British Cinematographer - Issue 34

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34

COVERING INTERNATIONAL CINEMATOGRAPHY JULY 2009

SHOOT OUT… #16: CAMERA CREATIVE – DANTE SPINOTTI ASC SPEAKS ABOUT SHOOTING PUBLIC ENEMIES ON HD

ALSO INSIDE… #26: ON THE JOB – JOHN DE BORMAN BSC DISCUSSES PERIOD DRAMA DAGENHAM GIRLS #13: SHOOTING THE FUTURE – COULD INWARD INVESTMENT ATTRACT MORE FEATURES TO THE UK? #18: CLOSE UPS – WARWICK THORNTON ON SAMSON AND DELILAH #19: MEET THE NEW WAVE – MATT GRAY #20: LETTER FROM AMERICA – SUPER 16… VITAL AND VIABLE AT HBO! #21: F-STOP HOLLYWOOD – CINE GEAR EXPO ROUND UP

RRP: £6.00

Pinewood Studios, Iver Heath, Buckinghamshire SL0 0NH, UK Tel: +44 (0) 1753 650101 Fax: +44 (0) 1753 650111

>> C O N T E N T S

PUBLISHERS Alan Lowne Tel: +44 (0) 1753 650101 Stuart Walters Tel: +44 (0) 121 608 2300 EDITOR Ron Prince Email: ronny@dircon.co.uk SALES Alan Lowne Tel: +44 (0) 1753 650101 Email: alanlowne@britishcinematographer.co.uk Stuart Walters Tel: +44 (0) 121 608 2300 Email: stuartwalters@britishcinematographer.co.uk DESIGN Paul Roebuck, Open Box Publishing Ltd, info@openboxpublishing.co.uk contact: Stuart Walters Tel: +44 (0) 121 608 2300 THE PUBLICATION ADVISORY COMMITTEE comprises of Board members from the BSC and GBCT as well as the Publishers BRITISH CINEMATOGRAPHER covering International Cinematography is part of Laws Publishing Ltd, Pinewood Studios, Iver Heath, Buckinghamshire SL0 0NH, UK The publishers wish to emphasise that the opinions expressed in BRITISH CINEMATOGRAPHER are not representative of Laws Publishing Ltd but the responsibility of the individual contributors.

Cover Photograph: Public Enemies, lensed by Dante Spinotti. Image courtesy of Universal.

>> Editorial Team Ron Prince: has many years experience working in the film, TV, CGI and visual effects industries. He is the editor of British Cinematographer magazine and runs an international communications company (www.princepr.com).

UK P03 P05 P10 P14 P18 P19 P30

President's Perspective: Sue Gibson BSC reflects on the global cinematography village Production / Post & Techno News: the latest news concerning cinematographers Who's Shooting Who?: find out which DPs are working where To Live & Let DI: discover who's dialling-in the DI grades today Close-Ups: Warwick Thornton Meet The New Wave: Matt Gray… a magician in the making GBCT News: the chairman's statement, and news from the Guild

INTERNATIONAL P08 P20 P21 P23

Cannes Diary: tales from the Croisette Letter From America: why HBO views Super 16mm as a viable production format F-Stop Hollywood: CineGear Expo round-up, plus the latest news from Tinsel Town IMAGO News: Nigel Walters BSC, president of IMAGO

FEATURES P13 P16 P26

Shooting The Future: can the mooted Inward Investment model bring back the $s?

Camera Creative: Dante Spinotti ASC on Public Enemies On The Job: John de Borman BSC on Dagenham Girls

British Society of Cinematographers – Board Members: President, Sue Gibson. Immediate Past President, Gavin Finney. Vice Presidents, Joe Dunton MBE, Chris Seager, Nigel Walters. Governors, Sean Bobitt, John de Borman, John Daly, Harvey Harrison, Tony Imi, Phil Meheux, David Odd, Nic Morris, Ashley Rowe, Derek Suter, Robin Vidgeon, Haris Zambarloukos. Co-opted Associate Member Representatives, Andrei Austin, Rodrigo Gutierrez. Secretary/Treasurer, Frances Russell.

Guild of British Camera Technicians – Board Members: Jamie Harcourt (Chairman), Tim Potter (Vice Chairman), Caroline Sax (Vice Chairman), Lousie Ben-Nathan, Steve Brooke-Smith, Trevor Coop (Immediate Past Chairman), Sam Goldie, Jane Jackson, John Keedwell Rupert Lloyd Parry, Keith Mead, Shirley Schumacher, Mary Kyte (Honorary Treasurer).

Bob Fisher has authored 3,000 magazine articles about cinematographers and filmmakers during the past 35 plus years. He has also moderated many panel discussions for both the American Society of Cinematographers and the International Cinematographers Guild.

Angels And Demons

Carolyn Giardina: is a freelance journalist based in the US. She previously served as the technology reporter at Hollywood Reporter, the editor of Film & Video, and as senior editor of post-production at SHOOT. Her work has also appeared in IBC Daily News, Digital Cinema, Post and Below The Line.

Dixie Bonham is a freelance entertainment writer based in Los Angeles. His work has appeared in both trade and international publications. In addition to reporting on the technical side of television and film production, he creates advertising campaigns and newsletters for many production and equipment houses.

Kevin Hilton: is a freelance journalist who writes about technology and personalities in film and broadcasting, and contributes film reviews and interviews to a variety of publications in the UK and abroad.

John Keedwell: the GBCT News Editor, is a documentary and commercials cameraman who has worked on many productions around the world. He crosses over in both film and tape productions and has great knowledge of the new formats and their methods of production.

Rachael Turk is a Sydney based writer and the former editor of Inside Film Magazine. She has written for The Sydney Morning Herald and Screen Hub and served on the FIPRESCI juries at Venice, London and Sydney. She has three film projects currently in development.

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Dear Readers First off… a round of congratulations to some of the talented British cinematographers making the news. Billy Williams BSC, one of the all-time greats, whose accolades include an Oscar for his work on Gandhi (shared with Ronnie Taylor), was recently awarded the Order of The British Empire by HM The Queen.

Always abreast of the latest issues affecting cinematographers, and a person who cherishes artistry in others, Billy is a hugely popular figure amongst both peers and pretenders.

Congratulations also go to David Odd BSC, Ashley Rowe BSC and Haris Zambarloukos BSC, who have just been elected to the board of governors of the BSC. Again, each is talented and

personable, and comes with impressive credits. Their presence in the boardroom should reinforce the BSC's long-standing reputation for creative excellence, both in the UK and abroad.

Filmmaking is all about the people involved, and cinematographers are galvanizing, at muster, around the world.

A quick take on the global picture reveals: the ASC/BSC debate at Cine Gear; film festivals like Edinburgh adopting a strong cinematographic focus; the première of the BSC Film & Digital Image Evaluations 2009; similar evaluations from the ASC and the AFC; moves by IMAGO to encourage the ASC as members; a positive turn in Jost Vocano BvK's authorship case; Camerimage on the horizon; and a global cinematography summit scheduled for 2010 in Copenhagen.

All of this highlights what cinematographers actually “do”, as well as the demons they are having to fight.

But the point is that the issues are more firmly on the agenda than perhaps at any other time. Surely it is now vital to take this burgeoning energy, and to make it effective by focussing it externally on the producers, directors, studios, etc, who also are responsible for initiating films.

Of course, we continue to report it all in the pages of this magazine. So, along with features on the work of Dante Spinotti and John de Borman, a look at emerging talent in the shape of Matt Gray, you might want to take a considered look at our Letter From America, which reveals how Super 16mm is not just alive and well, but flourishing at HBO. There's no mention of compression algorithms and grain problems - just the beauty of the images themselves, the necessity of the cinematographer to create those images, and the efficacy of film for archiving. Grist to the mill. Get grinding.

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president’s perspective

Special relationships This year it is the 90th and 60th anniversaries of the ASC and BSC respectively. The ACS and Fuji Film both saw fit to honour us with a trophies in recognition of our 60th birthday and to mark this historic occasion at Cine Gear we participated in a panel discussion with ASC members, entitled “A Dialogue With ASC, BSC Cinematographers”. As far as I know this was the first time the two societies had joined together in this way and the resulting discussion was most revealing. Far from being two countries divided by a common language, it seems that we are both working together, tackling the same problems and issues that confront our profession.

The panel members were, Owen Roisman ASC, Daryn Okada ASC, Richard Crudo ASC, Nancy Schreiber ASC, Allen Daviau ASC, Guillermo Navarro ASC, Michael Goi ASC (newly-elected president), John Daly BSC, Joe Dunton BSC, Nic Morris BSC, Phil Méheux BSC and Dick Pope BSC, with George Spiro Dibie ASC and myself acting as co-moderators. Consequently the stage was rather crowded as we all crammed onto the rostrum.

We covered many topics that are pertinent on both sides of the pond, and found that we really do have a collective voice.

Far from being a discussion about technical issues it became a celebration of all that being a cinematographer stands for. We talked about the challenges we face today and in the future, and the responsibilities we have towards the future generations of filmmakers. With such a distinguished panel, there was no question the audience put forward that was not answered with clarity and passion. The discussion could have gone on for a lot longer than the hour and a half allotted, and it was difficult to disentangle ourselves from the members of the audience keen to ask more questions, and make way for the next presentation.

