Canadian Society of Cinematographers Magazine February 1990

I FEBRUARY 1990

VOL. 9, NO. 6 ISSN 0820-3431

I

NEXT MEETING: FEBRUARY 26TH - HOSTED BY LEE COLORTRAN AT PRECISION CAMERA, 181 CARLAW AVENUE, TORONTO

THE CANADIAN SOCIETY OF CINEMATOGRAPHERS

NEWSLETTER VOLUME 9

NUMBER 6

FEBRUARY 1990

TORONTO, ONTARIO, CANADA

ISSN 0820-3431

Dear Members,

Editor in chief: Robert Bocking, esc Editor: Jermifer Hietala

Just a reminder that the deadline for submitting films for the awards is fast approaching. If you're planning on entering the awards this year now's the time to do so!

Editorial Office and esc Office 72 Fraser Avenue, Suite 203 Toronto, Ontario M6K 3E1 Tel (416) 538-3155 Fax (416) 538-8821

I'm admittedly disappointed to report that, to date, the humour story 'contest' has not even received one entry! I know that there are lots of them out there just begging to be told and besides, the odds of winning are pretty much in your favour. Hopefully we'll have a 'winner' for the next newsletter.

Hope that you enjoy this issue of the newsletter.

esc Executive President: Robert Bocking esc Vice-President: Nadine Humenick Secretary: Wang Chow Treasurer: Dwtcan MacFarlane esc Membership Chairman: Jim Mercer esc Public Relations: Lori Longstaff, Kenneth Post esc Education: John Holosko Awards Chairman: Jim Mercer esc Membership inquiries: (416) 538-3155

Cover photo: Ken Gregg esc and crew of CBC's Country Canada series was taken in 1963 during filming of episode 'Little Church at Drumheller' (Alberta).

CSCMEETING with Paul Roscorla of

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.

Contents Profile on Ken Gregg esc .... 3

LEE COLORTRAN High Definition Television ... 9

Location: Precision Camera 181 Carlaw Avenue, Toronto Date: February 26th Time: 7:30 pm

Digital Optical Sound on Film ..... 11

Carrottop Comer ..... 15 Corporate News .... 18

PROFILE ON:

KEN GREGG CSC

At the 1975 Canadian Film Awards, four films were nominated for best cinematography. Three of those films were shot by Ken Gregg esc. The strength of all three films "A Bird in the House", "Next Year in Jerusalem" and "Dee Dee" won Ken the Etrog for best cinematography.

His philosophy of giving his best to every frame had made the Etrog a reality. But it wasn't always this way for him.

I spoke with Ken in his well appointed apartment in Toronto last December. Ken reflected on the qualities that a cinematographer needs in order to survive in the Canadian film and television industry. And Ken should know what he's talking about, he's been in the business and behind the camera for 36 years.

Ken received his fonnal training at the Royal Canadian Air Force's school of photography in the early 1950s. After graduating he worked as a public relations ground photographer for the air force magazine.

Here he was given all the film and flash bulbs that he needed along with a full reign in terms of creativity.

Given this great degree of freedom and the variety of interesting assignments, it was only natural that he would enjoy it.

In 1954 he left the RCAF to shoot industrial and commercial photography for Neil Campbell Photographers.

When television came to Winnipeg, he accepted a job with the CBC as a film editor and eventually became film cameraman in the news department.

His early days in Winnipeg were checkerboarded by what he now realizes were poor work ethics. A positive attitude in news was often crowded out by cynicism.

However, throughout the late fifties and early sixties, Ken and fellow CBC cameraman, Harry Makin, would spend evenings together discussing their work, exchanging ideas about lighting and various camera PAGE 3

techniques. They would then experiment with lighting and composition, often to the displeasure ofimpatient TV reporters who complained that they were wasting too much tiine! However, it was through these discussions that Ken's working attitude was to evolve.

"One particular evening we were discussing a news story covering Girl Guide cookies that one of us was to shoot the next day. We were talking about it because we had done the same story the year before. One of us said, 'I'm just going to knock it off and go home.' We heard what we were saying and at that point, realized how unprofessional our attitudes had become. You cannot allow yourself to do a sloppy job. Every frame's got to be your best. You have to make it count."

Ken went on to make it count for many years. It is was great pride that he talks about his work and the opportunities that he has had. Over the years he has shot numerous documentaries and travelled throughout the world. On a local level, he spent two summers in the early sixties, working on a children's series.

They were fifteen minute programs for CBC shot at an Alberta game farm.

The owner of the game farm would select an animal and then proceed to talk about it. It was a tremendous hit with the children and a tremendous success for the owner of the game farm! The series was done with a very small crew the director, cameraman, soundman and an AD. The crew worked very much as a team and even though Ken did not have an assistant, he did have some help, thankfully, as the camera and the tripod together weighed over 100 pounds!

Documentaries have been a great source of pleasure for Ken. Coming from a stills background where an assignment may be only a few hours, a documentary project several weeks long afforded him the opportunity to get to know the subject material and very often the people involved. It was a learning experience, if that's what one wanted to make of it.

Among those many documentaries shot with Harry Raski was the "Music of Man" series in the late seventies which took a year and a half to shoot. The success of this series led to other documentaries which included "Military Bands of the World", "Brass Bands of the World", and "Offenbach". And, at that time, the budgets were on the healthy side and so documentaries were not limited by the constraints that they often are today.

The "Children of the World Series" was produced, also in the sixties

by Unicef and dubbed into many languages. "It's one of those subjects that never ages with time," says Ken, "I've been told that those films have been seen by millions of people. It's mind-boggling that I've entertained that many people and because of that I feel that my existence has contributed something to the world."

On location in 1963 at an Alberta game farm. The camera and the tripod together weighed more than a 100 pounds.

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In 1965 Ken started shooting dramas for the Corporation and moved to Toronto six years later, in the early seventies. Some ofhis recent works include "Mama's Going to Buy You A Mockingbird" and "Two Men" (both two hour, made for tv movies) and 10 half-hour episodes of "The Beachcombers".

"To be a successful DOP, your attitude has got to be absolutely topnotched. Otherwise, if you let that down at all, your product will go down very quickly. I don't even think in those terms anymore (of not striving for perfection).

I've known a lot of DOP's over the years who were technically fabulous, but their attitudes were something else. They never got very far.

"I can recall on one particular drama, after sixteen hours outside in the middle of winter, everybody was tired, frozen and dying to call it a wrap and get out of there. We did a take that wasn't exactly right and I said to myself, 'tomorrow when everybody is warm and relaxed in the rushes, I'll kill myself when I see this shot.' So, I asked for another take. I could sense the unspoken chorus from the crew of, 'gee, for God's sake!' and 'that's good enough'. But if there's a mistake in the first take, I must have a second take to make it right. You can'tlet your guard down for one minute, the quality's got to be there."

Part of Ken's success over the years can be attributed to his belief that shooting for television requires special attention; particularly in terms of lighting. A DOP has to adapt themself accordingly due to the smaller screen, limited contrast ratio and shorter shooting schedule. In lighting for television, the ratio is far less than for theatrical which can be as high as you want, whereas in television, this ratio can be a maximum of 20:1.

