Canadian Society of Cinematographers Magazine October 1990

.,.,,

NEXT MEETING: OCTOBER 15TH

THE CANADIAN SOCIETY OF CINEMATOGRAPHERS NEWSLETTER VOL. 10 NO.2

OCI'OBER 1990

TORONTO, CANADA

ISSN 0820-3431

The Canadian Society of Cinematographers was founded in 1957 by a group of Toronto, Montreal, and Ottawa cameramen. Since then, over 500 cinematographers and persons in associated occupations have joined the organization. Our members now represent the film and video community in all ten provinces.

Our aim continues to be to promote and foster the cause of cinematography and the interests of the Canadian film and video community.

CONTENTS Feature Article: Profile on Ron Stannett esc .... Wang Chow ... page 3 Letter from Amsterdam . ... Robert Rouveroy esc . .. page 7 Report on September Meeting .... Wang Chow ... page 12

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

Carrottop Comer .. . Lori Longstaff .. . page 14 CSC Executive President: Robert Bocking esc Vice-President: Joan Hutton esc Secretary: Wang Chow Treasurer: Duncan MacFarlane esc Membership Chairman: Jim Mercer esc Public Relations: Lori Longstaff, Kenneth Post esc Education: John Holosko Awards Chairman: Jim Mercer esc

OCTOBER MEETING

Membership inquiries: (416) 271-4684

An Evening With Kodak: Information Update on 7296 and 5248 Stock Colin Davis, Fred Goodall, Loreto Leombruni, Diane Cappelletto and Mike Zakula

Editorial Office and CSC Office: 89 Pinewood Trail Port Credit, Ontario LSG 2L2 Tel: (416) 271-4684 Fax: (416) 271-7360

Monday, October 15th, 1990 at 7:30 Editor in chief: Robert Bocking, esc Editor: Jennifer Hietala

Film House 424 Adelaide Street East Toronto, Ontario

The Newsletter is printed in Toronto and is published ten times a year. Subscriptions are available for $75.00 per year in Canada and $95.00 outside the country.

Photos of Ron Stannett esc by Anthony Bliss on location for "Top Cops", Grosso Jacobson Productions.

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OCfOBER 1990

''I think we've sat in the shadows too long. A new generation is emerging.

There are people .who are making Canadian films and they are going to do well."

These encouraging words were expressed

by Australian-born cinematographer Ron Stannett esc in his comfortable Cabbagetown home in Toronto. Whether his optimism will translate into a successful and prosperous Canadian film industry, perhaps only time will tell. Certainly there have been many commercially successful and critically-acclaimed CanadiaQ films made in recent years.

Personally speaking, Ron Stannett has reason to be optimistic - he is presently shooting the new television series "Top Cops". So far, he has shot the

pilot plus thirteen episodes. The remaining episodes will keep Stannett gainfully employed at least until Christmas.

The brainchild of producers Sonny Grosso and Larry Jacobson in association with CBS, ''Top Cops'' is made up of dramatized accounts of law enforcement from the police officers' point of view.

Based on actual American cases, ''Top Cops" is built on the old-fashioned, unambiguous theme of good versus evil with plenty of action thrown in. Filmed entirely in Canada with Canadian talent and crews, ''Top Cops'' is a more exciting derivative of "Night Heat", also produced by the Grosso-Jacobson team.

In episode seven, ex-marine corp Bobby Yzquerdo (pronounced Is-ker-do)

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was hired by the local police on the condition that he had to work under cover for an extensive period of time. His mission was to seek out and facilitate the arrest of elusive drug dealers. In order to infiltrate the drug world, Yzquerdo disguised himself as one of the "low life" and lived among the drug addicts and pushers. Not even his family was told of his identity or whereabouts. Drug dealers became his only friends. In his own words, "before my dream could be realized, I had to endure a nightmare." It wasn't long before his nightmare became a reality. He came within a hair of having his head blown off by a violently explosive drug addict. The Yzquerdo episode contains realistic dialogue and engaging characters and is well-

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scripted. If the rest of the series is of the same calibre, ''Top Cops'' will be another hit for the Grosso-Jacobson team.

On the subject of lighting, Stannett says: "I am a great believer of the direct source. If I can cover something with a 6K, I would. I would then fill important areas with smaller 2K zip lights. The simplest way is often the most pleasing way because you can get tied down in lighting. I've experienced where you are over-cautious, then for some reason a light gets turned off and you say, 'wow, turn that one out too' and suddenly you've got it!"