More than anything, to my mind, it was the passion that shone through, and the desire to investigate all the options that could make our roles as image creators more stimulating. The whole post production issue was something that prompted a lot of discussion in terms of how we maintain control of the image in DI after the director and editor have been looking at a rather inferior picture on the Avid for some months, and far from being the cinematographer's domain, we now have to fight to retain control of the “look” of the final piece.

Another of the topics was “What is the future of 16mm?” I know this is a subject that has been aired so many times over the last few years, but it seems it just won't go away. Far from the ASC and BSC being “stuck in the past” it seems that we are denying future generations the delight of the photochemical process with the demise of 16mm. There was one young filmmaker in the audience who was passionate that he should be allowed to experience the whole process from

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beginning to end, including finishing on film rather than DI. I have also heard that HBO is championing 16mm at the moment, as now we have degraining tools, sharpening, and all the secondary grading options in DI already open to the digital formats. It seems they can see advantages in terms of longevity, ease of use, and image quality that are becoming so expensive in the digital domain. It is also a format that is sometimes preferred by cinematographers and directors as a creative option. Take The Wrestler for example, and Vera Drake. The graininess of the image was used as an advantage to the subject matter, not something that should be smoothed over and sanitised. One member of the ASC panel suggested that digital archiving was at best only a temporary measure and that, if the material being stored was not being updated onto the latest format every 18 months then, it would soon become obsolete, as formats, and codecs keep changing.

The ASC had the first screening of their “Camera Assessment Series” the other day, and Phil Méheux and Dick Pope were invited to see their results. I look forward to hearing all about it from them as we are premiering our “Camera Evaluations” on 8th July at NFT, BFI Southbank. It's about time we joined forces, and am sure their experiences will add to the global debate about new technology. We now have 37 members of Imago, and am hoping the ASC will make it 38. The Image Forum is about to launch its website, and there is a Global Conference on Cinematography being planned for 2010. I hope this stimulates further discussion and global collaboration on all the issues we have today.

It's about time the BSC a n d AC S j o i n e d forces. I am sure their ex p e r i e n c e s will add to the global debate about new t e c h n o l o g y.

I don't know how many times I keep banging on about cinematography being an art, but it's not just a British thing. In the words of George Spiro Dibie ASC, “The public, many journalists and even some people in the industry think that cinematographers primarily play a technical role, but we know that it is an art form that requires mastering a constantly evolving craft”.

This reminds me to pay tribute to Jack Cardiff OBE BSC, who passed away in April this year. A man who inspired us all with his masterful way with light and colour. His films are our heritage, our inspiration, and a reminder that he too was an innovator. Although he became known as the master of the Technicolor 3-Strip Process, he was determined not to be dictated to by technology. Often at loggerheads with the colour control department at Technicolor, who tried to impose a strict technical approach to lighting and art direction, he rebelled, and as a result his contribution to the art of colour cinematography will remain legendary. He surely was the master of light and colour for the 20th Century. I wonder who will be his successor in the 21st. God bless you Jack Cardiff.

Sue Gibson BSC President British Society of Cinematographers

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production news

Suter wins in Seattle The Seattle True Independent Film Festival has honoured Derek Suter BSC, the director of photography on British independent film Burlesque Fairytales, with the award for best cinematography.

Spinotti gets Camerimage lifetime award

Burlesque Fairytales had its US premiere during the June festival, and was chosen for the award from over 90 films featured. It was conceived by writer director Susan Luciani, with producer Lindsay McFarlane. In spite of concerted efforts, the pair could not raise financial support and invested a year's salary into the 35mm project. The pair enlisted the help of actors Lindsay Duncan, Benedict Cumberbatch, Stephen Campbell Moore, Barbara Flynn, and Jim Carter, as well as 100 other dancers and performers, and received support from Pinewood/ Shepperton Studios, Panavision, Camera Revolution, Soho Images, Movietech, Kodak, Cinesite, MPC and Panalux.

Festival Director Clint Berquist said, “Burlesque Fairytales set the bar pretty high. It is a very beautifully shot movie with incredibly engaging cinematography.”

Derek Suter commented, ''Susan approached me around two and a half years ago with the script of Burlesque Fairytales, and from the start I was keen to be involved. To produce this

film on a small budget, with so many professional people wanting to be a part of it required total commitment. I am glad that it is getting the recognition it deserves.”

Burlesque Fairytales will screen at the Notting Hill Film Festival at the Kensington Odeon Cinema in July.

Vocano author ruling On May 7th, the district court in Munich issued a verdict which represents a major step towards the practical implementation of an amended act on the authorship rights in Germany, and towards the recognition of a cinematographer as a co-creator of the film image.

The ruling is an undoubted success for DP Jost Vacano (The Lost Honor of Katharina Blum, Neverending Story, The Boat, Showgirls) who filed the lawsuit, and who has for 20 years dedicated himself to the recognition of the director of photography as the co-creator of the film work.

Vacano, the cinematographer on the film The Boat, which is the subject of the lawsuit, has laid charges against a production company, a broadcasting institution and against a VHS distribution company. According to Vacano these companies were gaining profit from exploitation of the film, while he has not received royalties from it, which he should according to Article 32a of the copyright act.

The 7th Civil Chamber of the District Court in large measure found the claims to be well-grounded and obliged the charged parties to file the account of the profits gained from the commercial exploitation of the film since 2002, the year the copyright act was amended. The amendment has added the Article 32a, which established an institution of the co-creator of a film work. Cinematographers are included in that list.

During the next stage of the proceedings the court will set what amount should be paid Vacano. The ruling made by the Munich court is particularly important for the German Society of Cinematographers (bvk). Although the verdict does not yet mean an absolute victory and refers only to a limited period of time, the bvk considers it a success.

Michael Neubauer, bvk president said: “The protection of the cinematographers' rights against those who exploit their artistic work is a serious matter. Nobody buys a DVD just because it's shiny, but because it contains for example the film The Boat with astonishing photography people want to see. The carrier is worthless without a content and the profits from its distribution should be shared by all the creators."

Rogue opens greenscreen facility at Elstree Digital film rental house Rogue Element Films is to open a new digital cinematography facility at Elstree Studios. Moving from its previous base at Pinewood Studios, the new Elstree operation will offer full digital rental, plus shooting and production workflow services. These include Sony F35 and F23, Viper and SI-2K cameras, data recording, production workflow and digital lab, dailies review, a data pipeline direct to Soho and a new permanent green screen facility.

Dan Mulligan, MD Rogue Element Films, said, “Having

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invested in the first Sony F35 cameras supporting full 4:4:4 2K RGB acquisition in the UK, we wanted to take things further by offering the UK's first dedicated greenscreen studio with completely uncompressed data acquisition and a fully digital workflow and production pipeline”.

“Productions will be able to literally walk right into the studio, and start shooting to disk. But this is only the start of many new developments at Elstree. In the very near future we plan to set up full 3D-compatible studios to complement our existing infrastructure,” he concluded.

Cinematographer Dante Spinotti ASC, AIC will be the recipient of this year's Plus Camerimage Lifetime Achievement Award 2009. The award will be presented at the 17th edition of the festival, which will be held from 28th November to 5th December.

Spinotti's credits are varied. Although well-known for his paring with Michael Mann, he has shot high-profile projects with Bruce Beresford (Crimes of the Heart, The Contact), Herbert Ross (True Colors), Michael Apted (Blink, Nell, Chronicles of Narnia: The Voyage of the Dawn Trader which is now in pre-production), Curtis Hanson (L.A. Confidential), Bret Ratner (The Family Man, Red Dragon, After the Sunset, X-Men: The Last Stand), and more. He's been nominated for two Oscars (The Insider, L.A. Confidential), three ASC Awards (The Insider, L.A. Confidential, The Last of the Mohicans), nominated for a BAFTA (L.A. Confidential) and won the BAFTA (The Last of the Mohicans) and won the BSC Award (L.A. Confidential) and many more.

“Dante is a spectacular lighting cameraman and the aesthetic of the manipulation of light and how light falls is an area of expertise most prized,” said director Michael Mann, with whom he recently shot Public Enemies.

“I think in a previous existence, Dante Spinotti would have been a Renaissance painter,” commented Michael Goi ASC, president elect of the American Society of Cinematographers. “His cinematography, whatever the subject, always has a feeling of being classic, perfectly blended with the film.”

What's shooting on Kodak?

Kodak film stocks are being used on these feature film productions: Re-Uniting The Rubins, dir Yoav Facto, DP Miles Cook; Harry Potter and the Deathly Hallows, dir David Yates, DP Eduardo Serra; Clash of the Titans, dir Louis Leterrie, DP Peter Menzies; London Boulevard, dir William Monahan, DP Chris Menges; Untitled Robin Hood Adventure, dir Ridley Scott, DP John Mathieson; and Cemetery Junction, dirs Ricky Gervais/Stephen Merchant, DP Remi Adefarasin. TV productiuons using Kodak include: Ben Hur, Pontius Pilate Productions (Muse) Inc, DP Osama Rawi BSC; Emma, BBC Drama, DP Adam Suschitzky; Doc Martin, Buffalo Pictures, DP Simon Archer BSC; A Touch Of Frost 'If Dogs Run Free', ITV Productions, DP Robin Vigdeon BSC; Merlin II, Shine Ltd, DP Dale McCready; Spooks VIII, Kudos Film & TV, DPs James Welland, Giulio Biccari, and Damian Bromley.