"I've talked to some DOPs who say they light the same for television as they do for theatrical. I don't particularly agree with them on that. I've talked to others who've shot feature films in Hollywood and they've told me they don't care what it looks like on television as

Ken Gregg with Yosef Karsh (July 1984)

long as it looks good on the silver screen.

My attitude is that when I'm being paid by a television company it is my duty to give them the best tv transmittable picture that I can. I have to give them pictures that the system can handle well."

Ken's strong interpersonal skills have fostered an environment conducive to good work.

Director Gordon Pinsent offered the following comments about Ken's approach to filmmaking. Mr. Pinsent was director on "The Exile" and "Two Men" where Ken was the DOP. "He was very fastidious. He was too careful. At first I took that to mean I couldn't be spontaneous and free. But that was his way of telling me he doesn't just want to take orders, but to contribute, which makes for good team spirit.

"He doesn't let anything go by and, in fact, he taught me a lesson about cinematography. Being a very well organized individual, Ken's impatience breaks out quickly if a director is disorganized or if he doesn't know what he's doing. He can also be feisty if a director makes an outlandish request. We were filming in a funeral home in Vancouver for "The Exile" and I got into a bind. I had changed my mind and wanted to reshoot the closeups. Ken was adamant

that I wouldn't be able to use the earlier wide shots. We talked about it and were able to resolve the problem, but Ken was right. Generally Ken is diplomatic and respectful of his director. He would never simply state his preference; he would ask questions, always in deference to the director, allowing him to get his ideas across. If he has a better idea, he would simply say, 'would this help?' Ken can often make a director look very good" In terms of cinematic techniques, Ken is an advocate of giving each film a tailored if not unique treatment that the script demands.

Rather than imposing a prede.termined look or style, he would try to understand the nature of the material and provide the most original approach that

the budget and location limitations can sustain. However, try as he may, his films usually end up with the consistency and seemingly indelible stamp that is characteristically "Ken Gregg". However, this is not necessariliy a bad thing.

"I try desperately all the time to change my lighting style according to what the scene calls for, but I suppose no matter how you try to do that you still tend to have a look of your own. I have people tell me that they know my work when they see it. I suppose you would still recognize an artists' work even though they're painted throughout the years. I've seen paintings by Marc Chagall and I see them as Marc Chagalls regardless of when and where he painted them. Degas is the same."

One difference here, of course, is that Chagall and Degas did not have to contend with tight working schedules or adverse weather conditions that stood between them and their canvasses.

Different too is that the cinematographer has to collaborate with his crew and his director. A balance must be achieved between artistic vision and technical limitations.

Gordon Pinsent saw this at the beginning and felt that cinematographers wielded too much power and at times intimidated a director's position. "I saw some of this in Ken. He would allow his feelings to show on his face; either to support or comment on what I was doing.

If I had allowed something to slip by, he would catch it. Like a director, Ken is insightful in telling a story with his camera.

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PAGE 6

The director and his DOP have to blend their approaches because they are going into it from different perspectives. The director is a student of the human condition and he can deal with it on many levels. Very often the two mentalities are very different and the resulting mix is troublesome. Generally speaking, Ken knows if the director knows what he's doing ... he trusts my artistic intentions.

When I work with Ken, a high percentage of my ideas get on the screen. Our instincts have been pretty good together."

If the relationship between a director and his cinematographer is sometimes trying, the thing that gives Ken a lot of pleasure is seeing the rushes after a hard day's work. The anticipation of watching what was hitherto latent images coming to life on the screen is forever exciting. The slight tension and the magic in the darkened room is unique to film and absent in video. The satisfaction is complete when someone whispers "it looks great".

Ken has won many nominations and awards for his cinematography. The two that he treasures the most are the Etrog and the CBC President's Award.

The President's Award, which he received in 1982, is presented annually to four CBC employees recognizing lifetime achievement. Ken is very proud to be a recipient of that coveted award.

After thirty four years at an organization that some camerapeople consider the "golden goose", Ken took early retirement in 1988 to explore new horizons. Having given up the security that

protected him for most of his working life, he now faces the prospect of having to break into the highly competitive and precarious freelance world.

Why did Ken leave the CBC after so many productive and enjoyable years?

"I was getting to the point where I had other things to consider. I was always happy with the work that I was given and the CBC had kept me so busy that I never had time to think about freelancing. I arrived at a point where if I didn't make the change, I would be too old to. Ifl stayed on until I was 65, then I'd have to retire and that will be my shooting career. As a freelancer, I can possibly shoot til I'm 70 and beyond, if I'm healthy. There were other reasons,

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PAGE 7

more than I care to get into. It just seemed that thirty four years was long enough to work for one company. It was time to move on and meet new people. I also wanted to shoot vide.o, and at the CBC, as a film cameraman, I wasn't allowed to touch the video cameras at all. Now that the videotape business is getting bigger and bigger, I thought I would get in while I still have a chance."

At the CBC, the film cameramen belong to a different union than the video cameramen and therefore a film cameramanis not allowed to crossover and work in tape and vice versa. At present they are trying to change this, particularly since a film cameraman with tremendous lighting experience has a lot to offer in video as well.

Ken is very realistic about the freelance business. He is patient and well prepared for a long haul, content with his progress so far. "It's very hard to break in and that's understandable. Naturally, all production companies have their favourite camerapeople and I think in time it's slowly happening. I was never under the impression that just beause I • was one of the top cameramen at the CBC that when I left, the phone would ring off the hook. It's going to take a lot of effort, time and promotion to prove myself to a

lot of people. I feel that I have a good many years left in me yet and I want to work. A lot of people have said that they have things lined up for me in the new year, but in freelancing, you don't have a job until it's nearly over."

Ken's first job after leaving the CBC was with television series "The Campbells". He shot four episodes of the series before they wrapped early last year.

Currently, Ken is working with Harry Raski on a 90 minute documentary on Robertson Davies. Mr. Raski is the director/producer/writer of the show.

The payoff that brings the greatest joy to Ken's professional life is the recognition others give him for his contribution to a film or video. It is particularly endearing when the compliment comes from someone amongst the audience.

"When the finished product goes to air and it's broadcast in somebody's home; somebody who was not associated with the film and he or she calls and says, 'I've just seen your show and it was wonderful'. When the viewer, the person whom you are working for, someone who you are striving to entertain takes the time to call to let you know how thrilled they were - that's the ultimate ...

Entertainment ... that's what it's all about.

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HDTV ···Q & A

"There comes a tide in the affairs of men, which, taken at the flood, leads on to fortune; omitted, all the voyage of their life is bound in shallows and miseries." - Julius Caesar, Act4, Scene 3 For the past twenty years, the Studio of the National Arts Centre has been the home of the avant-garde in theatre and music. For the next few months, it will be billeting the avantgarde in technology, High Definition Television.

What is High Definition?