In photographing the world of crime and drugs, OOP Stannett appropriately uses harsh, contrasty lighting with plenty of dark shadows as his cinematic foundation. The skillful Qrchestration of camera movements and camera angles further increases the impact of the shots.

Occasionally Stannett executes a subtle, almost invisible zoom in or dolly move to take the audience closer to the action.

The liberal use of reds, greens and indigo in his lighting for the night sequences, in particular the bar scene in episode seven (with ex-marine Bobby Yzquerdo) seems to be his personal statement about the sordid and perverse people enslaved by narcotics. Of all the colours available on Stannett' s pallette, he seems to favour indigo. This ghostly violet-blue hue is such a recurring theme in many of his films that one is tempted to nickname Stannett "Sargeant Indigo".

Stannett' s penchant for indigo is only equalled by his acceptance of the rigorous demands of the cinematographer's job. His positive attitude and self-confessed tenacity are two reasons why he is doing well. ''The business is demanding.

Unless you can accept that you won't stay in it. But it has its rewards too. I am very happy with what I'm doing and I thank God for that. Also, I haven't had any major disasters. I've never had to reshoot.

There have been close calls such as the time when I was in Dusseldorf filming the 4

Nazi War Crime Trials. I was down to my last roll of film when I reached for the new shipment. I came upon an unusual situation. The tape around the film can was loose, which is uncharacteristic of Kodak stock. I had the gut feeling that something was not quite right. I opened the can and found the words 'inspected for customs' stamped on the first 100 feet of the roll!"

Oose calls, such as this one, are likely to happen occasionally to camera people who have been working as long as Stannett. After thirty years in the film business, Stannett's career has reached a plateau. Since 1986, he has photographed a number of television series and commercials as well as two specials with singer Rita MacNeil. With justifiable satisfaction, Stannett reflects on his good fortune.

"Because I work steadily, I don't have to knock on as many doors as I perhaps should.

I certainly would like to meet other producers and directors. There are people out there doing different kinds of cinematography and unfortunately I don't get to see them.''

Stannett's list of credits as DOP and director nearly encompasses the full gamut of film genre. It includes two features, numerous commercials, documentaries, one music video, four TV series and others. What else is left that he hasn't already done? Stannett would love to shoot a feature with a reasonable budget where he has "total control".

The documentary ''Flying on Her Own" where Stannett was both director and cameraman, came very close to being such a film. Filmed entirely on location in Nova Scotia and New Brunswick, this one hour show was shot in just six days. Except for the lack of time, all the ingredients to make this TV special a great film were in place.

For music lovers, "Flying on Her Own" is a delightful film to watch. The menagerie of good music performed by talented artists included classical, jazz, country, Irish, contemporary, rock and others.

Stannett superimposed images on top of one another for some of the songs to give OCfOBER1990

the film a dream-like quality. In some respects, "Flying on Her Own" is like a classy, sophisticated adult's music video, if there is such a genre, that conveys the joy of music on a pure and spontaneous level.

Stannett's smooth, hand-held shots are bold and gutsy. The confidence he shows with his camera is testimonial to his many years of experience. There is a remote possibility that Stannett will work with Ms. MacNeil again this fall when she tours Australia. Should that come to pass, it will be a special homecoming for Stannett.

It was in Australia that Ron Stannett began his film career more than thirty years ago. Back then, he wanted to be an actor. To that end, he studied acting and performed professionally for a short time.

However, it wasn't long before he found his true calling.

When young Stannett entered the workforce at age 18, his first job was with a country TV station in Townsville, North Queensland. Quite typically, an employee of a small TV station has to wear many hats. During the two years he worked in Townsville, Stannett was the TV station's driver, audio operator, master control director, weekend cameraman, news reader, as well as a children's and sports show host. Eventually, it became apparent to Stannett that a successful acting career in Australia was unattainable since opportunities were scarce.

After two years, Stannett left Townsville and took a job as a live studio cameraman in Sydney. After working behind the huge Image Orthocon cameras for about a year, he began shooting news.