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production news

ASC and PGA evaluate cameras The ASC, Producers Guild of America (PGA), Revelations Entertainment and industry professionals have debuted their anticipated Camera Assessment Series (CAS) - an extensive side-by-side assessment of the current generation of HD digital motion picture cameras and one 35mm camera, writes Carolyn Giardina. The premiere was held at the Cary Grant Theater on the Sony Pictures Lot, during the PGA's recent Produced By Conference.

The CAS initiative was spearheaded by Revelations' co-founder and PGA member Lori McCreary; ASC Technology Committee chairman Curtis Clark, ASC; Camera SubCommittee chairman Dave Stump, ASC; and Workflow Sub-Committee chairman Al Barton.

McCreary, who moderated the premiere session, called the CAS a “historical precedent” saying that all segments of the industry, including camera makers and postproduction vets, came together for the good of the community. She thanked the camera manufacturers for their support and trust, and the audience joined her with an enthusiastic round of applause.

McCreary emphasised that this project is not a 'test.' She explained that the goal was to compile a series of images and related research to provide a consistent baseline from which to assess imaging characteristics, along with lighting needs and on-set ease of use in various situations. The series was designed to research every aspect of the cameras' capabilities, including in postproduction and digital workflow.

The CAS showcased the following cameras: ARRI D21, Panasonic HPX3700, Sony F23, Sony F35, Panavision Genesis, Thomson Viper, Red One, and the ARRI 435 film camera (representative of the celluloid medium).

During the presentation at the Produced By Conference, McCreary explained that to begin, a set of criteria was established in order for a camera to be used in the project.

She reported that the Red One didn't meet two of them - full colour sampling and uncompressed recording capability - but as it has been an impactful technology, the PGA asked ASC to include this camera, and the ASC acquiesced.

The series was lensed over a weekend in January on the Universal lot, including setups at “Jaws Lake” and Desperate Housewives' Wisteria Lane sets. Several hundred participants helped to shoot 48 scenes - six scenes on eight different cameras - in just two days. Each camera had its own dedicated crew.

The scenes were carefully designed to allow the viewer to assess the cameras in challenging lighting situations and many other areas. For consistent lighting comparisons in outdoor shots, the eight cameras were placed as close together as possible so that they could all shoot at once. Indoor shots were lensed with each camera one by one.

Each digital camera was configured to meet a set of technical workflow specifications commonly used for digital intermediate finishing.

The premiere of the series, which is not yet complete, included imagery, as well as some information on costs, physical production and workflow-related topics as they pertain to each camera. Discussions are already beginning about what was shown, and how to present the research and information for assessment. The participants intend to make the finished CAS series available industry wide as an aid to filmmakers.

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Bevan takes UKFC chair Culture Secretary Ben Bradshaw recently announced that Tim Bevan CBE will be the new chair of the UK Film Council. Bevan, who is co-founder and co-chairman of Working Title Films, will take over from outgoing chairman Stewart Till CBE. The appointment is for four years and starts on 30 July.

“Tim is one of the UK's most successful producers with a hugely impressive list of credits to his name. The UK film sector is very fortunate to have someone as experienced and talented as him to help ensure its continued success,” said Bradshaw. “Tim will become chair during a tremendously successful year for British film.

Box office receipts are in great shape, and the awards season was a reflection of the strength of the industry”.

Speaking about his appointment, Bevan said, “British film is enjoying great critical and commercial success, but at the same time everyone is facing the transition to a new digital era, the very real challenges of the credit crisis and the impact of online piracy.

We must adapt and consolidate to respond to those new realities, working with Government, listening to our stakeholders,

and carrying out a comprehensive review of all our activities, both industrial and cultural.”

Bevan co-founded Working Title in 1984.

Working Title has made more than 90 films that have grossed over $4.5 billion worldwide. Its films have won six Academy Awards, 26 BAFTA Awards and prestigious prizes at the Cannes and Berlin Film Festivals.

Credits include Four Weddings And A Funeral, Bridget Jones, Elizabeth, Atonement, Shaun Of The Dead, United 93 and Burn After Reading.

BSC takes F&DIEs on the road The BSC Film & Digital Image Evaluations 2009, comprising 18 different film and digital formats, is premiering at the NFT, BFI Southbank on 8th July. It will be followed by a series of presentations nationwide, and around Europe during the second half of 2009.

The assessments were originally conceived as a practical guide to the increasing choices available to producers, directors and cinematographers. However, as Joe Dunton CBE BSC commented, "The results will really be for everyone - manufacturers, cinematographers, crew, post, trade bodies, studios - anyone in fact with an interest in producing cinematographic content. They will truly help to clarify what tools are available on set, and what the ramifications are for the backend workflow."

Sue Gibson BSC, the society's president added. “These really are evaluations, not tests to find which camera we think is ”best”. There has been so much hype from various manufacturers about the capabilities of some of these formats, and by comparing all these formats in a controlled way we hope to give the industry the information to make informed choices.”

The evaluations will be shown in Bristol on August 4th, in Glasgow in September, Pinewood Studios in October, Manchester in November, plus Cardiff and Belfast in early 2010 (dates to be confirmed). The BSC is also working with Imago, the European Federation of Cinematographers, and the Camerimage 2009 organisers, to expose the evaluations to filmmakers across Europe. Details of can be found at the BSC website: www.bscine.com.

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production news

Goi elected ASC president Michael Goi ASC has been chosen to serve as president of the American Society of Cinematographers.

Goi is a native of Chicago who grew up making 8 mm movies with the help of neighborhood children. He upgraded to a 16 mm Bolex camera after taking odd jobs to fund his pastime. After graduating from high school, Goi studied filmmaking at Columbia College in Chicago. He began shooting PBS documentaries whilst still at college, and then went on to shoot local commercials and documentaries, as well as concentrating on fashion and product photography.

Goi's first narrative film credit was Moonstalker in 1987. He received ASC Outstanding Achievement Awards nominations for the telefilms The Fixer (1999) and Judas (2005), and last Goi also garnered an Emmy nomination for an episode of My Name is Earl.

His other credits include Witless Protection, Fingerprints, Red Water, What Matters Most, Who Killed Atlanta's Children?, Christmas Rush, Funky Monkey, Welcome to Death Row, The Dukes, the Emmy Award-winning documentary Fired-Up: The Story of Public Housing in Chicago, and the TV series The Wedding Bells and My Name is Earl.

The other ASC officers are vice presidents Richard Crudo ASC, Owen Roizman ASC and Victor J. Kemper ASC; treasurer Matthew Leonetti ASC; secretary Rodney Taylor ASC; and sergeantat-arms John C. Flinn, III. ASC. The other board members are Curtis Clark ASC, George Spiro Dibie ASC, Richard Edlund ASC, John Hora ASC, Stephen Lighthill ASC, Isidore Mankofsky ASC, Daryn Okada ASC, Nancy Schreiber ASC, Haskell Wexler ASC, and Vilmos Zsigmond ASC. The ASC has 310 active members, who have national roots in some 20 countries, plus 160 associate members.

Edinburgh looks to 2010 The Edinburgh International Film Festival (EIFF) is looking to increase support from the production and post production industries for next year's festival, following the success of a new series of technology and cinematography events held this year.

Among this year's highlights were Brothers: (l-r) cinematographers Jan Richter Oscar-winning cinematographer Friis, Anthony Dod Mantle, Baz Irvine and Anthony Dod Mantle DFF BSC in Seamus McGarvey pictured together during conversation with Seamus McGarvey the recent Edinburgh Film Festival.

BSC ASC, a patron of the festival, and a cinematography masterclass from Haris Zambarloukos BSC. The events also included a discussion of the BSC's 2009 Film and Digital Image Evaluations, plus presentations from Red Digital Cinema, 3D specialist Phil Streather, US restoration specialists Lowry Digital, the Cinema Exhibitors' Association, as well as a cinematography surgery for filmmakers by DP Trevor Forrest. LCA and Rogue Element Films showed their latest lighting and digital camera technologies.

“This year we expanded to further embrace industry professionals, and to encourage contact and discussion between talent, content and technology on an international level,” said festival MD Ginnie Atkinson. “We aim to broaden our industry programme for 2010 into post production too, and are keen to start those conversations as early as possible.”

What's shooting on Fuji?