There are several Advanced Television systems in various stages of development. The one that is most relevant to our situation here is 1125/60, the so-called "Japanese" system. This provides 1125 scanning lines per frame with a field rate of 60 per second. The aspect ratio (height of screen:width) is also significantly increased from NTSC: 3:5 versus 3:4. Thus, a wider screen with twice as much infonnation.

What does it look like?

Surprisingly,ona28-inchmonitor, from a nonnal household viewing distance of about ten feet, it's not radically different. However, as you move closer, something amazing happens. The picture doesn't break up into pixels; you just keep seeing more and more detail.

The blacks stay black and there's detail in the shadows.

John Galt (fonnerly of CJOH and currently in Los Angeles as Director, High Definition Production Services with Sony Advanced Systems) describes the 28-inchHDmonitoras a "personal viewing device". A$40,000Watchman, so to speak.

In order for even a small group to fully enjoy HDTV, you need a bigger display. On larger monitors and projection systems, the remarkable resolution is maintained.

What's happening in Ottawa in High Definition?

We have the jump on the rest of the continent with the exception of New York. All over North America, broadcasters and production companies are waiting for Washington to rule on a broadcast standard for High Definition.

In the meantime, Telesat Canada has taken the plunge. They are undertaking a $10 million, two-year market trial, based on a 36-foot HD production mobile currently under construction. It is being equipped entirely in HD, including three Sony cameras, three Sony digital VCRs and six discrete tracks of digital audio, Ultimatte and Chyron SCB, as well as a 24-track audio mixer.

This equipment is currently set up at the NAC. There will also be a companion vehicle to link HD infonnation to satellite. Both vehicles are scheduled to be on the road in March. During the trial period, these facilities will be available at a fraction of their market rate.

Another important local development is HDTV '90, the Fourth International Colloquium on Advanced Television, to be held here in June.

master. If the display medium is to be HD, the wider aspect ratio means less panning is required. In the editing suite, the cadence of edits tends to slow down, to allow for the increased infonnation on the screen for the viewer to absorb.

What is the market for HDTV production?

Immediate possibilities exist in business communications, medical imaging, and closed-circuit events coverage. Longer range (and short) prospects include HD theatres and broadcast.

The events surrounding the development of High Definition in Ottawa will give us a great head start.

Terry McEvoy, Film Liaison Officer for the City of Ottawa . This article originally appeared in the Ottawa-Hull Film and Television Newsletter.

TERRY LORD What are HDTV's advantages as a production medium?

For matting, it is very efficient; sharper than NTSC, cheaper and faster than film. It gives crisp, clean mattes, right down to those old bugaboos, hair and cigarette smoke. For a production whose end market will be multi-standard, a superior transfer can be made to PAL and/or SECAM from an 1125/60 PAGE 9

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HDTV '90 Fourth International Colloquium on Advanced Television Systems Advanced Television: The Complete Picture Preconference Events: June 24 to 25, 1990 Conference: June 26 to 29, 1990

HDTV '90, promises to provide a program that will address the issues around advanced television: finance, production, applications, transmission, standards and displays.

Two pre-conference events that may be of interest to members include the Production Seminar and the Technical Tutorial.

The Production Seminar is designed to attract cinematographers and producers. The purpose of the 2-day session is to address the problems and advantages of shooting and post producing in high definition television. A studio set with cameras from the Telesatmobile will be used to shoot short sequences with experts from this field. It is hoped that this will provide an opportunity for the participants (maximum 30) to try out the equipment with the experts in a studio setting and to discuss production and post production techniques.

The Technical Tutorial will provide an introductory overview of advanced television for those not familiar with the technical aspects. It will cover key areas in production, transmission and display of ATV, including example applications of ATV and should allow attendees to have a better appreciation of the issues that will be discussed during the colloquium.

For more information on these pre-conference events, contact Production Seminar Chairman, Eddie Zwaneveld at the National Film Board at (514) 283-9143.

In addition to the presentations and panel discussions at the conference, there will be demonstrations and exhibits of the equipment. The highlight of the demonstrations will be HDTV transmissions via satellite in both directions between Canada and Japan. The Colloquium will host an exhibition of the latest equipment and systems available for HDTV from manufacturers around the world. The Telesat Canada HDTV mobile will be in operation during the Colloquium and tours will be possible.

For registration and additional information contact Conference Coli Inc., 1138 Sherman Drive, Ottawa, Ontario K2C 2M4. Tel: (613) 224-1741 , Fax (613) 224-9685.

PAGE 10

HDTV "ACT" WORKSHOPS (Advanced Communications Technology)

This information on HD workshops is from CSC member, Randall Dark, who works in New Yodc for Captain of America. The following 2-day workshops will be held in their High Definition facility in Manhattan.

ACT I (February 22/23, March 22/23): Designed for direct end users of HDTV products and services at the management level in film, broadcast TV, cable TV, corporate communications, advertising, publishing and medical fields.

ACT ll (February 22123, March 22/23): Designed for industries, products and services that are HDTV related, such as telecommunications, aerospace, home electronics and financial institutions.

ACT ill (March 3/4, March 31/April1): Designed for the creative and technical members of the production community, including directors, producers, cinematographers, camera operators, editors, TV technicians, SFX supervisors and production managers.

For further information contact Randall Dark at Captain of America Inc., 3East54thStreet,NewYork,NY 10022.

Tel: (212) 759-1125, Fax: (212) 4862946.

THE 1990 CSC AWARDS

The following categories are open to CSC members only.

FEATURE FILMS: Must have been photographed on 16, super 16, 35, 70 mm, HDTV or IMAX fonnat. Must have had a theatrical release between January 1, 1989 and December 31, 1989.

TV DRAMAS: 16, 35mm or videotape, any length. Must have had an airdate or must have been completed during the same time frame as above.

DOCUMENTARIES: Any medium, any length, with an airdate or completion date as above. By definition a factual report on the human condition.

INDUSTRIALS: Any medium, any length. These programs are made to exton the virtues of the sponsor. Air or completion date as above.

COMMERCIALS: Any medium, not more than 2 minutes. Air or completion date as above.

UNIQUE PRODUCTIONS: For specialized productions shot in either film or video, involving music, sports, aerial, underwater, "dangerous" (i.e. combat or hidden camera police work) photography, or current affairs. Air or completion date as above.

The following categories are open to Canadian cameramen/women including CSC members.

ROY TASH AWARD: 16mm or video spot news, shown on Canadian TV between January 1, 1989 and December 31, 1989. Maximum length is 5 minutes.

STAN CLINTON AWARD: 16mm or video news featurette, mini documentary of short length, shown on a Canadian news broadcast between January 1, 1989 and December 31, 1989.

STUDENT FILMS: 16 or 35mm film, made by a student at an accredited film school to show his/her proficiency. Open to all students attending a Canadian filmschool in the 1989 calendar year.

On the recommendation of the adjudicating committees, the Executive of the CSC may recognize an

entry submitted in any medi~. or a special effect, or an original development or adaptation in film or video, or outstanding services to the CSC or the film and video community with a Special Recognition Award. Among these awards are the BILL HILSON AWARD and the KODAK AWARD.