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second only to Chicago. With infamous crime figures such as ''Pretty Boy'' Walker and others roaming the streets, shooting news with a Bell & Howell was very exciting to the boyish twenty-one year old Stannett. Stannett's initial excitement with news-gathering eventually turned into a life-long love affair with cinematography.

The training he had received on stage was thus temporarily put on hold. Many years later, acting regained its prominent place in Stannett's life.

He explains: " Having been an actor gives me an understanding of drama.

It also gives me understanding of the actor.

My mother had me on the stage when I was about eight years old. This gave me an inbuilt feeling for the craft. It wasn't something I learned as a cinematographer.

The drama aspect has been with me for a long time. Having that knowledge helps with the speed in which we have to work.

The good look of 'Top Cops ' is the result

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of experience with lighting, of having shot both documentaries and commercials as well as the understanding of drama. ''One of the problems we have in Canada is that we've never had a star system. That is sad from the actor's point of view. I think that's changing because we are getting a lot of good actors coming up the ranks. In shooting 'Top Cops', a show which requires straight dramatic acting, I see actors everyday who are giving good performances.''

In an average twelve to fourteen hour shooting day, Stannett and his crew go through approximately 45 set ups. With a lot of night shoots, the work has become gruelling after several months. Like other freelancers, Stannett doesn't complain about the rigours of shooting a TV series. On the contrary, he feels very lucky. Moreover, Stannett thinks he is well-paid for what he does.

WANG CHOW

•

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''There have been days when I wake up after having put in long hours and performed tremendous feats in order to get the job done. On those days, I wish the pay packet was four times the size. Right now it is tough with a depressed economy and the high cost of living. Toronto is an expensive place to live. One would always like more. I would like to look at it this way, maybe it isn't the right way for other people, but I am lucky to be working and doing what I like to do.' ' Stannett believes that wages and salaries are not the problem in the Canadianfilm industry. The real problem is that there just isn't enough work for everybody. Stannett, however, has turned down offers to shoot other TV series, such as ENG. Presently, he is content just to concentrate on ''Top Cops''. The future will have to take care of itself.

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The only response I had to my last city) has Dutch programs. Then there are article was that it seems as if I'm down on four German stations, two British, two Holland. Funny that no one said anything French, one Italian, and, of course, CNN. about the technical details I gathered; per Remarkably, foreign programs that appear chance everyone knows all about it and on Dutch television are broadcast with I'm beating a dead horse. Perhaps there is Dutch subtitles; no attempt is made to less interest in the future of television than lipsync these programs in Dutch. This is I imagined. quite satisfactory, however, sometimes the In early October I'm attending the person who does the translation doesn't Photokina in Germany, where I expect to know various expressions and vernacular run into Gerd Kurz among other CSC so something quite different is uttered than members. So I'll find out about the new what one reads. developments in motion picture equipment Germany lipsyncs everything, and I promise I won't talk video to you for including American shows, which makes them rather funny to watch if you've seen a while.

Now back to the issue where I was the original. They really do an excellent less than flattering to Holland. I stand by job as in most cases you would swear my mention of the idiotic projection prac- they're actually speaking German. They tices here, where the first twenty minutes go as far as matching the same voice sound. are occupied by advertising. On this point The British don't transmit any I'm not alone. The attendees are rather German or French shows, that simply isn't less complimentary, they sometimes know done, you know! They stop at some Austhe ending to a particularly offensive piece tralian, American and even Canadian shows. of touting and are not above yelling ob- They are probably the most isolated bunch scene variants at the screen. However ,I'm of people in the world, TV and language reversing my observation of a few issues wise, next to the bushmen in Africa. But back, where I lamented the little choice then they correct that impression by makthere was on Dutch TV. That is emphati- ing possibly the most advanced documencally not sol taries in the world! Their "Cities of the While it is true that Toronto may World" series is absolutely a delight, a receive the most TV stations in the world mixture of music video techniques and a on cable, many are transmitting the same very advanced form of TV editing. I program material. In that regard, Holland recently saw a program called "Hyperhas probably more diversification. Next to land", a show by Doug Adams of 'Hitchthe three Dutch stations, there is another hiker to the Galaxy' fame, purporting to be station in Luxembourg transmitting in Dutch, the computer future. It was absolutely Belgium has two more Flemish (a variant stunning! on Dutch), Superchannel, the Sports chanThe Belgians who are hemmed in nel '8lld a local broadcaster (in every large from all sides do it one better. They under-

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title in both French and Dutch. They haven't much money so they import shows from all over and by that token often are quite popular with the viewers.