The following features and TV dramas are using Fuji film stocks… Clash of the Titans, DP Peter Menzies Jnr, dir Louis Leterrier; Chatroom, DP Benoit Delhomme, dir Hideo Nakata; Nanny McPhee And The Big Bang, DP Mike Eley, dir Susanna White; Huge, DP Trevor Forrest, dir Ben Miller; The Infidel, DP Natasha Braier, dir Josh Appignanesi; Emma, DP Adam Suschitzky, dir Jim O'Hanlon; The Philanthropist, DP Joel Ransom, dir Duane Clark; One Night In Emergency, DP Benjamin Kracun, dir Michael Offer; Foyle's War, DP James Aspinall. Music videos include… The Script, DP Jake Polonsky; Florence & The Machine, DP Will Bex; and White Denim, DP Steve Annis. And commercials that have found their way to Fuji are… Shape Yoghurt, DP Denis Crossan BSC; Pizza Hut, DP Henry Braham BSC; Johnson & Johnson, DP John Lynch; Bailey's, DP Tom Townend; Homebase, DP Federico Alfonzo; Cancer Research, DP Jeremy Pollard; and Johnnie Walker, DP Richard Stewart.

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cannes diary

A Whole Lotta Rosé Friday 15th May: Up, up and away. This year's Cannes Film Festival caused a stir by opening with Pixar's mainstream CG-animated 3D film Up! Wonder what other surprises lie in store? The journey there starts with a 5am pick-up from Andy Birmingham to Bristol International Airport, where we bump into Peter Richardson, and his son Nico.

Is it only me who got Churchill: The Hollywood Years?

Hire a 205 in Nice, head on to the Péage to La Napoule. A rapid unpack at the hotel and it's into Cannes for registration and an omlette at Café Roma, where a local bulldog, named George, takes a nip at my thigh. Arrange with Fiona Maxell, director of

operations at ITV, for a ticket to the premiere of the newlyrestored The Red Shoes tonight. On to Pinewood's boat by The Bunker for a quick rosé. Before you know it, two hours have gone by and it's time to get to The Red Shoes screening. Head up the red carpet! Sit next to Harvey Weinstein! Martin Scorsese brushes past on his way to the stage! Tilda Swinton, Ang Lee and Rosanna Arquette - all in the row in front, all get clamorous applause as Marty salutes them one-by-one. Harvey would have too, but he's nipped to the loo! Scorsese's intro is brilliant and emotional. He pays special tribute to the late great Jack Cardiff, and to friends and relatives of the filmmakers also in the audience: Nicki and Mason Cardiff, Andrew Macdonald grandson of Emeric Pressburger, and the daughter and granddaughter or Moira Shearer. The screening is unutterably beautiful and beguiling.

with Natasha. Parking at 11:30pm is a nightmare, but Natasha is a delight - dark-haired and diminutive, full of joie de vivre - as we plan our interview at The Grand (which seems this years' place to be, BTW).

Later at The Hostellerie… there's Lucy Ainsworth-Taylor from Prime Focus, Judit Romwalter from Sparks in Hungary, Gary Stone and Linda Deacy from Ealing Studios. Steve Shaw of Light Illusion, his wife Sarah and Tarun and Richard from Quantel wander in later. Rosé flows.

Saturday 16th May: “Suter Proud Of Stiffy” is the banter around the boiled-eggs at breakfast, as Derek Suter gets gently ribbed about his best cinematography award from the Seattle True Independent Film Festival for Burlesque Fairytales. DP Gary Shaw has come to show his face around as Moon is shortly going on release. Do some web research for an interview I have to conduct with DP Natasha Braier in the UK Pavilion tomorrow. A superb lunch courtesy of Deluxe at the Rado Plage, with Deluxe's MD Terry Lansbury and sales manager Ian Robinson, with guests including Andy Birmingham, Derek, and Phil Setterfield of Universal. We're next to a table of divorcees, who are in town for anything but the films.

Early evening dunk in the Med near La Napoule with Derek and Richard Craig-McFeeley of Quantel. Spend a couple more hours rehearsing the Natasha interview, and arrange to link up later with her. She is flying down on a weekend break from filming The Infidel. In the hotel bar, watch celebrity Qui Gagne Les Millions?, that has France's version of Phillip Schofield and Fern Britton in the hot seat, with Tarun Kumar of Anand Cine Service and Gemini Digital, Chennai. Zoom into Cannes in the 205, to rendez-vous

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ISSUE 34

BRITISH CINEMATOGRAPHER

INTERNATIONAL

Ooh Ahh: Eric Cantona and Ron Prince, editor of British Cinematographer magazine Sunday 17th May: Natasha! Today's the day we do our thing for the UKFC. She is excellent, I'm a bundle of nerves. We cover a lot of ground about her cinematography work on Somers Town, XXY, Glue, La Teta Asustada. Instinctive, passionate, playful - she is quite candid that her career path is dictated by contacting the filmmakers she wants to work with, and who have subject matters that interest her. Afterwards chat with Chris Gilbert of Light By Numbers, and Derek Watts from 3 Mills Studios, who says the place is packed with work across features, commercials, music videos and theatre. Catch a bit of Stephen Frears being interviewed in the UK Pavilion. The clips of Uma Thurman and John Malkovich in full flight in Dangerous Liaisons look amazing - Philippe Rousselot must have played a big part in that. Anand Cine Service/Gemini Digital drinks aboard Pinewood's boat. With the help of Light Illusion, they are launching new digital production and post facilities, and this is a gentle foray into marketing. Talk to Kevin Phelan of Lipsync Post about equity financing of films by post houses, how they evaluate scripts, and the apparently low-risk of this model. Early evening swim in the sea again. Tired as a newt.

Early night.

Monday 18th May: Lunch at the Kodak Pavilion, hosted by David Webb and his team, is a highlight of the day. Meet DP Trevor Forrest, who tells me he's about to shoot the comedy Huge on 2-perf. Anna Lee, wife of the late John Lee, is enjoying catching up with people - she says he knows a lady-plumber in Bath who can fix my pipework.

Seem to be talking to lots of people about the Red camera, and surprised at how it has infused the lower-end of the filmmaking industry.

Pop to the UK Pavilion next door. Blimey. There's Anthony Dod Mantle, taking part in a panel debate about… the Red camera.

He says he likes the “stillness” of the images it produces. We've emailed and spoken on the phone, but never met. There's a winning fraternal familiarity about the man when we greet.

Anthony is in Cannes with Lars and the Antichrist junket, but staying in Nice with his family. There's so much to talk about - life as well as work - but so little time. Have to dash to Kodak's boat, Sunny Dream, for an Edinburgh Film Festival get-together, hosted

by Ginnie Atkinson MD. Among the guests are UKFC's film commissioner Colin Brown, Philip Cooper and Russell from ARRI, Paul Collard from Asecnt 142, Martin Hammond who is driving forward the BSC's Film & Digital Image Evaluations, Tarun, David from Kodak, Sam and Dan Clark, Steve Shaw, and Richard from Quantel. Blinking nightmare trying to drive out of town as, OohAhh, Looking For Eric is about to screen. Another dip. Then back to into Cannes. Will it be Nikki Beach party? Highlands and Islands party? Or the ACE cocktail party? Shoot for ACE. Lots of Europeans there, getting involved in co-productions. Could be wrong, but not many Brits seem to be around, maybe they will

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cannes diary

Sunny delight: Judit Romwalter of Sparks, with director Ken Loach at Fuji's Lounge

turn up later. Ice creams with Judit Romwalter along the harbour.

Rosé and laughs flow later courtesy of Gary Stone and Andy Birmingham.

Tuesday 19th May: Technicolor lunch at The Carlton, always good, with many faces and excellent cuisine. The faces include MD Simon Wilkinson and Kishor Ladwa greeting guests. This year's gift is a solar mobile phone charger… that works when it's plugged in later on the Carlton Terrace. During the whole visit everyone's been saying how marvellous the Fuji Lounge is. So after coffee on the Carlton Terrace, pay a visit with Judit and Auzzie DP agent Meredith Emmanual, and wow… the Fuji Lounge is really cool. And low

and behold… there's Ken… and wow… there's Eric! Have a brief chat with Ken, and grab a Gallic handshake with Eric. They are doing press interviews for Looking For Eric. Sadly we have just missed Barry Ackroyd who shot the film, but we'll catch up with him soon.

Back out on to the teaming Croissette, to the Scottish Screen and Edinburgh Film Festival party at Long Beach, that turns out to be jammed with people. It is now Golden Hour, and I bump into Anthony Dod Mantle again. He is with his wife Sanne, son Clemens, and Eddie their French bulldog - he's not a nipper, thankfully. They are promenading, soaking up the atmosphere, enjoying the evening sunshine. C'est la vie!

THE WINNERS AT CANNES FILM FESTIVAL 2009 The Palme d'Or 2009 was awarded to Michael Haneke for The White Ribbon. Haneke accepted the award from Isabelle Huppert with these words: "Thank you very much. Sometimes my wife asks me a very feminine question: that is, am I happy? Well, let me say that at this moment in time, I am very happy."

Later at the Laurete press conference, he said, “The Palme d'Or is the best prize a filmmaker can win. I am not proud, but I am very happy. In my opinion, it's silly to be proud. As a director, I always see the flaws in my films. I'm never entirely satisfied. You just hope the audience won't notice them."