ENTRY DEADLINE: FEBRUARY 21, 1990 FOR FURTHER INFORMATION CALL THE CSC OFFICE AT (416) 538-3155, FAX (416) 538-8821

THE 1990 CSC AWARDS APPLICATION FORM The CSC celebrates these Awards at a special awards dinner which will be held on Saturday April 7th, 1990 at the Metropolitan Convention Centre. Tickets for the dinner are available from the CSC office.

APPLICATION MUST BE FULLY COMPLETED.

DEADLINE: FEBRUARY 21st, 1990

Cinematographer Address

Telephone

Category:

Feature

Commercial _

Documentary

Industrial

TV Drama _Unique

Title: Production Company: Format:

Originally shot on

Film:

Entry submitted on Film:

16mm 16mm

35 mm Tape: _ 35 mm Tape: _

3/4"

1"

other

3/4" _1"

other

Should your entry be nominated, please indicate your choice of footage for clip to be screened on the showreel for the awards.

From: Entry Fee:

ft. to _ _ _ ft. (maximum one minute)

Features, Commercials and TV Dramas .......................... $ 80.00 each Industrials, Documentaries and Unique Productions ......... $ 60.00 each

Please make cheques payable to: Canadian So<;iety of Cinematographers and note on your entry on your cheque.

Films and tapes must be sent postpaid. Adequate instructions and postage for the return must accompany the package.

If no return instructions are supplied, tapes will be discarded after six months.

The CSC will take all reasonable care with the submitted entries, but is not responsible for accidental damage or loss.

It is strongly advised that sufficient insurance is purchased by the sender.

All entries should be sent to:

CSC AWARDS '90 c/o Project One Inc. 72 Fraser Avenue, Suite 203 Toronto, Ontario M6K 3El (416) 538-3155 FAX (416) 538-8821

ROY TASH NEWS FILM AWARD

The Canadian Society of Cinematographers presents annually the ROY TASH NEWS FILM AWARD for Outstanding Cinematography or Videography in television news to a Canadian cameraman.

The trophy is named for veteran news cameraman Roy Tash esc who spent more than fifty years shooting news events across Canada and throughout the world. Mr. Tash died in December 1988 at the age of 90.

One of Roy's cameras, a 35mm Bell and Howell Eyemo, was obtained by Bell and Howell of Canada Ltd., who had it gold plated and donated it to the Society. A plaque on the side ofthe award is inscribed with each year's winner, who is allowed to keep it for that year. The winner also receives a personally engraved plaque.

The contest is open to all Canadian cameramen/women who submit a news item to the special CSC jury. Entries may be silent (with script), or with sound, on any film or video fonnat. They must have been shown on television between January 1, 1989 and December 31, 1989.

The CSC celebrates these Awards at a Special Awards Dinner held on Saturday, April 7th, 1990 at the Metropolitan Toronto Convention Centre. Tickets are available at the CSC office.

To be considered for the Roy Tash Award, the News item must be within the following parameters.

-

Subject matter must be a hard news spot not exceeding 5 minutes in duration.

- Human interest and sports are also acceptable, if the subject matter is judged to be news by the adjudicating panel, and if the item does not exceed 5 minutes in length.

- The items must have been shown on a regular or fast breaking news broadcast and will be judged by a panel of news cameramen using a point system, based on cinematography/ videography, news sense, ingenuity and artistic ability.

ATTENTION NEWS EDITORS

Please distribute these applications to your cameramen.

ENTRY DEADLINE: FEBRUARY 21, 1990 FOR FURTHER INFORMATION CALL THE CSC OFFICE AT (416) 538-3155, FAX (416) 538-8821

CANADIAN SOCIETY OF CINEMATOGRAPHERS APPLICATION FORM

THE ROY TASH AWARD T i t l e - - - - - - - - - - - - - - - - - Duration _ __

Fonnat

News~st - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Station

Broadcast Date - - - - - - - - - - - - -

Cameraman - - - - - - - - - -

Newsdirector

Address

Address

Telephone - - - - - - - - - - -

Telephone - - - - - - - - - - -

ENTRY FEE IS $60.00 PER SUBMISSION. Please make cheques payable to: CANADIAN SOCIETY OF CINEMATOGRAPHERS AWARDS EVENING SATURDAY APRIL 7,1990 AT THE METROPOLITAN TORONTO CONVENTION CENTRE FOR FURTHER INFORMATION CALL: (416) 538-3155

Films and tapes must be send postpaid. Adequate instructions and postage for the return must accompany the package.

The CSC wili take all reasonable care with the submitted entries, but is not responsible for accidental damage or loss. It is strongly advised that sufficient insurance is obtained by the sender.

Tapes will be held for pick-up for six months. If no return instructions are supplied within that period, the tapes will be discarded.

Send your entries to:

Roy Tash Awards '90 c/o Project One Inc. 72 Fraser Avenue, Suite 203 Toronto, Ontario M6K 3E1

DEADLINE: FEBRUARY 21, 1990

THE STAN CLINTON NEWS ESSAY AWARD

The Stan Clinton News Essay Award is presented for the best News Essay or longer news item in which cinematographic excellence is the prime consideration.

The Award is presented in memory of the late Stanley Clinton, esc. Stanley was the first cameraman hired by the CBC. He devoted his life not onl y to filming excellent pictures, but also to teaching new cameramen.

Those of us who worked for him knew the importance he placed on doing News photography really well.

We feel Stan would have been pleased to have an Award-in his name associated with the News Essays, for which we have given special awards for in the past

In order to be considered for this Award, your submission must have been shown on a regular news broadcast or current affairs show between January 1, 1989 and December 31, 1989.

It will be judged by a panel of news cameramen on cinematographic excellence.

The term 'cinematography' encompasses film and tape formats.

ATTENTION NEWS EDITORS

Please distribute these applications to your cameramen.

ENTRY DEADLINE: FEBRUARY 21, 1990 FOR FURTHER INFORMATION CALL THE CSC OFFICE AT (416) 538-3155, FAX (416) 538-8821

CANADIAN SOCIETY OF CINEMATOGRAPHERS APPLICATION FORM

THE STAN CLINTON AWARD T i t l e - - - - - - - - - - - - - - - - - Duration _ __

Fonnat

Newscast Broadcast Date

Station Cameraman - - - - - - - - - -

Newsdirector - - - - - - - - - -

Address

Address

Telephone - - - - - - - - - - -

Telephone

ENTRY FEE IS $60.00 PER SUBMISSION. Please make cheques payable to: CANADIAN SOCIETY OF CINEMATOGRAPHERS

AWARDS EVENING SATURDAY APRIL 7,1990 AT THE METROPOLITAN TORONTO CONVENTION CENTRE FOR FURTHER INFORMATION CALL: (416) 538-3155

Films and tapes must be send postpaid. Adequate instructions and postage for the return must accompany the package.

The CSC will take all reasonable care with the submitted entries, but is not responsible for accidental damage or loss. It is strongly advised that sufficient insurance is obtained by the sender.

Tapes will be held for pick-up for six months. If no return instructions are supplied within that period, the tapes will be discarded.