The French don't show much foreign material as they are simply not aware that anyone speaks another language.

Rather than lipsyncing foreign programs, they just mute the sound and someone in a rather bored voice explains what is going on. After all, you can't have a Boche or Americaine speak the one and veritable language, hein?

Everyone, but everyone speaks ill of CNN. But it is without doubt the most watched station in the world, especially with the current gulf crisis going on, so they must be doing something rather well.

Still, I think we are quite fortunate . with the choice of stations in Holland.

Subtitling also helps one understand another language: I have not met a Dutch person yet who didn't speak some English.

By the same token, I am picking up my, albeit rusty, German again.

Very occasionally other countries have programs that get shown on cable.

Yet within the anticipated future a DBS (Direct Broadcasting Satellite) will distribute a plethora of communication, with direct feeds from all over. Such DBS already are received on $500 dishes, more and more TV sets have built in satellite receivers and for those who live outside the cities and have the bread, large dishes receive NBC, CBS, ABC, Russia, China, and the Gulf States. Sadam Hussein in living colour, day and night! Oh joy.

I visited a friend who has everything but everything and I spent a day scrolling through the satellites. Far-out!

Now this gentleman is very well heeled and insists on the best. He bought an Apple Macintosh FX computer with a 24 bit realtime vi~ card and a Barco monitor from Belgium and he now watches TV that looks better than what engineers in broadcasting stations see on their studio monitors (because the analogue TV signals are rendered digital to the computer). By the way, this is also possible with NTSC in 8

Canada, even without satellite feeds. If an obsessed technofreak (are you listening, Bert?) so wishes, this Apple configuration will display NTSC as nobody in the studio can see it. Only costs $20,000 or thereabouts and that's a bit much for a TV set..

If you don't have that kind of bread, please wait a while until Faroudja 's Super NTSC comes on stream. Nearly as good for maybe $2,000. He doubles the lines along the same idea as the 100 line PAL receivers, now enjoying a good run.

However, D2MAC has started (satellite) broadcasting and that is a completely differentkettleoffish. MAC stands for Multiplex Analogue Components and D2 pertains to the added information transmitted so the picture becomes 16 x 9 or as close to the 1:85:1 film system as we wish.

The first sets were exhibited a few weeks ago and they are remarkable. The picture quality does not come close to true HDTV of course, but then D2MAC is intended to be a stopgap until true HDTV is attainable, again by proprietary compression and adequate memory chips. But the bonus is true CD sound and 6 channels for multiple translations, subtitling and whatever.

Now you might recall I talked a while back about Philips~ the electronic giant, cutting back and reducing their work force? This was because Philips, without warning pulled out of the gigantic European effort (among others, Bosch, Telefunken, Siemens, Thompson CSF) to develop very large integrated memory chips.

But why do you think Philips would do that? Their stock went down and has remained down. However, I've heard from a very good source that they 're about to unveil what will be a quantum jump in electronics: either an optical memory chip and/or a low temperature superconducting chip. The particular type of superconducting transistor used is a variant on the Josephson junction. It was announced by the University ofTWente in Holland a few months ago, just before Philips backed out.

This university promptly made a detector for very faint magnetic fields, emanating from the human brain.

OCTOBER1990

This is all rather interesting given that superconduction was invented by a Dutch professor by the name of Kamerlingh-Onnes in 1911. Anyway, it looks like Philips will soon be on top again.

Now for some more Holland bashing. I am slowly beginning to fmd my tum in Amsterdam. This city has much the same association with the Netherlands as New York has with the United States. The people are quite different in attitude and tolerance. My particular part of town is heavily populated by Turks and Marocs with a sprinkling of Egyptians and even a few Irakese. The comer shoarma (Arab delicatessen?) has already had a few knife fights but details are sketchy.

The city is rather filthy as everyone throws paper scraps etc. around.

Toronto, on the other hand, is considerably cleaner. The traffic is totally nuts, reminiscent of driving in Italy. Ever tried that? Everybody goes their own way with very little notice of traffic signs. To own a bike is a giggle. I mean, unless you anchor your bike to a tree or a lamppost with a whopping chain, chances are that sooner or later your bike will get filched ... and that's during the day!