IN COMPETTION - FEATURE FILMS Palme d'Or The White Ribbon directed by Michael Haneke Grand Prix A Prophet directed by Jacques Audiard Lifetime Achievement Award Alain Resnais Best Director Brillante Mendoza for Kinatay Jury Prize Fish Tank directed by Andrea Arnold Bak-Jwi (Thirst) directed by Park Chan-Wook Best Performance for an Actor Christoph Waltz in Inglourious Basterds directed by Quentin Tarantino Best Performance by an Actress Charlotte Gainsbourg in Antichrist directed by Lars von Trier Best Screenplay Mei Feng for Chun Feng Chen Zui De Ye Wan (Spring Fever) directed by Lou Ye Prix Vulcain: Artist-Technician Aitor Berenguer, sound technician of the movie Map Of The Sounds Of Tokyo directed by Isabel Coixet.

IN COMPETITION - SHORT FILMS Palme d'Or Arena directed by João Salaviza Special Distinction The Six Dollar Fifty Man directed by Mark Albiston, Louis Sutherland Camera D'or Samson And Delilah directed by Warwick Thornton (presented at Un Certain Regard) Caméra d'Or - Special Distinction Ajami directed by Scandar Copti, Yaron Shani (presented at Quinzaine des Réalisateurs) Un Certain Regard Prix Un Certain Regard - Fondation Gan pour le Cinéma Kynodontas (Dogtooth) by Yorgos Lanthimos Jury Prize Politist, Adjectiv (Police, Adjective) by Corneliu Porumboiu.

Special Prize Un Certain Regard 2009 Kasi Az Gorbehaye Irani Khabar Nadareh (No One Knows About Persian Cats) by Bahman Ghobadi Le Père De Mes Enfants (Father of My Children) by Mia HansenLøve CINEFONDATION First Cinéfondation Prize Bába by Zuzana Kirchnerová-Spidlová (Famu, République Tchèque) Second Cinéfondation Prize Goodbye by Song Fang (Beijing Film Academy, Chine) Third Cinéfondation Prize (ex aequo) Diploma by Yaelle Kayam (The Sam Spiegel Film & TV School, Israël) Nammae Ui Jip (Don't Step out of the House) directed by Jo Sunghee (Korean Academy of Film Arts, Corée du Sud)

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UK

who’s shooting who?

Who’s Shooting Who? Shooting: DP Russell Nabb lensing Kandahar Break in Pakistan

As avid readers of this column will be all too aware that we absolutely l-o-v-e it when cinematographers write in. DP Russell Nabb lensed Kandahar Break in Pakistan, a £1m British thriller set in Afghanistan. He says the production was “Shot in the southern state of Balochistan, right on the Afghan border, and deals with a British mine clearance team working for the Taliban regime in 1999. It stars Shaun Dooley and Dean Andrews. After 22 days of principal photography in Pakistan, the film crew was attacked by local Taliban insurgents, so we finished the filming in Tunisia. Four Pakistani members of the crew were shot, and all survived.” The production was directed by David Whitney through Millhouse Films, and was shot with Sony F900Rs on HDCAM with film lenses using a Pro 35 adaptor. For more details visit www.youtube.com/watch?v=wvaIYc5xU2g.

And proving how much we love images and stories of DPs at work, rest and play, DP Gary Clarke volunteered a lovely set of shots he took when on Atlas - Modern Russia, a £2m documentary for Discovery. It was directed by Tom Pollock, and was shot using Panasonic Varicam. “It focuses on six people's lives all over Russia from Moscow to Siberia, to the volcanos of Kamchatka in far east Russia, which is a 12-hour time zone difference from the UK,” writes Gary. “It is renowned as the original land of fire and ice. There are over

300 live volcanos there. We went to film Sasha, a volcanologist who looks after the area and who is the first to know of any seismic activity. But when we got there, there was a mist over the whole area and we could not see further than 20 feet. We sat in a hotel for six days waiting for the weather to change, it didn't so we went back home. A month later we went back to film Sasha, the mist had gone and it was stunning! We flew by helicopter up to the volcanologist's house and, as I was setting up the camera outside, the volcano exploded. My camera assistant James Tovell asked me "shall we keep filming or run for our lives?". It was phenomenal and for once I had the camera there to film it.

Siberia was very difficult, filming in -40C. We landed the helicopter on a frozen lake in Northern Siberia and they picked us up a week later. We were completely isolated from the modern world hoping the cameras would stand up to it.”

McKinney Macartney Management… has m-m-moved to a new address: Gable House, 18 - 24 Turnham Green Terrace, London, W4 1QP, but the phone number remains the same…

020 8995 4747. Balazs Bolygo is in prep for The Husband Obedience Trials, a love story set in an Oxfordshire village, with Guy Browning directing for KBS Films. Ben Butler has shot commercials for Anthony Burrill through 2AM and Trevor Melvin through RSA. Denis Crossan returned from Berlin

Documentary: DP Gary Clarke shot a big budget prodution for Discovery

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where he filmed a Vodafone commercial with Vaughan Arnell, and then set off to Thailand with Smuggler to shoot VW for Neil Harris. He has also recently been working with Susie Roberson and Anthea Benton. Shane Daly has been filming commercials and promos with Greg Francis, Will Wright and Ben Hume-Paton. John de Borman is getting his marching boots on for Dagenham Girls, directed by Nigel Cole, bringing to life the events of the Dagenham Ford plant strike in 1968, when the female machinists protested all the way to Parliament for equal pay. (You can read about this in our On The Job section.) Gavin Finney will be joining Jon Jones as they explore more of the Discworld on Going Postal, his third Terry Pratchett adaptation for Sky/The Mob, shooting in Hungary. They call him Richard Greatrex, and he'll be searching the high seas with his captain Mike Barker for that elusive white whale Moby Dick and facing the deadly perils of human obsession. John Lynch recently worked with Tim Pope through Red Bee on the latest promo for Dr. Who. Mark Partridge is back among the villages Oxfordshire for the return of the hit BBC series Lark Rise To Candleford. Chris Seager is shooting Hamlet with director Gregory Doran, as David Tennant and Patrick Stewart reprise their massively popular roles from the stage to the screen. David Tattersall

Bedding-in: Angus Hudson shooting The Accident in India

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UK

who’s shooting who?

Going wild: Jeremy Humphries in Africa on BBCs To The Ends Of The Earth is minding his feet as he continues to search the land of Lilliput for director Rob Letterman. Jack Black stars as the eponymous hero of Gulliver's Travels. Having completed an Anti Football Violence Awareness commercial with Robert Young, Clive Tickner is now filming a short, Stolen, also with Mr Young. Darran Tiernan is currently in Palma filming a commercial with Jeff Thomas through Sonny. He recently shot Vodafone and Halifax ads. Fabian Wagner is looking for more Survivors in the second series of BBC One's hit postapocalyptic drama with David Evans directing. Michael Wood has been working with directors Emma and Elliott Naftalin.

If the kids are United…(and they are)…Barry Ackroyd BSC has been grading Paul Greengrass' Green Zone and prep has commenced on Peter Morgan's upcoming project, The Special Relationship, due to shoot in July. Robert Alazraki AFC is off to South Africa to shoot Miles Roston's Promise Me (if it gets the final green light), Alwin Küchler BSC is shooting Roger Michell's Morning Glory in New York, Eduardo Serra ASC, AFC will be on the current Harry Potter until April 2010, Marcel Zyskind is shooting Michael Winterbottom's The Killer Inside Me in the US. Alan Almond BSC is working on Jamie Payne's block of the new series of Survivors until the beginning of July. Danny Cohen BSC has just completed Dominic Savage's two-part drama Dive for the BBC. Andrew Dunn BSC continues to shoot Crowley in Portland USA until the end of June. Steve Lawes is shooting Leftbank's Married, Single, Other, whilst Lukas Strebel is in Scotland working with Peter Lydon on the Georgian drama Garrow's Law. Dale McCready continues to shoot the second series of Merlin and David Higgs BSC is now at Ealing Studios prepping for St Trinian's 2. United Agents are very happy to welcome John Conroy as a new client. Tim MauriceJones has finished shooting two commercials for ATT Wireless and Dell with directors' Traktor in Prague and Romania. Alex Melman recently shot Sky and Samsung commercials. Daniel Bronks is working on the new series of Secret Diary Of A Call Girl. Simon Chaudoir is away shooting a fashion project for index in Poland. Tat Radcliffe is busy working on Criminal Justice 2. Simon Richards' latest spot for Bee TV was credited as the weekly HotShot in Shots magazine. Stephen Keith-Roach has been working on a new VW spot. Benjamin Kracun has just wrapped for director Michael Offer on Glasgow-based BBC one-off drama One Night In Emergency. David Raedeker is lighting Tina Gharavi's Ali In Wonderland, a coming of age drama about two Iranian siblings in Newcastle. Jonathan Harvey is shooting feature Legacy for director Thomas Ikimi in Glasgow.

The Screen Talent Agency's…. Tony Imi BSC has

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BRITISH CINEMATOGRAPHER

Smooth operator: Joe Russell is presently working on Land Girls

Berlin Associates'… Dick Dodd is framing Waterloo Road Series 5 for Shed Productions, shooting In Manchester until August. Owen McPolin recently finished on Company Picture's The Take, an adaptation of Martina Cole's best selling novel, a four-part mini-series for Sky One, directed by David Drury, starring Tom Hardy and Brian Cox. Owen is about to start filming Pure Mule for RTE, a two-part special revisiting the highly-successful original series, shot on location in Ireland. Both productions are using the Red camera. Alan Wright is shooting the new season of Holby City on Digi Beta.

