm, 75 mm, 100 mm and 135 mm. “I’m a big fan of the Leica lenses and was using a full complement of the Summicron-C. We used the 40 mm and 75 mm a lot.”

Dollies, cranes and Steadicam helped to keep the camera moving. “We were trying to think of something interesting for the master shot and go from there,” Jones remarks.

“Even the masters they wanted to cut quickly so you did cut into them quite a bit.” 1.85:1 was the decided upon

Canadian Cinematographer - October 2019 •

23

Top: Tristan Risk and Laura Vandervoort Bottom: C.M. Punk and Laura Vandervoort

aspect ratio and the footage captured in a 3.2K resolution. “We did have a camera attached to a Rottweiler, which was a GoPro rig which was quite fun,” Derko reveals. “Tamara did a lot of lyrical Steadicam movements.”

In order to have foreground elements blur for the dream sequences, two prisms were rigged on grip mounts in front of the lenses. “We needed to have some blurry spooky edges on the frame,” Derko explains. “Jay Jay Callan and Cylvan Desrouleaux rigged these prisms that were remotely controlled so they could move them slowly as the actor was walking through space. It’s subtle work. A corner of the frame would go blurry and a reflection would swing into the shot.”

Capturing the visual look of the dream sequences was an ongoing experiment. “The prisms depending on how the light and double images hit them and created the image was all unexpected,” Tymchuk remarks. “That I found to be fantastic. It’s like a Jackson Pollock painting where you put it out there and see what happens and works because the way we were using the prisms it wasn’t as predictable. We put the prisms in front of the lens and turned them to make the double images. Sometimes it was

28 • Canadian Cinematographer - January 2020

fantastic, and the double images had so much meaning too. Sometimes it wasn’t quite working and would catch a light accidentally.

It was challenging because you had to think of the lens that you were using, the images that you were putting on top of each other, the timing of the characters and their movements, as well and incorporating that all into a free-flowing moving shot. I loved it!”

Horror is not restricted to a particular camera style. “It’s such a great genre because of the freedom,” Derko observes. “You can take a lot of risks and places you wouldn’t normally go in a more classic show. In terms of lighting, the tools that we’re working with are different. We’re able to put ARRI SkyPanels into DMX and make all kinds of colours that wouldn’t have been so easy to use on a fast-paced shooting schedule. I’m working with the Titan 2 on every show now; they’re colour controlled and I can use every gel from LEE to Rosco to Storaro.” Getting the right colour of the blood was not complicated. “It is easy to correct the colour on set because your monitoring system is good in terms of what you see is what you get.”

LEDs were part of the lighting equipment. “I had a lot of Moss LEDs. We were using a rubber tubing like a strip to put colour on them. We put strips of Moss LEDs down a runway with a red plastic coating on them. That was quite fun,” Derko says.

Minimal greenscreen was needed. “We had a lot of blood added in visual effects,” she reveals. “There was a lot of painting out of the odd wire, attaching of organs, and people needing to be painted in.” It was important to be mindful when composing shots. “There’s a budget, so we had to be careful of what we shoot because they can’t paint this or that out because it’s too expensive,” Jones remarks. “We also had to frame where the tentacle is going.” There was one practical tentacle on set, which provided the length and girth. “We had an idea of how much space was needed for the image,” Tymchuk states. “I felt in tune with where it was going. I didn’t feel like I was catching up or had to search for something I didn’t understand. The only difficulty for me was at one point Laura Vandervoort was so convincing it was difficult to not jump up from behind the camera and go help her. We all thought that she was in some sort of distress. We had a safe word in case of an emergency.”

“The lead actress Laura Vandervoort was fantastic,” Derko remarks. “There were a lot of scenes where I enjoyed working with her where she was knowing that there was going to be visual effects added onto a horror scene. Laura was so able to dramatize scenes and make them real even though we didn’t have the visual effects work on her. There is a dream sequence which is one of my favourites. Tamara, Paula and I loved working with the Soska Sisters so much. We twisted Rabid around, but all the while we’re huge Cronenberg fans. We tried to make it different for the Soska Sisters but still pay as much homage we could to Cronenberg.”