Even with those chains, thieves cruise around during the night in a Volkswagen bus, jump out with powered metal shears, snip-snip and goodbye bike.

Listen, I'm not just bs-ing! My longlifelove Ingrid just had her bike snatched and that was not even in Amsterdam, but in The Hague, considered more or less safe.

But enough bashing. Amsterdam is also incredibly alive. I was proud to show it off a bit to Mike Lente esc who recently passed through on the way to Hungary with his new lady. Although I was only able to show them a small part of Amsterdam, they appeared to enjoy the special "Rouveroy" tour.

My daughter, Doma, is directing a new picture with George Kennedy and rock star, Clouzeau (who made quite a splash with the European top hit "There She Goes"). In future issues I will report on the European way of making movies as I have already noticed quite a few differences.

This seems to be all this time. If I can help any of you with some information, please let me know. Bye for now.

Robert Rouveroy esc

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Cudah Andarawewa The man responsible for "Debacle" is Cudah Andarawewa - Debacle Productions, that is. This tongue and cheek company name is quite a contrast to the rather serious camera assistant who hopes to be a shooter one day. Cudah's ambition is bolstered by a Bachelor's degree in film from Ryerson, the successful completion of the CSC camera assistant's course in 1987, as well as additional professional experience as camera trainee, 2nd camera assistant, PA, and assistant editor. Cudah 's background is not unusual by any means. In fact, more and more assistants and cinematographers are breaking into the industry with similar credentials. They are the new breed.

Last year Cudah assisted cinematographer Naohiko Kurita esc on an IMAX film. He was on location in South America for three months; much of that time in the Amazon Jungle. Prior to the trip into the rainforest he spent two weeks in England shooting tests. The IMAX experience marks one of Cudah 's career highlights to date.

Some of the anecdotes from this shoot were published in the June '90 issue.

According to Cudah, the large format ofiMAX is not very different from 35mrn or 16mrn, however because an IMAX camera can weigh 90 lbs., it takes longer to set up.

Moreover the camera assistant has to be more technical and is required to know the camera thoroughly. With the large film surface area at high film speed, great care was exercised to prevent scratches. The IMAX cameras required more cleaning and oiling than smaller formats.

More recently, Cudah 2nd assisted for Brian Hebb esc on the NBC movie of the week entitled "Ice Princess". This was a four-week union shoot. Other camera crew members were Barry Bergthorson (operator), David Niven (1st assistant), Bob Hillman (trainee).

Looking into the future, Cudah would like to move up to focus pulling and eventually to shooting.

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OCTOBER 1990

Gary Brown Gary Brown is an articulate individual who studied film for five years at the ~ova Scotia College of Art and Design. His academic background is complemented by solid, hands-on training he received during the 1989 CSC Camera Assistant course. For Gary, whose aspiration is to be a director, working as a camera assistant is a good stepping stone towards his goal because it enables him to be close to the director, OOP and actors on set.

This summer Gary assisted Ken Gregg esc on the series "Sketches of Our Town". Inspite of this, 1990 was a bad year for him financially as it was for others in the industry.

Prior to coming to Toronto, Gary worked for two years at Centre Productions in Colorado and Vermont. He was inspired by the American "movers and shakers" who exhibited a tremendous sense of richness and bravado. On a more practical level, he learned as an assistant to be fast, yet precise and professional. Gary wishes to continue his career in Canada.

Applications for the 1991 CSC Camera Assistants Course will be available by the end of November. Please call the office (416271-4684) at that time to have an application sent to you.

The Society offers this course once a year. It is a very specialized, hands-on course for camera assistants with an appreciation for assisting, who are looking to upgrade and expand their knowledge.

The course is a very intensive learning experience. The numerous instructors involved in the course are working assistants and specialists in their fields.

The course is not on a first come first served basis. The applications are carefully screened by the selection committee whose difficult task it is to choose 12 students from over 60 applications.

CSCNEWS

Conrad Beaubien (Producer/Director) of "Sketches of our Town" with Ken Gregg esc (DOP) and Gary Brown (Assistant).