Louis Leterrier on Clash of the Titans. Sam McCurdy BSC will shoot Street Dance this summer, a 3D project combining street dance with classical ballet. Dick Pope BSC just finished shooting It's a Wonderful Afterlife for Gurinder Chadha and is about to start work on Mike Leigh's new feature, which shoots this summer. Chris Ross has shot the Ian Dury bio pic Sex & Drugs & Rock & Roll for Mat Whitecross, starring Andy Serkis, Ray Winstone and Mackenzie Crook. Oliver Stapleton BSC has started on Don't Be Afraid of the Dark, which shoots this summer in Australia starring Katie Holmes.

To be directed by Troy Nixey and produced by Guillermo del Toro, it's the story of a young girl sent to live with her father and his new girlfriend, who discovers creatures in her new home who want to claim her as one of their own. Kieran McGuigan lensed the pre-Raphaelite drama Desperate Romantics for the BBC. John Mathieson BSC is currently shooting Ridley Scott's Untitled Robin Hood feature at Shepperton and southeast locations, starring Russell Crowe and Kate Blanchett. David Odd BSC has completed Framed for the BBC, directed by Andy De Emmony and starring Trevor Eve. He is just about to start work on Granada's single film, The Fattest Man in Britain, written by Caroline Ahearn and Jeff Pope, starring Timothy Spall. Ben Smithard is on Cranford series II, and Mark Waters is on Dr Who's sister series The Sarah Jane Adventures in Cardiff.

Over at Independent… Benoit Delhomme AFC is lensing Hideo Nakata's new psychological thriller Chatroom in London.

Jess Hall BSC has wrapped on The Baster in NY, a romantic comedy starring Jennifer Aniston, Jason Bateman and Jeff Goldblum. Martin Kenzie is lighting and directing 2nd unit for

In commercials, Independent's… Henry Braham has continued to work with Paul Weiland on Walkers, Brothers Cider, Bartletts and Premier Inn. Ulf Brantas has lensed a short film with Partizan's Eric Lynne. Oliver Curtis headed off to South America recently to shoot a Nestea job, before

finished the final feature-length TV movie in the Four Seasons series in the west of England. Tim Wooster has wrapped on the 2nd unit of feature film Rasputin in Monaco and Bjorn Bratberg is continuing on the BBC's Criminal Justice II as operator. Martin Fuhrer BSC continues on Stolberg Kommissar in Germany; and Ross Clarkson has started on Undisputed III with director Isaac Florentine in Bulgaria.

Darran Bragg, Greg Copeland and Andrew Boulter, have all been lensing ads, whilst Simon Dennis shot a web 'polymorphic' music video for Hannay Films which involved covering a performance with 25 cameras and new proprietary software. Apparently, each play in post is either controlled by the viewer or randomized and different every time. Will it catch on?

Spots: Martin Ahlgren has been on commercials including Next

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UK

who’s shooting who?

Ads: Mattias Montero has shot Pimms and Starbust spots

Busy: Paul Lang has shot HBO's Among The Righteous and Page And Flynn

Cool: DP Steve Gray trying to keep happy and warm

lensing a Toyota spot. In between re-shoots on KickAss, Ben Davis has been busy with Sainsbury's and an Italian Lotto job.

After finishing on Vodafone, Dan Landin went to Budapest for The Economist, then did a Toyota shoot in London and a PJ Harvey promo with Jake & Dinos Chapman. Mattias Montero lit ads for Starburst and Pimms, and then collaborated with Jake Scott on a Lily Allen promo. Roman Osin squeezed in a spot for Olay. Mark Patten has been nonstop for the last couple of months shooting with Joanna Bailey At Bare, Smack The Pony writer Victoria Pile at Sneezing Tree, Johnny Hardstaff at RSA, Phil Lind at CH4, Nick Livesy at Reload, Henrik von Sydow at Passion Pictures, Brett Foraker and Vernie Yeung at RSA. Jens Ramborg has just joined the roster. Fraser Taggart worked with creatives Kevin & Gregor at The Mob, went on an adventure in Malaysia on an F1 shoot before framing an Allianz Insurance job. Joost Van Gelder lensed ads for Gatorade, Stella, State Street Direct, Rexons and FIFA. Ed Wild shot Mellow Birds, a new BodyShop campaign, and made it back home from a Coca Cola shoot just in time for the arrival of his third son. Congratulations Ed!

Sara Putt Associates'… Nick Dance will be lensing the new series of Skins for Company TV. Peter Greenhalgh is shooting Poirot for ITV Granada and will then go onto Atlantis for BBC shooting in South Africa. Doug Hartington has just completed Forgotten Fallen for Hardy Pictures. Steve Robson completed Fawlty Towers: Re-Opened for Tiger Aspect and is now on the wrap arounds for A Night Of Ricky Gervais for BBC2. Operators… Julian Morson will be operating on St Trinian's: The Legend of Fritton's Gold, and Graham Hall is on Oliver's Arrow for Warner Brothers. Des Whelan is lighting the first four weeks of The Tudors for Showtime and will then continue operating. Joe Russell has just finished on Land Girls for BBC Birmingham, Gareth Hughes is continuing on Holby City, and Philip Sindall continues on Nanny McPhee II for Working Title.

Butler has finished on The Bill. Steve Annis lensed music promos for White Denim, Kid Harpoon and The Chapman Family, Damian Daniel has been on corporates for BT and The FA, and Matt Cooke has shot a documentary for Kidney Cancer.

The news from Creative Media Management is… James Friend is shooting Just for The Record, a feature for Regency Films. Colin Munn is filming series thirteen of Midsommer Murders for ITV. John Rhodes is shooting Tony Dow's Victoria Wood Christmas Special for the BBC. Gavin Struthers is lighting Holby City.

Over at Wizzo Features… after wrapping on Trinity, directed

by Colin Teague, Stephen Woolfenden and Declan O'Dwyer, Erik Wilson has begun shooting the series Murderland starring Robbie Coltrane for ITV. Magni Agustsson has just shot a comedy pilot for Big Talk Productions titled Young, Lazy And Unemployed, directed by Richard Laxton and produced by Kenton Allen. Damian Bromley is currently shooting episodes of Spooks. Angus Hudson has now wrapped on the Indian feature The Accident for director Abhijit Chauduri. Theo Garland adds to his drama reel the short film The Odds, directed by Paloma Baeza, starring Mark Strong, which is about to hit the festival circuit.

Quickie: Ulf Brantas lensed a short for Eric Lynne

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Meanwhile, over at Digital Garage… Pete Hayns has just returned from the US having completed Raging Planet: Blizzard for Pioneer. He will then be starting on 80 Days Around The World for BBC shooting in Kazakhstan, Russia, Mongolia and Beijing. Jeremy Irving is lensing on Wavelength's new feature length documentary with Steven Fry. Nigel Kinnings is shooting Globetrekker for Pilot Productions. Chris Openshaw has just returned from Hong Kong filming for Modern TV and is starting on Masters of The Sea for BBC. Si Wagen is off again to New York and then Panama shooting Weird Creatures With Nick Baker for Icon Films. New arrival Mark Warmington has just completed Global Challenge: Making History for Sunset & Vine in Oman.

Dinedor Management… congratulations to teen horror flick Tormented, lit by Trevor Forrest, directed by Jon Wright and distributed by Warner Bros, Pathe and BBC Films, which has just finished it's stint in 250 screens nationwide. Trevor is now at work on Ben Miller's directorial debut comedy feature Huge, about Eric and Ernie, using 2-perf, and took time out to join British Cinematographer Magazine at the Edinburgh International Film Festival to discuss the ever-changing landscape of independent features, and the demands it makes of the cinematographer. Congratulations too for Samantha Morton's striking directorial debut The Unloved, lit by Tom Townend and broadcast to great acclaim on Channel 4.

Florian Hoffmeister has shot commercials, music video and completed some additional photography for AMC / Granada's The Prisoner, and will shortly begin on the BBC's dramatisation of the life of Margot Fontaine, directed by Otto Bathurst through Mammoth Screen. Hubert Taczanowski starts on BBC4's drama about the birth of the home computer, Syntax Era. Mike Fox BSC lensed a documentary on the life of Edward Elgar for Prospect Pictures. Peter Field continues as 2nd unit operator on Gulliver's Travels for Fox, Ben Filby, Dion M Casey, Martin Ahlgren, Pete Ellmore and Eric Maddison FSF have been busy shooting commercials.