Send your entries to:

Stan Clinton Awards '90 c/o Project One Inc. 72 Fraser Avenue, Suite 203 Toronto, Ontario M6K 3E1

DEADLINE: FEBRUARY 21, 1990

1990 STUDENT CINEMATOGRAPHY AWARD

This Award was established by the Society to encourage persons attending an accredited Canadian Film School in their chosen profession. Films may be submitted on 16 or 35mm.

The film must have been made as part of the school curriculum during the 1989 calendar year, to demonstrate the proficiency of the student cameraperson.

Sponsored films, or films that can be shown to have been shot or lit, wholly or partially by a professional cameraman or instructor, will be disqualified.

To avoid disputes, a letter from the instructor, teacher or professor must accompany each entry, making it clear who was responsible for the photography on any or all portions of the film.

A total of $700 is awarded of which $200 is from the Society and $500 courtesy of PFA Laboratories.

The winner is awarded a plaque and a cheque for $400 The first and second runner-ups receive $200 and $100 respectively

' The CSC Awards Evening will be held on Saturday April 7th, 1990 at the Metropolitan Toronto Convention centre.

For further information please call (416) 538-3155.

Complete the application on the reverse side and return to: CSC Awards '90 c/o Project One Inc. 72 Fraser Avenue, Suite 203 Toronto, Ontario M6K 3El

DEADLINE:

FEBRUARY

21, 1990

DEADLINE:

FEBRUARY

21, 1990

1990 APPLICATION FORM STUDENT CINEMATOGRAPHY AWARD

Cinematographer

-------------------------------- School

Address

Address

Telephone

Telephone

--------------------------------

Instructor/Teacher's Name Telephone Length:

Title: Format:

_

B/W

Colour

16mm

35mm

Completion Date:

Sound _

Sepmag

Should your film be nominated, please indicate your choice of footage to be screened for the Awards: from _ _ ft. to _____ ft. (maximum one minute).

If the original film is not available, a clean 3/4 inch Umatic tape is acceptable.

Signature of Cinematographer:

Signature of Instructor:

I her eby confirm that I was the principal cinematographer on this picture.

Films must be sent postpaid. Adequate instructions and sufficient postage for the return must accompany the film.

Films or videotapes not collected in six months will be discarded.

The CSC will take all reasonable care with the submitted entries, but is not responsible for accidental damage or loss. It is strongly recommended that sufficient insurance is obtained by the sender.

For further information call (416) 538-3155

Entries should be sent to:

CSC Awards '90 c/o Project One Inc. 72 Fraser Avenue, Suite 203 Toronto, Ontario M6K 3El

AGFA+ •Professional Motion Picture FilmStocks •Colour Negative: XT 125 Medium Speed XT 320 High Speed •16and 35mm •Other film products and video tape also available; In stock across Canada •In Toronto, call Bruce Wlenberg at (416) 667-0700; toll free from Ontario &Quebec: 1-800-268-0726 or 0727; elsewhere In Canada: 1-800-387-3661

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A presentation at UNIATEC presented

by Barringer Research Ltd. ofRexdale and the National Film Board on digital optical sound on film generated a great deal of interest among the participants.

I nearly missed this presentation being rather occupied by a lively, to say the least, debate on a rather esoteric interactive production on Glenn Gould, praise be he. I'm quite convinced he was an exceptional pianist, but the lady who designed this interactive considered him at par with Jesus. I told her that I thought he (Gould) was an obnoxious person, having had first hand knowledge shooting him on film, yay back in the sixties.

If looks could kill, I would've been vaporized!

So it came to be that I arrived rather late and breathless and at a point in the presentation where the delivery was monotone, the graphics atrocious, oversized, and barely visible, but the content was just incredible!

I have lost my notes from the presentation, however, Ed Zwaneveld of the NFB was so kind to send an article from which some of the following is "borrowed" ....

Barringer and the NFB have been working together to bring high-quality, realistic sound to the movies using digital data written directly on motion-picture film.

It is a wonderful example of a Canadian crown corporation giving individual developers and inventors a chance to develop their particular invention. 1bis is particularly important given that seeing an idea through to fruitition is nearly imposssible tenay without the help of either a gove.:mrnent organization or private/corporate funding.

In this case, Barringer along with their partners Canadian InstrumentaPAGE 11

tion and Research of Burlington and Pthalo Systems Inc. of Burnaby, have teamed up the National Film Board.

Each organization has brought their own area of expertise to the task.

Pthalo Systems's expertise is in the use of lasers to write code on optical media as well as their considerable expertise in the film production sector of the industry.

Canadian Instrumentation and Research has completed a contract in which optical data were written on film using a high output cathode ray tube (CRT) at an input data rate of2500 MHz with a resolution of 25 microns.

The ideal solution is to write digitized sound directly on the film, in the narrow strip beside the image called a data channel.

The Barringer Research group brought their broad base of optical and electronic skills based on a long history of developing and producing earth sciences detection sensors.

The National Film Board has provided their expertise in film processing and the use of its excellent facilities including a Westrex sound camera and a Century projector suitably modified for standalone use in the laboratory. The NFB also provides a valuable understanding ofthe various sectors of the film industry and their understanding has contributed to the value of the contractor's designs.

Digital sound is not new to film, but most existing techniques use a separate medium for the sound track. It can be

run separately on compact disc or digital tape, or it can be attached to the film.

Although the sound quality in either case is excellent, there are problems. The sound track must be synchronized with the film each time it is run. Having the sound track attached to the film provides synchronization, but can lead to problems with splices and film breaks.

The ideal solution is to write digitized sound directly on the film, in the narrow strip beside the image called a data channel.

The basic elements of digitaloptical sound techoology have been known for some time. Kodak has published a number of papers on writing digital data to film and reading it back. The NFB began researching the technology of putting digital sound on film in 1985.

The technology is still in the developmental stage. One of the most critical factors in any optical-storage medium is the error rate. High error rates are characteristic of these media. It was the development of modern error detection and correction coding mechanisms that permitted the recovery of usable information from them.

A lot of research was done to determine film characteristics because this is not something that films have been designed for. One of the things that they looked at was alternative film stock, such as lithographic film.

Barr:i11ger and the NFB weighed industry coJU!ervatism, equipment compatiblity, and market potential. "The film industry is very conservative and it has technologies that are old and highly develope-d... says Rick Gasoi, Project Manager, NFB. The greater part of Barringer's research is aimed at designing a retrofit kit to modify standard film-sound cameras and theatre projectors. Barringer's ChiefEngineerSyd Wiles says the key to the project's success is to make the technology compatible with existing facilities and equipment in both the writing and reading phases. It must be workable with the existing film lab processing.

An important consideration is tor," says Gasoi. "We can write digital canpati.bility with existing analogue sound code or analogue signals, and we can read tracks. A prerequisite of the contract is digital sound back. We do not yet have that whatever is designed for writing and sound. We have a digital-data channel reading digital sound on film will, with- into which you can put anything you out modification, write and read ana- want - digital sound, subtitles, time cues logue sound the way it is done today. or signals to tell theatre operators when According to Wiles, "The funda- to dim the lights, open and close the mental reason for using digital code is curtains, orturnoffthe popcorn machine. that there is greater information content Turning the digital data into sound rein a given area per unit time than there is mains to be done, but that is relatively with analogue sound. The more informa- simple. tion per unit time, the better the sound."