I

t

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tec h nologies are a t yo u r com ma nd .¡

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I I AGE I S E VE I Y T I I NG ~~[!]~[1J[YJE2J[rn~[][]~~[mJ T he IMAGE GROUP CANADA LT D. 26 So ho Street, Tom nt o, On ta r; o, Canada M5T IZ7 (4 16) 59 1- 1400 Fax (416) 591-6854

WORKSHOP 306 REX DALE BLVD ., UNIT 7, RE XDALE CANAD A M9W 1R6

11

TEL (416) 741-1312 FAX (416) 741-1894

SECRETARY'S REPORT An Evening with Dave Crone,

Steadicam Owner/Operator

u

OCTOBER 1990

Those of you who are familiar with Steadicam, know that the operator has to be in good shape.

The all-up weight of the Steadicam rig can be 70 lbs.

Although size and strength are definitely assets to the Steadicam operator, according to Dave stamina is more important, citing the fact that there are now several female Steadicam operators.

Dave Crone's Steadicam rig was demonstrated to over thirty members and guests at the September meeting. The audience consisted of a good mix of youth and experience. The enthusiasm and appreciation shown by the group was encouraging.

Dave's impressive Steadicam costs approximately $100,000, although there are two less expensive versions available now. Dave uses a fourchannel wireless remote control so his assistant can roll film, zoom, follow focus and set the aperture without having to touch the camera. Additionally, Dave offers video assist on a wireless monitor. The video assist gives the OOP a "fighting chance" against his Steadicam operator. The DOP and director can watch the monitor and see each shot unfold, thus eliminating a lot of misunderstandings.

Since it was first introduced in the mid 1970s, Steadicam has changed film and video production techniques all over the world. It allows the camera to move more freely - arching, doubling back, boo~g. panning, and tilting simultaneously in a way that would drive a dolly grip insane. Hollywood cameraman Garrett Brown and Ed DiGiulio of Cinema Products Corporation shared an Oscar in 1978 for the invention and development of the Steadicam. The very first film that used the Steadicam was "Bound for Glory", for which it received the technical Oscar.

Dave mentioned that there are now four Steadicam operators in the Toronto area and two in Vancouver.

Dave's next project is a feature "Year of the Gun" which will be shot in Rome over the next few months.

CSCNEWS

On October 23rd, 1990 Divemasters International will Present the International ''Man of the Year'' Award to

John Stoneman esc 47 Glenbrook Avenue, Toronto, Ontario Reception 6:00 pm Dinner 7:00pm

Divemasters International is an organization dedicated to environmental awareness, conservation and preservation. Nearly all of John's films are devoted to the preservation of marine life. In this regard he is a pioneer in using the underwater camera to promote environmental awareness. He is one of the leading underwater cinematographers in the world.

Persons wishing to attend or who would like to send a letter or telegram of congratulations, should call Phil Lazar at (416) 638-7363 .

13

CARROTTOP CORNER

Toll free number: 1-416-553-7356

Barry Gordon esc was recently in town for a reunion of the Canadian army's World War II Film and Photo Unit.

The slogan for their reunion was "we recorded history".

Mr. Gordon developed 3D 70mm film for United Artists. · He started in the business at age 16. Mr. Gordon's career began as a film production coordinator at the CBC. When he left the CBC he went into the lab business, but he left that to do the design work on "A Place to Stand" with Chris Chapman and Dave McKay. As Mr. Gordon explained, it was a 145 minute feature film shown in 17 minutes. In 1966 Mr. Gordon spent over two hundred days riding in the back seat of a Ford Mustang travelling to various locations throughout Ontario. They carried their camera equipment in the boat that they towed behind the car. After shooting they were over six months editing the film.

When only the best will do.

"A Place to Stand" won an Oscar. Mr. Gordon, at 70 years of age, is officially retired, although he still does some consulting from time to time.

DOP Alan Home is shooting "Stepping Out" with John Harris (operator), Brian Harper (1st assistant), Stuart Aziz (2nd assistant). Dave Crone and Matt Tundoe are also operating.

"Married to it" with OOP Vic Kemper is also shooting here with Andy Schmura (operator), Mike Hall (1st assistant) and Rick Perotto (2nd assistant).

"Car 54" is being shot by Rodney Charters esc, Gord Langevin (operator), Patrick Stepien (focus puller) and Audrey Smith (2nd assistant).

Peter Luxford esc is DOP for "The Dog House" with Angel Gonzalis (operator) and Roger Finley (1st assistant).