Steve Buckland has completed on Casualty for the BBC and goes on to shoot Crash, a new drama for Tony Jordan's Red Planet Pictures. Andrew Johnson is prepping Kudos' hugelysuccessful children's drama M.I. High. Peter Thornton has been shooting dailies on The Sarah Jane Adventures, Peter

Casarotto's…Remi Adefarasin has just started shooting Ricky Gervais and Stephen Merchant's new darkly comic feature Cemetery Junction, set in 1973. Natasha Braier continues on The Infidel. Julian Court is working with director Philip Martin again, on Mo Mowlam, a drama about the influential politician. Mike Eley is well into shooting Nanny McPhee and The Big Bang. Matt Gray (see Meet The Next Wave in this edition) is on director Colin Barr's documentary for the BBC, Man High, about a man who's going to throw himself out of a balloon in space and freefall, breaking the sound barrier and all sorts of other records in the process. David Katznelson is starting on Gracie, about the singer Gracie Fields. At the Edinburgh Festival Seamus McGarvey just interviewed fellow DP Anthony Dod Mantle (and how good was that!?). Chris Menges has just started shooting London Boulevard with William Monahan, starring Keira Knightley and Colin Farrell, as an ex-con becomes involved with a reclusive actress. Tim Palmer has started prep on the long-awaited Cosi, an opera within an opera, telling the story of a troupe rehearsing Cosi Fan Tutti. Finally, but my no means least… James Welland continues on the ever-popular Spooks for Kudos.

Over in the US, Dattner Dispoto cinematographer Don Davis has an amazing new spot out for Washington Lottery, for director Josh Taft, shot using Red. “When you get a state lottery job it usually does not excite you,” said David. “But this one came in from one of the best directors in the world, Josh Taft. So I looked at it. It was good. Then I looked at the last one they did and it was also good. So I figured in the hands of Josh Taft it could be great.”

Flying: Will Pugh filming Steven Tompkinson’s African Balloon Adventure

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FEATURE

shooting the future

Investing in the future "Inward investment" is a term that crops up regularly in conversation around Soho and Pinewood these days, writes Kevin Hilton. There will always be people who take issue with such linguistic innovations and the concept has a strong critic in Iain Smith, producer of Alexander and Children Of Men, and the associate producer of The Killing Fields. In a presentation to an industry think-tank session organised by the office of the British Film Commissioner, Smith called inward investment a misnomer, saying it is misleading to both the film industry and the government.

"We are actually exporters, not importers," he said, "exporting our services, talents, skills and facilities to foreign buyers. It is rare for any British film company to receive 'inward investment' in the way that, say, Toyota might invest in a car plant. British independent films do receive investment - but film by film. We need to compete internationally, to build competing business and be pro-active in pursuing it and be the best value."

The business is inspired by talent and sustained by money‌ e have to find and follow that model After a period of uncertainty over funding incentives in the UK, tax credits are beginning to bring in productions Smith said, at a time when studios are demanding "very tough bottom line deals". But this is a mixed blessing, he added, because it "disincentivises the UK film industry from working abroad at a time when our national ability to be a global exporter of services is perhaps more important than ever".

Smith said people probably preferred the term inward investment, because it has a sense of dignity, implying being invested in rather than the reality of being hired to work. He

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commented that "fortress Britain" was increasingly suffering famine and feast because its "protective walls were not strong enough". Smith acknowledged that protectionism is a politically emotive subject and said he did not use the term in the perceived sense: "I do think we in the UK have to continue to incentivise intelligently in order to 'protect' our cultural/industrial/commercial infrastructure as it enters the asteroid belt of changing times."

Responding to Smith's points about the need for a different approach to how the UK film industry presents itself British Film Commissioner Colin Brown said, "Inward investment and export are flipsides of the same coin, looking to achieve the same benefits for the UK film industry, which is jobs, revenues, growth and, ultimately, the ability to succeed on a global level. Looking through an export lens provides a much broader perspective capturing the promotion of above the line creative talent, as well as getting distribution for completed films and building co-production partnerships between the UK and other countries. Taking on board an export stance, as some British facilities are already doing, will only strengthen our ability to build international relationships and in the process secure the opportunity for our industry to grow."

The UK film market has become more of a bargain in part months due to a stronger dollar rate but, Smith said, this does not necessarily mean the pound is weak, so other currencies also appear attractive to US producers. The influence of the US is undeniable and although the threatened Screen Actors Guild (SAG) strike was averted recently Smith feels similar problems will reappear in three years time with the next bout of contract negotiations. "Resolving the dispute has resulted in an upturn in production in the UK but work has not hit 'normal levels' and I don't think it ever will again," he said.

According to Smith technology is the "biggest change factor", turning those in the business from filmmakers into "content providers". Part of the high-tech shift is the large-scale, big budget movie, which is now even more important to the studios and the business in general, with 3D a new selling point. Smith feels studios are more interested in "tent pole" films and franchises but does not rule out opportunities for well-funded independents.

The problems in the film business, as Smith sees them, are not confined to the UK but affect the whole of Europe: "We, as Europeans, have allowed our media to be dominated by the commercial and cultural power of America. The digital opportunity allows us the chance to re-establish a different relationship with the buying public, albeit an uncertain one at the moment."

Nigel Walters BSC, vice president of the BSC and president of IMAGO, also takes the view that the focus in the cinema business is too "westward". Walters holds up France as an example of a film industry that has maintained its cultural and commercial independence. Part of this, he said, is due to the combination of government funding and money from the tax on cinema ticket takings, which goes straight back into the business.

Walters pointed out that at one time the UK had a similar system, the Eady Levy, which in-part bankrolled the '60s heyday of British cinema. Regardless of how money is raised, Walters is in favour of a shift inward, not just within the UK and the EU but the whole of Europe. "There is money there, in Norway and Switzerland as well as other countries," he said.

"There is a strong tradition of TV film production in Germany and producers there are always looking for good landscapes, which we have in Britain."

Promoting the UK as a location fits in with Iain Smith's concept of exporting resources but in all aspects - production, facilities, creatives - he feels the skills base is key. "Money follows talent," he said. "The business is inspired by talent and sustained by money. We have to find and follow that model by whatever means we can if we are to survive and flourish."

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live and let DI

To Live and Let DI Hat Factory… colourist Gwyn Evans, who has many years experience of working with film, got to grips with digitally acquired footage, when he recently graded a short film for English National Opera and Sky Arts, directed the legendary Werner Herzog. The four-minute piece, designed to accompany an aria from the opera La Boheme about the parting of lovers, was shot by Richard Blanshard in Ethiopia using Sony's XDCAM EX PMW-EX3. Herzog was persuaded to take on the commission by Andre Singer, producer and CEO of West Park Pictures, part of the DCD Media Group.

The images of the tribes-people are the focus of the film, with shots lingering on four different couples and occasionally cutting away to a group of elders, all carrying Kalashnikovs because of unrest in the area. Blanshard was concerned that the HD would not capture the nuances of different shades of black skin, but his experience as a movie stills photographer, shooting some of the world's major black stars, informed the way that he shot and lit the black fleshtones. The amount of information that he was able to get with the PMW-EX3 meant that the tones were clear and there was plenty of room for enhancement by Evens in the DI. “The latitude of the camera held all the detail from the location, and the contrast of the lens gave a natural, photographic look to the images, which created a painterly grade” says Evans. “Grading on a 20ft screen, with the best projection, allowed the subtleties of the photography to be enhanced.”

MyTherapy… whose motto is “every image deserves a closer look”, and whose ambition is to “make every film look its very best in front of audiences and clients” recently made the move from Shepherd's Bush into Margaret Street, W1, where it has opened a boutique operation. The company's Dado Valentic completed the DIs on a couple of shows.

Unarmed But Dangerous, a martial arts thriller, about a shortarmed kick boxer who fights East End gangsters to get his daughter back, directed by Xavier Leret, produced by Terry Stone, through FilmLounge.com lensed by Dusan Krnac. And

Pepper Post: did the DI on Planet 51

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Hat Factory: grader Gwyn Evans brought out the subtleties of Richard Blanshard's photography on a Werner Herzogdirected short for Sky Arts BBC4's Fish! A Japanese Obsession, written and presented by Charles Rangeley Wilson through Keo Films. It's an exploration into Japanese people's passionate relationship with fish, shot

by DP Gavin Searle.

Pepper Post… has spiced up its DI offering by appointing former Framestore DI expert Jan Hogevold into a new position of head of DI at its Greek Street facility. Hogevold has 13 years of experience in film production and post-production, and delivered over 100 feature Digital Intermediates worldwide including, Casino Royale, Miss Pettigrew Lives for a Day, 1408, In the Loop, United 93, The Constant Gardener, The Proposition, Sahara, The Last King of Scotland, and Layer Cake. Pepper has also hired Ben Bradley, formerly of Deluxe Digital, who will be responsible for the technical pipeline, working alongside DI Colourist John Claude. Pepper has the largest DI projection theatre in London and has recently rebuilt its Studio 1 Dolby Premier Sound Theatre in Noel St. On a slight change of tack, as Martin Scorsese's recent, highprofile restoration of the Powell and Pressburger classic The Red Shoes proves, there is a growing and significant market for taking classic celluloid and restoring it for a modern, Bluray viewing audience. Everyone involved wins: the audience gets to see a pristine print as the director and DP originally envisaged it; the studio gets to monetise its archive (3.5m Blu-ray discs were sold in the UK in 2008); a cleaned-up and future-proofed digital master is created of an important cultural artefact; and post houses open up another revenue stream for all their expensive DI equipment.

being restored at Ascent142's Soho facilities and released by the BFI. While that is only a tiny fraction of its enormous archive (its fiction film collection alone comprises more than 50,000 titles on all gauges of film) its selection process is impressively eclectic. Recent releases include such wellknown titles as The Loneliness Of The Long Distance Runner, and Saturday Night, Sunday Morning, as well as Ron Peck's gay cinema landmark Nighthawks.