Both Barringer and the NFB Wiles says the most notable improve- believe the international market is ready ments to the dynamic range will occur in for this technology. Barringer estimates the lower fequencies where more power that, if between four and six firms worldis needed. "In theatres we can put a sound wide are currently working on the techlevel in the low frequency end of about .nology, and if they divide the interna120 decibels SPL (sound pressure level). tional market evenly, each firm could That means that if you have a thunder- earn between four and six million dollars storm, you'd really get the impact of a year over five to ten years. Syd Wiles thunder." estimates that Barringer could have a Although the contract is not yet product into the marketplace within two complete, substantial progress has al- years. ready been made. "We have a prototype camera, a prototype reader and a projec-

Clairmont Camera is on the Lot at North Shore Studios.

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PAGE 12

And while it is mt too well known,

if you have a good idea or invention related to film, it would definitely be to your advantage to write to the research and development department at the NFB to ask for their support and help.

If you can go through the admittedly large amount of bureaucracy, you will find that if your idea has any merit at all, they will help you to develop the invention. In the end you will find that you will be tied up with the NFB, but at least your invention, ifit has potential, will see the light of day.

"'

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January was a very slow month for most of the freelance people I've spoken to.

However, Winnipeg and Vancouver seem to be keeping more than a few people busy.

Richard Stringer esc kept flying back and forth from Toronto to Winnipeg to shoot commercials. Holly Gregory worked as his assistant in Winnipeg and she filled me in on a few things happening in her town.

"Hearse and Snow" is a half hour CBC project, will be shooting there in March. The DOP has not yet been confirmed, however, Holly will be the focus puller. Atlantis and Heartland Productions are doing a co-production "Lost in the Barrons" which Ian Elkin is DOPing. They have already shot three weeks of winter scenes and plan to continue the production in April/May. Last summer Brian Hebb esc shot a two hour tv movie for CBC "The Challenge" which will premiere in Win-

nipeg February 12 on, of course, CBC. CBC is expected to tum it into a series which would be shot in either Winnipeg or Toronto.

In Vancouver Attila Szalay is operating second unit on "Booker". His long time assistant, Brad Creasser has joined him in the upgrade. Another friend called from Vancouver to remind me how slow it is in Toronto and how Vancouver seems to be quite steady. He has been working months on end, his way of vacationing in his city is to just work second unit. Looks like I had better mail him a esc application so he can read this!

CSC members Ernie Kestler (focus puller) and Susan Shaw (2nd assistant) recently returned from a commercial shoot in Alberta with OOP Franco Paroni from Milan and camerawoman Bella Halben from Germany. The 8 day shoot was part of a Nescafe campaign for German television. The photo below

PAGE 14

shows Susan and Ernie with the rather extensive, 18 lens package ... and all for a 30 second spot!!

CSC member from Montreal, Paul Gravel, was focus puller on the feature film "Le Party" which premiered this week at the Quebec Film Festival.

The film was shot in Montreal by DOP Alain Dostie.

Lionel Simmons recently completed the feature film, "Boat in the Grass".

The picture was produced by B.I.G. Film.

See letter and photos for more details!

Randall Dark has been working on a feature called "Moscow Melodies". Shot on location in Russia and New YorkinHDTV ,it will be released in both HD and 35mm for theatrical distribution. "Moscow Melodies" is a coproduction between USSR Radio and TV and Captain of America. Randall co-wrote the New York segment of the film with David Niles. An interesting aside about the Soviet television system,

it covers 11 time zones, 43languages and runs 24 hours a day and employs 83,000 people!

I received a very interesting letter which I've reprinted on this page, from Jim Laverdiere that I thought you'd be interested in. Le Groupe Sync has come up with a very good idea.

A new organization, the Camera Guild of Canada has been started. For infonnation call462-1 022.

Toronto Women in Film and Video are celebrating their third annual Awards Gala on Tuesday March 6, 1990 atTheCopa(21 ScollardStreet). TWIFV will be honoring Susan Rubes, Andra Sheffer and Gail Singer. Tickets are $30.00 per person. For futher infonnation call 922-6630.

I've got a new telephone number now (toll free) so please give me a call me with infonnation for the next newsletter 1-416-553-7356.

That's all for now, Lori.

LETTERS •••• Dear Lori, Here are the photos from "Boat in the Grass" shot in and around St. John's, Newfoundland, November 28 through January 7. 35mm feature directed by Ken Pittman. My focus puller was Dominique Gusset.

The entire film, except for the title sequence, was shot on Fuji's new 8550 F 250 stock. What was the weather like? Cold!!!! with temperatures as low as -45 degrees celsius including the wind chill factor. But it's in the can and I'm off to Greece for three weeks after having shot a 10 minute film for Laubach Literacy Council ( 1990 is the year ofLiteracy), directed by Jean Pierre LeFebvre in New Brunswick, Ontario and Quebec.

So, off I go to Priority Post this to you.

Hope it gets there on time!

Salut, Lionel As you can see we received everything in time! Thanks. Lori

Dear Lori, This is something that I should have done many months ago, but always told myself that I was too busy to do it properly. No more excuses!

First of all a little background since you don't know me from a hole in the wall. I am a freelance cameraman in Montrealandhavebeenamemberofthe esc since the late seventies, but not having a chapter in this fair city (no reflection on you people), getting involved didn't seem a necessity.

Now to get down to brass tacks and the real reason that I am writing ... having worked as a re~llar freelance cameraman for the venerable CBC for thirteen years you tend to get complacent and call it "cash for life". Well, no more! A little over two years ago a colleague genninated the idea that we could fonn sort of a co-op, to give us the power to purchase in bulk, insurance, batteries, cameras, lights, whatever one can imagine that camerapeople buy in bulk. Also to provide us with the ability to advertise in trade magazines without any one person going bankrupt.

Well, this past January we celebrated our first anniversary as a bonafide company, duly incorporated and operating under the name "Le Groupe Sync" (be careful as this will be a major force in the shooting field!).

Although we have been alive for a year, we have only learntto walk in the past six months, only being operational since June (that can be another letter).

We are eight cameramen (sorry there were no women to join) with our own equipment who have banded together and hired a coordinator. Our coordinator sees to the day to day operations and goes out to find work for us.

Laugh all you will, but for the moment it is working so fine that we have to hire another person to run our office, while our "rare pearl" of a coordinator continues to hit the streets with our slick demo reel, extoling the virtues of each of our PAGE 15

talented selves, not to mention one stop shopping. In Montreal this seems to be one of our big assets, as some producers really like the ability to make one phone call and be guaranteed one, two or as many crews as is needed.

Hell, we even shoot film! We provided shooting services for a BBC documentary this past summer, all shot on film, save for one shot of the lunar eclipse that was done on my trusty Betacam.