STILL "THINKING" ABOUT BECOMING A MEMBER?

PS & Cinevillage, 65 Heward Ave., Toronto, Ontario, M4M 2T5 (416) 466-0377; Fax: (416) 466-9612 WHY NOT CALL FOR AN APPLICATION.

tel: (416) 271-4684 fax: (416) 271-7360

FOR TECHNICAL INFORMATION CONTACT ROSCO OR ANY AUTHORIZED ROSCO DEALER ROSCO LABORATORIES, LTD., 1271 DENISON STREET n66, MARKHAM, ONTARIO L3R 485 TEL. (416) 475·1400

FAX (416) 475-3351

Offices in New York , Hollywood, London . Lisbon, Medrid

14

OCTOBER 1990

Water Visions ...

Vancouver member Pauline Heaton is president of Water Visions, a company that develops underwater camera and lighting systems. It is the only company in Canada that manufactures state-of-the-art camera housings and lighting equipment specifically designed for underwater filming.

"When we were developing the equipment, we also found there were no lights specifically designed for underwater filming so we invented an underwater motion picture lighting system," says Heaton.

"It's a portable, compact, high-intensity light that we have been renting out all over Canada and sometimes to Los Angeles because there's only a handful of manufacturers in the States. Lights that were used before had hot spots and weren't designed to flood underwater. Our lights are quartz halogen and have a light path designed for underwater use. You have 650 watts in a very small light that can plug into regular household current and can be used on a light stand on a pool set or right out in the ocean."

Production credits include: "ChildrenofaLesserGod", "DeadZone", "Bird on a Wire", "Danger Bay Series", "21 Jump Street", "MacGyver", "Beluga Whales", and "The Official Olympic Film" (Calgary Winter Olympics).

Pauline is a graduate of Ryerson Polytechnical Institute in Toronto.

Lori Longstaff

Clairmont Camera is on the Lot at North Shore Studios.

555 Brooksbank Avenue, Bldg 7, Suite 130 N. Vancouver, B.C. V7J3S5 • {604)984-4563

0~ GRIP

RE~AL'i ~C6>

416/588-6871

GHTSOURCE

INC.

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CSCNEWS

15

•

FAJ<:(416)8~261

Sony BVW-505 CCD Camera and SP Recorder.

Single owner, single user; in excellent shape.

(Also will consider selling Fuji 9x14 Pegasus II or Angenieux 8xl4, ifrequired. This is a very good camera. I am only selling it now because I received delivery of a new Sony "400"). $ 17,000 Sony VAl-V Recorder Adaptor (to use SP recorder as stand alone unit; or CA-3 & VAI-V can be used together to separate Betacam camera portion from the recorder -- as new condition). $ 1,500 "Kangaroo" Case for Sony YAI-V & Recorder (as new) $ 125 Arri lOOOw Bluebells (as new, little use) $325 each Precision Camera "Light Beam" (new, with case) $ 1,900 Call Jim Aquila esc Hamilton: (416) 545-4773 Toronto: (416) 346-5786

eastman Films,

a family of motion picture films to push the limits of your imagination.

EASTMAN EXR Color Negative Films 35 mm 16 mm Speed H

Illuminant

5296 5245 5248

Tungsten Daylight Tungsten

7296 7245 7248

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EASTMAN Color Negative Films 35 mm 16 mm Speed E.L 5247 5297

7297 7292

Medium High High

125 250 320

Illuminant Tungsten Daylight Tungsten

KEYKODE Numbers: The key to better filmilandling.

A , _ 1. New human readable edge numbering format. ~

2. New machine readable KEYKODE numbers.

For further information on these camera negative films, call Kodak Canada lnc .. 1-800-465-6325. or fax 416-760-4456.

Ask for Customer Service Representatives Lucie Bourdages, Chris Knight or Pam Seckington

Technical Sales Representatives Montreal: (514) 761-3481 Michel Golitzinski Vancouver: (604) 684-8535 Alec Besky Toronto: (416) 766-8233 Mike Zakula / . .

Diane Cappelletto Pro duct Specta11st: Toronto: (416) 760-4452 Loreto Leombruni

Cast man The Filmmakers' Film Maker Monday, October 15th at 7:30 Kodak Information Update on 7296 and 5248 Stock Film House 424 Adelaide Street East Toronto, Ontario

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