Jones is currently the only unionized female Steadicam operator in Canada, which is a situation that she hopes will change.

“I’ve had challenging movies, and this was not one of them.

You’d want to go to work every day. You’d get up, feel so creative and so good by the end of the day; that had a lot to do with the Soska Sisters.”

Tech Column

Mobile Power Stations Bring Green Peace to Sets

Sim’s 72 kW system runs 10 kw for 12.5 hours more or less, or an 18K HMI for a 6.5 hours and four M40 HMI for 3.5 hours.

White’s 6 Kwh and 26 Kwh similarly will run a 1 kW load or fixture for six hours on the smaller unit and 26 hours on the larger. Depending on what source they are plugged into – where voltage and amperage are the key factors – recharging is about five to seven hours or longer.

What’s good, however, says Hardy, is that when capture is wrapped, they don’t need a generator operator hanging around.

Assuming there’s enough power left to run some computers, the on-set production crew back up and process the data and just shut the units down with a flick of a switch.

“It’s really where the industry is going,” Hardy says. “They’re cutting out plastic water bottles on set and really looking at the emissions and carbon footprint.”

Credit: Courtesy of William F. White

Ian Harvey is a journalist who has been writing about digital disruption for 20 years. He welcomes feedback and eagerly solicits subject matter ideas at ian@pitbullmedia.ca.

Credit: Courtesy of Sim

C

anada’s movie sets are getting greener with the debut of rechargeable mobile power stations. Both Sim International and William F. White rolled out their giant battery packs late last summer and demand is such that out of the gate they’ve ordered more to stock across Canada.

“Even before I joined Whites, I’ve always been looking for ways to reduce the carbon footprint as an industry,” David Hardy, William F. White’s VP of Stakeholder Affairs and Sustainability, says. “So these are not only quieter than a super quiet diesel, they’re emissions free, which is big for us.”

The company has two models each in 6 kW and 26 kW with 20 more in each on order, while Sim has two 72 kW models in Vancouver and is looking at adding them across the country.

Clearly, it’s an idea whose time has arrived, not just because they essentially have no emissions on set, but also because they bring an added dimension to the always tricky logistics of sets.

Sim’s Senior VP of Production Services Jeff Ramsay says no diesel means shooting in parks or environmentally sensitive locations, and even residential neighbourhoods – who mutter about the incursion of film crews at the best of times – are more accepting if there’s no diesel generator puttering away 12 hours a day. Noise, of course, is a factor, and while the units have fans and hum, it’s relatively minor compared to generators.

Their size and their zero emissions also mean they can be loaded into elevators or lifted into high rises where there may not be power for lighting and there are issues with exhaust for traditional generators. Similarly, they can be brought closer to the setup without super long cabling.

Beyond filming, Ramsay says, they’re also ideal for keeping the support ecosystem of a film set running, such as the craft table and the on-set workflow tech stations. “They won’t necessarily replace all diesel generators on sets, but think about it, if you have 100 productions a year in Canada and we replace one generator on set, that’s 100 generators and less emissions, and that’s something,” he says.

It does add up. Sim says their unit cuts up to 124kg of CO2 emissions savings per charge. They’re also about the same size and weight of a diesel and offer 125 kW of power storage with 72 kW output, with a three-phase 120/208V power supply at 200 amps per phase.

While Sim designed and built their own units, William F. White has been working with Vancouver-based Portable Electric, which has been selling its Volt Stack products to a variety of sectors and has expanded into the film and television sector.

It doesn’t take a degree in electrical engineering to understand there are some limitations to the output of these units compared to diesel, but, as always, it’s about knowing what’s needed and where. They won’t run M40s all night, but they’ll stand up for LED or lighting with lower draws.

Canadian Cinematographer - January 2020 •

29

CSC Camera Assistant Workshop October 19 - 20, 2019, Toronto

Lem Ristsoo instructs the class.

Ilya Sarossy

Sora Shin

Ryan Offenloch and Moulid Ismail

Credit: Carlos Esteves csc

Student Ryan Offenloch watches a setup.