Currently, I am working on a project to shoot archival footage for the James Bay Energy Corporation in our great white north. Along with this I will also be shooting five or six ten minute videos which are presently being scripted.

These videos are also being co-produced by "Le Groupe Sync" so I will be involved in most aspects of preproduction and planning as well as shooting!

I will sigp off for now.

Respectfully yours, Jim Laverdiere

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Another cold day on "Boat in the Grass" -- Alex Salter (boom), Lionel Simmons (DOP) and Carl Simmons (grip)

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On location shooting "Boat in the Grass" ... Dominique Gusset (focus puller), Bob Petrie (gaffer), Lionel Simmons (DOP), Ken Pittman (director) PAGE 16

· 416 . 593 · 0556 . FAX · 593 . 7201

Report on CSC Meeting: Monday, January 29th, 1990 Given the fact that we were experiencing a snow stonn that night and traffic was moving at a rather slow pace, I was pleasantly surprised to find a full house at Trickett Productions for our meeting. I was immediately struck by the splendid renovations at Trickett that have transfonned an old and tired building into a brightand shiny new one.

Producer Cathy Stillo showed us into the Quantel Suite where "Harry" was waiting. "Harry" is a very sophisticated colour and image manipulator.

Editors Gerlinde Scharinger and Paul Jacobs demonstrated "Harry's" talents, showing us numerous commercials that "Harry" helped to create. They also answered the teclmical questions.

You may have seen the Proctor Silex iron commercial where the irons dance across the tv screen accompanied by 3 well-pressed blouses. These objects were actually still pictures manipulated into motion electronically. In the original footage, the blouse (which was duplicated three times) was wrinkly and creased.

These imperfections were erased electronically by "Harry" and its peripherals during the post. It is ironic that an iron commercial needs this kind of enhancement. No doubt it was more economical than a reshoot Another noteworthy spot that we were shown was the "Hack Attack" where the commonplace sneeze turns ordinary people into bulgy-eyed, grotesque caricatures. This highly memorable and attention-grabbing commercial was produced from live-action footage and animated plasticine models. In post, the two sequences were meticulously married to create the illusion of one continuous action. In order to make the transition believable, the backgrounds were shifted to match and the cut was camouflaged by quick dissolves and electronically-induced blurred frames.

As you can appreciate, the wizardy involved is very sophisticated and dear. The estimated value of the Quantel suite is in the $2 million dollar range.

Projects are quoted on a job basis, rather than on hourly rates. However, from the commercials that were shown, a ballpark figure of $1000 per hour seems to be about right The meeting at this point was moved to the motion control studio a few blocks west near Richmood and Tecumseh streets. Here, the centerpiece is the computer-controlled Elicon"Blue Arm. Resting on its solid track this robot-like arm craddles an ancient-looking Mitchell hi-speed film camera. The Elicon Arm is capable of very slick movements in all directions. Focus points can be preset on the computer and a video assist allows monitoring of the action as it unfolds. When the Mitchell is equipped with a snorkel lens, the arm can guide it over the table top just inches above painstakingly arranged objects (usually delectable foods). This teclmique has created some very striking spots in recent years.

For example, O'Keefe, Oreo cookies and the opening segments of "Struggle for Democracy".

I would like to thank our hosts, the staff of 1iickett Productioos and Studio 422 for providing such an interesting and infonnative evening for our members.

Wang Chow, Secretary

PAGE 17

New Members John Durst, associate member (519-884-1970, ext. 2075). John has taught film studies and fine arts at Wilfrid Laurier University in Waterloo since 1976.

In addition he works as cameraman and editor on various film and video productions.

Camera assistants Richard Daley (tel420-1039), Joe Dasilva (531-4443) and Colin Hoult (581-0083) recently joined the Society as affiliate members.

Joe worked as clapper loader on tv pilot for T&T and is currently working at CFI'O. Colin worked with Mark Willis on "Black Pearls" last summer. Christopher Hayward (827-8749), a student at York University has also joined as an affiliate member.

Suresh Rohini, affiliate member, received his BFA in Photography while studying in India. He has beep. the first assistant on over 20 feature films and has shot 6 docwnentaries. He worked for some time as official cameraman for the UN in Geneva. Suresh has his own Betacam and full lighting kit. He's familiar with international systems and has travelled throughout the world. In addition to English and French, Suresh speaks several Indian languages.

We put it all together coast · to · coast

Arnold & Richter Cinetechnik in Munich has recently released information about the long-awaited 35mm camera system that is now official named tke Arriftex-535. However, until the actual arrival of the C"amera, Arri is only releasing the following details: truly quiet (even to the most demanding sound recordist); famous Arri image superiority in all production situations; preferred PL-lens mount to use new and exitlling superior lense; changeable shutter angle and film speed with creative control during filming; single universal aperture plate with format masks and gel slot; integrated electronic controls and flicker-compensated video-assist; innovative swing-over viewfinder with programmable formatmarkings; comprehensive new accessory system which includes swing-away 6.6 x 6.6 mattebox with expandable filter stages; dual speed follow focus widt quick-release motinting; electronic redundancy for unprecedented reliability; open-ended electronics allows future programming for new applications; modular construction for quick service.

P.S. is proud to present the new Arri 35 camera, the Arri 535. The 535 is a completely new design, with too many features to mention. We are looking forward with great joy, bliss, happiness and excitement to its arrival in early April. Come down and see the brochure or stay tuned for news of THE ARRIVAL and the opportunity to see it in person. P.S. Production Services Ltd. 416-466-0037.

The Image Group .... Interest is continuing to grow in the Quantel Mirage at the Image Group. Utilization is taking place in on-line edit sessions for transitional effects with live video, as well as in the Computer Graphics enviornment for 3D object creation and animation in real time. Demonstrations of the Mirage can be arranged for you at a convenient time. Just call .... Ron Rimer, Gemma Hill or Pat Cosway at 591-1400 or Fax 591-6854 LEE Colortran announces the appointment of Paul Roscorla as General Manager for LEE Colortran Canada. Paul's responsibilities include overseeing all sales of LEE Colortran and LEE Filters products in Canada. Prior to joining LEE Colortran, Paul freelanced as a gaffer for three years and most recently wolked for Partners Film Company as a gaffer for George Morita. Paul studied Business Administration at Ryerson Polytechnical Institute.

Bill White, President and Paul Bronfman, Chairman of William F. White Limited, are proud to announce the relocation of their Vancouver operation from 43 West 6th Avenue to a newly completed 14,000 square foot space at North Shore Studios.

UMITED

A Canadian Company EstabliShed since 1963

Camera, Lighting, Grip .. . A Complete Film Service

We are pleased to announce the arrival of our new Photo-Sanies High Speed 35mm cameras! loPo<I<IO...,ROOO boonto OrotorooMIIYJH3 (410 ) 1!>2717 1

IOR180020o!2:<'00 TOOil•00 -907821 lc:lror1tolo, " 2~2-0QQ~

Aaton Cameras Coob 8t Zdss Lmses Matte Box 8t Follow Focus Lfgb.Ung :Kits 8t Rdledors Grip Equipment Ronford Baker Tripods 8t Heads Stunbeck Film 8t Video EdiUna Equipment

--·--KINGSWAY FILM EQUIPMENT LTD :UOUon Picture Division

North Shore Studios is now Canada's largest film and television production facility and WFW is the second largest tenant in the complex after Cannell Films.