30 • Canadian Cinematographer - January 2020

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Production Notes & Calendar

Classifieds

100, THE VII (series)

DP Gerald Packer csc

to March 19

Langley

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BONZO AKA TWILIGHT ZONE II (series)

DP Craig Wrobleski csc

to March 17

Vancouver

BLOOD & TREASURE II (series)

DP Ronald Plante csc Camera Operator Alfonso Maiorana

to January 22

Montreal

CHILLING ADVENTURES OF SABRINA, THE II (series)

DP Stephen Maier (alternating episodes)

to February 19

Langley

DC’S LEGENDS OF TOMORROW V (series)

DP David Geddes csc, asc (alternating episodes)

to January 29

Burnaby

EXPANSE, THE V (series)

DP Jeremy Benning csc & Ray Dumas csc (alternating episodes)

to February 26

Toronto

FIREFLY LANE (series)

DP Vincent De Paula csc

to January 21

Burnaby

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FLASH, THE VI (series)

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GRAVITY PRODUCTIONS AKA TWILIGHT ZONE (series)

DP Craig Wrobleski csc

March 16

Vancouver

GREEN HARVEST III (series)

DP Glen Keenan csc C Camera Operator J.P. Locherer csc

to February 6

Toronto

HARDY BOYS, THE (series)

DP Fraser Brown csc B Camera Operator Robert J. Barnett

to January 22

Toronto

HOME BEFORE DARK II (series)

DP C. Kim Mikes csc

to June 24

Richmond

IN THE DARK II (series)

1st Assistant Pierre Branconnier

to January 27

Mississauga

NANCY DREW, THE (series)

DP John Bartley csc, asc

to April 7

North Vancouver

OMENS (series)

DP Bernard Couture csc

to February 29

Burnaby

RIVERDALE IV (series)

DP Ronald Richard (odd episodes)

to April 17

Langley

SISTER RISING III – (fka STREETS OF YESTERDAY) (series)

DP Marc Laliberté csc (even episodes) 2nd Unit DP Paul Sarossy csc, asc, bsc

to February 28

Toronto

SNOWPIERCER II (series)

DP Thomas Burstyn csc, nczs (alternating episodes)

to March 20

Langley

SUPERGIRL V (series)

DP Michael Storey csc (even episodes) 2nd Unit B Cam Op Justin Beattie

to March 17

Langley

SUPERNATURAL XV (series)

DP Serge Ladouceur csc Camera Operator Brad Creasser

to April 3

WINTER IN VAIL (MOW)

DP Neil Cervin csc

WOKE (series)

DP François Dagenais csc

to February 25

North Vancouver

WYNONNA EARP IV (series)

DP Gavin Smith csc

to May 15

Calgary

JANUARY 14, The 2019 Masters Award Presentation - Nicolas Bolduc csc, Montreal, csc.ca 16-17, Micro Salon Paris, microsalon.fr 23-Feb. 2, Sundance Film Festival, Park City, Utah, sundance.org 24-30, Slamdance Film Festival, Park City, Utah, slamdance.com 30-February 1, BSC Expo, London, U.K., bscexpo.com 31, CSC Awards entry deadline, csc.ca FEBRUARY 6-7, HSC 25th Anniversary & Cinematographer's Conference, hscmot.hu

@canadiancinematographer @csc_CDN

32 • Canadian Cinematographer - January 2020

Burnaby Calgary

MARCH 11-15, Kingston Canadian Film Festival, Kingston, ON, kingcanfilmfest 13-14, IMAGO_SBC CINE EXPO, Brussels, Belgium, imagoawards.org 14, IMAGO Awards, Brussels, Belgium, imagoawards.org 23-29, Canadian Screen Week, Toronto, academy.ca/ awards APRIL 4, CSC Awards, Arcadian Court, Toronto, csc.ca 18-22, NAB Show, Las Vegas, nabshow.com 25, CSC Screening at TIFF, Eternal Sunshine of the Spotless Mind with DP Ellen M. Kuras asc, csc.ca

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

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416 636-9587 or rvbocking@rogers.com ALEXA ITEMS FOR SALE Arri Alura T2.9. 18-80mm (PL Mount, Feet) CAD$20,000 OBO Arri Eyepiece Leveler (EL-3) Brand New CAD$400 OBO Arri Viewfinder Cable Medium KC151S Brand New CAD$350 OBO Please email Ian Toews csc at: ian@291filmcompany.ca Canon CN-E Prime Lenses 24mm T1.5, 35mm T1.5, 50mm T1.5 In excellent condition. EF mount, covers S35 and full frame. Asking $3400 each.

Contact info@johnker.com.

35 4x5.6 Schneider filters: ND’s, color correction, diffusion, grads 2 138mm Tiffen Tobacco, Sunset grad 2 138mm Schneider Tru Pola, 85 Pola 2 138mm Schneider CU diopter #1, Cu Diopter • includes case and pouches for every filter.

• Excellent condition • 4x5.6 and 138mm. clears included Today’s value in U.S. dollars $13,705 U.S. Selling price $9,500 CDN PLEASE CONTACT: Bert Tougas H: 514-634-2374 C: 514-913-2376 I have 15 - 3x3 Tiffen filters for sale - fogs, Promists Grads, 812's etc. all with cases $185.00 - contact Barry Casson csc - 250-721-2113 or e-mail bcasson@speakfilm.com TIFFEN ULTRA STEADICAM , HD Ultrabrite color monitor ,HDMI Decimator 2,Iso-elastic arm, 4-24 volt batteries, 1-Pag battery charger 24v,1-Lentequip battery charger 12/24v,Klassen vest and carrying bag, 1 Preston F1+Z transmitter 1 Preston MDR-1 receiver,1 Preston control, 2 motors, 2 batteries, charger, numerous Hill motor mount brackets rossette brackets and rods, 1 long dovetail plate,1 short dovetail plate, 1 docking bracket,1 fgs wheel chair/dolly adaptor,rain cover, too many cables, hard cases and accessories to list.This rig was well maintained looks new,all it needs is a few upgrades. $3,5000.00 can 416 817 3938 or acadian@rogers.com Rick Kearney Preston FIZ 2 kit - $5,000 2 x Arri MB-20 studio matte box - $8,000 Arri LMB-15 Clip-on matte box - $1,200 Power-Pod Classic - $5,000 Please contact Michael Balfry csc @: michaelbalfry@ gmail.com for a complete list of items.

Looking for a set of old, no longer used, standard legs with Mitchell base. Or any type of disused heavy camera support.

This is to be used to mount a Mitchell BNCR camera in order to place it on display. Anyone with access to such a tripod or with information about one, please contact me: rawi@earthlink.net 416-691-6865

CAMERA CLASSIFIED IS A FREE SERVICE PROVIDED FOR CSC MEMBERS. For all others, there is a one-time $25 (plus GST) insertion fee. 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.

“The image that the LF and the Signature Primes produces seems to me, more like what my eyes see than anything else I have experienced so far.”

— Roger Deakins CBE, ASC, BSC

Thank you Roger for using the ALEXA Mini LF and Signature Prime lenses, and choosing ARRI Rental to support you.

www.arrirental.com

www.arri.com

Light meets might When you think brightness and daylight, you typically think HMI – but NanLite’s new lightweight Forza series of COB LED fixtures are about to change your mind!

With low power consumption and low heat, they provide incredibly high output, similar to small and medium-size HMIs, but with virtually none of the drawbacks.

They’re AC and battery operable and remote controllable, offering instant on at colour temp – with special effects, to boot – and work brilliantly with a broad range of available light modifiers. These rugged monolight-style LEDs come in an ultracompact Forza 60 series, for the ideal kit light, as well the Forza 300 and 500 models, boasting up to 66300 Lux output, for the perfect solution whenever more punch is required.

Come into Vistek to check out the new Forza series, because seeing is believing.

COMMERCIAL SOLUTIONS GROUP Direct: 416- 644-8010 • Fax: 416-644-8031 • Toll-Free Direct: 1-866-661-5257 • CommercialVideo@vistek.ca

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