The West 6th Avenue location has been renovated into a 2500 square foot sound stage available for commercial clients.

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WILLIAM F. WHin

MEDAWON FilM AND VIDEO LABORATORIES 19 Mercer Street, Toronto, Canada MSV 1H2 Telephone: (416) 977-0019 Fax: (416) 977-7669

1665 EllrERPRisE RoAD, L4W 4L4

MlssiSSAUGA, ONTARIO,

(416) 672-2880

(800) 387-3990

PAX

672-2880

TELEX •:

PAGE 18

06-967528

Spot Film & Video Inc., Film Opticals and M.S. Art Services are pleased to announce that their new facility is now operational.

Situated at 23 Fraser Avenue, in the --~ Dufferin and King area, the facility ~ provides more ~

Studio A measures 115' x 48' x 32' to grid.

Studio B measures 60' x 35' x 17' to grid.

On-site services now include: 16/ 35 film laboratory, continuous projection screen theatre, film-to-videotape transfer with full colour correction, boardroom/ screening room, optical printing, optical effects, animation, motion control photography, computer

unleashes the ultimate

HDTV produdion tools

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Arriflex 535 Camera System • permits full creative potentia l • cost-efficiency of 35-mm film

• exceeds all proposed HDTV standards • preferred input to advanced H DTV post-produdion

Arriflex 7 65 Camera System

for existing operations and plenty of room for future expansion.

In addition, the complex at 23 Fraser Avenue boasts two new sound stages for commercial, theatrical, corporate and video productions. Each studio offers a full complement of support rooms including hair, makeup, wardrobe, lounges and a fully equipped kitchen.

~

• efficient camera for

65-mm film • advanced lens and accessory systems • sy nc-sound and high-speed operation

Offered fo r your use at premier ARR I rental compa nies.

Further information from

• slide graphics, graphic design and layout, air brushing, rotoscoping, VTR cards/ graphics, photostats, colour title layouts, complete in-house typesetting services.

For more information on services available or to arrange a tour of the complex, contact Raymond Wand at 535-3522.

:jPrmlioo SI!IYia!s Ud.

Capturing the imagination ...

Have you seen the Eastman EXR Canadian demo reel?

For further information call the Kodak Technical Sales Representative in your area Vancouver- Alec Besky (604) 686-8535 Toronto - Michael Zakula (416) 766-8233 Montreal - Michel Golitzinsky (514) 761-3481

RECENT ADDITIONS TO H~VENTORY

• • • • •

ARRI35 BL-4-s ARRI Geared Head Modular Transfer Function Machine Technohead Square Wave Flicker Free Ballasts Recent credits include:

• • • • • •

Dead Ringers Midday Sun (Zimbabwe) My Secret Identity Friday the 13th- The Series The Twilight Zone Men GIVE

Us A CALL!

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•

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EXR

Color Negative Films

(416) 466-0037 Fax: 466-9612 65 Heward Ave., Bldg. B Toronto, Ontario M4M 2T5 PAGE 19

ARRII NAGRA INC

9 TAYMA ll AVENUE TORONTO, O NTARIO CANADA MBZ 3Y8 PHON E f4 l6) 252-4200 fiV( (416 252-8829

BULLETIN BOARD FOR SALE

UPCOMING EVENTS February 21st: Deadline for submitting films for CSC Awards.

February 26th: Meeting hosted by Lee Colortran to be held at Precision Camera, 181 Carlaw Avenue at 7:30pm March 6th: Toronto Women in Film and Video will celebrate their third Annual Awards Gala at The Copa, 21 Scollard Street (Yonge & Yorkville). Tickets $30. For information call 922-6630 March meeting will be held on either the 19th or 26th (location to be announced) March or April: Camera Assistants Course (Toronto) April 7th: CSC Awards, Metropolitan Convention Centre (Toronto). For tickets call538-3155.

April 27th to 29th: 1990 SMPTE Regional Mini-Conference - Visions 90 will be held at Sheraton Centre in Toronto and will. explore technologies that will affect film and television in the next decade.

EXCLUSIVE! For CSC members only!

Personal Luggage Tags Send business cards (enough for the number of tags that you would like) or print out you name and address as you would like it to appear on the tag. Tags at $1.25 each plus postage and handling (1-5 tags=$2.00, 5-10 tags=$4.00). Please make cheque payable to the CSC, P.O. Box 421, Unionville, Ontario L3R 5V1

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= =

~

CANADIAN SOCIETY

OF

;:::::::::;;;;J CINEMATOGRAPHERS

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Arriflex lib with hard front, variable motor. Best offer. For further information call Marty Gross at 1-416-536-3355.

Arri S 16mm with time lapse accessories, Zeiss 10-1 zoom, 400ft. mag. Hycam K1004E Hispeed Best offer. Call Michael Pankow at 1-613-836-3003.

A small number of 16mm sound and 16mm silent Bell & Howell projectors. Prefer to sell as one lot. Call 1-416-782-5 366 or 782-4172. Just as an aside, Bell & Howell stopped making 16mm projects last year.

Fihn cameras: Eclair NPR, L Wl6 (ideal for documentaries, colleges and universities; 5 mags, one is a 1200 ft. mag) and GASP cameras. All complete with lenses.

Video cameras: lkegami HL83 (9.5-133 Fujinon lens; complete kit with all accessories and shipping case); Sony 330A BVP (9108 Fujinon, complete); BVU-50 3/4" (complete with kangaroo cover, in excellent condition, very low hours) Nagra Ill complete package with SLO. Also, complete sound kit including shot gun 805, two Sony levelers, AKG hand mic and shipping case plus other miscellaneous items.

For further information call James Grattan esc in Montreal at 1-514-932-1463 or 1-514-486-3565.

Aaton 7LTR 16mm motion picture camera, excellent condition with two 400ft. magazines, 3 batteries, charger, handgrip, universal viewfinder with super 16mm capability, case and filters; Angenieux 9.5-57mm zoom; Angenieux 12-120mm zoom. Asking $23,500.

Also for sale, Sachtler tripod, steel legs, 7+7 fluid head, case, as new $3,500. Contact Jonathon Kay at 1-604-731-6620 or 1-604731-6684 (fax).

WANTED Zoom lens for Arri BL 16, Angenieux 10-150 or Zeiss 10-100 or comparable quality lens.

16/35 flatbed (6 plate) Open face light kit Microphones (Sheopes or Neumann)

:;::::::::~:::;.::..

:~

·~::•:···.:.'·.~· .•:·.":········,· ...•. ';.:.·.·,,·u.·.·:·.·.·::·.·:·.:·.•.-,·.:.·.:·.;.:.··.'·:; :-~-:·.··"· ·:•:• :_,::

If you have any of the above items to sell, please call Greg at the L.I.F.T. office at 1-416-596-8233.