While imperfections such as tears, scratches and sparkle are removed from the frames, there is no interest in removing all the grain, or grafting 5.1 surround sound onto titles to make the films look and sound like they were shot last month. “We aim for a digital finish that is as close to the original film experience as possible,” says the BFI's James White.

It takes around six to eight weeks for Ascent 142 to complete a single feature title restoration. Blu-ray authoring adds another month to the process. It starts with the OCN scanned in on a Spirit Datacine at either HD or 2K resolution, before the digital files are passed on to Ascent142's restoration department.

Roughly 30 to 40% of a film's problems can be corrected using automatic processes. More serious issues, typically major tear repair, hairs in the gate and tramlines, tend to require onscreen intervention by a human operator. This is where the time taken, and thus the costs involved, invariably get longer

The BFI's recent restoration work undertaken at Ascent142 is a case in point. Around 40 to 50 titles a year are currently

Pepper: DI expert Jan Hogevold

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live and let DI

Ascent 142: around 50 titles a year are currently being restored at Ascent's Soho facilities and released by the BFI and higher respectively, with feature restoration tending to begin around £15k upwards. For the BFI cost is not really the issue, the preservation of the UK's national film heritage is the prime goal.

Ascent Media has been busy hiring experience too. Neil Mockler, has joined the Soho Film Lab to lead its team as director of film services, along with Steve Boag, who heads up its new digital lab service offering for filmmakers. Former Cine Image owner and managing director Boag leads a new department providing digital lab services concentrating on titling, subtitling and features re-versioning; digital dailies for digital acquisition; and web publishing services that allow rushes to be viewed online.

And if that weren't enough. Ascent 142 has also announced

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that it's new ARRILASER II will deliver the capacity to turn around high-quality laser film-out work faster than any other facility in the UK. The £440,00 system, can deliver speeds of 0.9 sec./frame in 2K and 1.5 sec./frame in 4K, with better tonal reproduction.

Over in Munich, CinePostproduction colourist Sebastian Göhs was chosen by Autodesk to present the latest features on Lustre, which include new 3D stereo tools, giving presentations in Seoul, Tokyo, Beijing, Shanghai, Mumbai, Kuala Lumpur and Sidney into how grading was performed for the Golden Globe winning feature film Waltz With Bashir. He was supported by Olivier Fontenay, senior colourist at EFILM Australia, a subsidiary of Deluxe. CinePostproduction now has five DI suites with Lustre or Baselight plus Barco DCPs for the grading of cinema feature films, including in 3D.

A bit of VFX news… Double Negative recently completed VFX work on Harry Potter And The Half Blood Prince, and has added a raft of new projects to its slate including Iron Man 2, Harry Potter And The Deathly Hallows: Part 1 and the new Simon Pegg movie, Paul, amongst others. The company also got a slice of the action on Angels And Demons, based on the novel of the same name by Dan Brown. The vast majority of the material that Double Negative worked on was in creating St. Peter's Piazza, the crowd seen there, and the explosion.

Double Negative also produced a CG helicopter and created an entirely CG parachute for Ewan McGregor. The team also worked on CG smoke, steam, water, debris, paper and additional effects.

And in Culver City, California, I.E. Effects is now offering a complete dual-stream 2K post production solution for stereoscopic projects.

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FEATURE

camera creative

More than real: Spinotti used the latest digital camera technology to create a unique hyper-reality on Public Enemies for direrctor Michael Mann

Dante shoots digital The two worlds of Public Enemies It seems like an odd pairing - a period drama being shot with today's most modern HD technology. You'd think the texture and the “emotion” of film would be the way to go to tell John Dillinger's story in Public Enemies, writes Dixie Bonham.

In calling on Spinotti (who'd also done The Last Of The Mohicans and The Insider with him), Mann was assured of a stunning visual aesthetic. To him, Spinotti's ability to wrap light around objects and create a mood is unique - and would add much to the story. But, could they do this in HD?

But then again, there is that added factor of director Michael Mann, the forerunner of all things new. And, Dante Spinotti ASC, whose unique vision of reality has made him one of the most highly-appreciated cinematographers in the business, and who urged the audience at last year's Camerimage workshop to embrace digital wholeheartedly.

Cinematic language

If any team could bring the most modern technology and to a period picture - and create a unique hyper-reality, who better than Mann and Spinotti?

So how best to find out if their desire for an un-cosmetic Hollywood, direct approach, what Mann termed a 'hyperreality' approach to the story, would play in HD? The answer a side-by-side test of film vs digital taken all the way through post. Hands down - the final images garnered from the Sony F23 were more of what Mann wanted than those begun on film. The colour, the hyper-reality, the 'look' he wanted worked better when everything was done on digital - from capture to final out.

Mann actually began to discover HD almost 15 years ago, on his second pairing with Spinotti – Heat. (The first being Spinotti's entre into Hollywood filmmaking – Manhunter). To capture the butt of DeNiro's gun hand as it slams into Waingro's face, they used a small lipstick camera. Mann's interest grew and, for kinetic in-your-face style shots of Ali's fight with Sonny Liston, he again went digital. By Collateral, Mann had a firm grasp on HD's ability to perform in low light and took advantage of both the Sony F-900s and the Viper for very low light situations. Each project was solidly placed in a somewhat current time period. The question for Public Enemies was, how to capture the nuances of a very classic and visual time period – the 1930s?

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and make modifications as we were shooting, instead of recording a raw signal and doing corrections later in the DI process.”

Once format was settled, Mann and Spinotti packed a lot into their short pre-production process. The camera side involved choices in capture and delivery. Because of the complexity of multiple cameras they chose to have both a video controller (David Canning) in charge of controlling the look Mann and Spinotti were after, and a digital imaging technician (Ted Viola), as systems engineer, charged with maintaining each camera. The choice was made to use Ethernet control on the cameras, allowing for more freedom of movement.

To facilitate capturing of the best images, the choice was made to use three different HD cameras. “In the digital format, you can shoot wide open at a 2.1 and rarely do you have to go to a prime lens,” Spinotti explains. “The combination of the F23 and the Zeiss lenses could put anything on the screen we desired - sharpness, hypersharpness. On occasions, we would switch to the longer Fujinon zoom. Although it was great, at times we did

“Michael always brings cinema language a little step forward,” says cinematographer Dante Spinotti ASC. “What he does, other's follow. So, it was only natural that he would think about what the digital world could give us.”

“HD gave us the ability to approach each different location with much more freedom,” Spinotti explains. “No matter what situation, you can go in there without any predetermined rules. Where, in film, you have to walk into any location and say 'This is what I have to do - I have to raise exposure to….', the toe in film goes up more slowly, while digital is linear. With digital, we could go inside the camera

Emancipated: Spinotti believes HD gave more freedom

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FEATURE

camera creative

Colour: Spinotti worked in the DI to create a kinetic flow of contrast and colour teams called on the Sony F950-T. This camera was rigged to a backpack carrying a SRW-1 deck. This set up became the choice for either operator as they ran through many chase sequences.

Director: Michael Mann on the running board encounter a bit of a chromatic problem. But nothing that our team couldn't take care of.”

This combination also worked great for low-light situations.

Many chase sequences happen along dark roads or even darker woods. The expanded dynamic range of the F23s allowed for the capture of things like muzzle flashes in these 'black holes' of night.

And, when even the F950 was too large, an operator (or Mann himself) would use the PMW-EX1. This allowed De Angelis to stand on the running board of a car and hold the camera in one hand, while hanging on with the other as they careered down roads at 40 miles-per-hour. In this set up, the SRW-1 was in the back seat of the car.

For Spinotti, one of the key elements accomplished in preproduction and even while shooting was the open communication and cooperation with all departments.

Oh, my back!

The art of talking

The combination of camera and lenses proved somewhat of a challenge for the three camera teams. This was A-Camera operator Lukasz Bielan's first time working in the HD format.

B-Camera/Steadicam Roberto De Angelis had done Avatar (3D) in HD and a few commercials. And, C-Camera John Grillo had a similar amount of experience. Assistants James Apted, Dominic Napolitano and Chris Cuevas were also just beginning to become confident in the digital world. The biggest learning curve for these operators was the bulk of the package.

“When shooting HD, your close friends need to be the set dresser, costumer, and prop department,” says Spinotti. “My gaffer Bob Krattiger and I were constantly working with set decorator Rosemary Brandenburg and costume designer Colleen Atwood. Their ability to help us support the HD format was key. There are costume and set colours that read better for the hyper-reality and when shooting HD, for example.

When shooting H D, y o u r c l o s e friends need to be t h e s e t d r e s s e r, c o s t u m e r, a n d p r o p department.

There was a bit more for De Angelis to contend with than Bielan. The steadicam set up not only included camera and lens, but also the Steadicam rack, the recorder, and the HD scope. For Bielan, it was more about weight distribution and balance. To make the package as body-friendly as possible in handheld mode, an onboard monitor for focus and other accessories were added. The general cry, as operators got used to the weight was “Oh, my back!” or “Oh, my abs!”

“Eventually the ache goes away,” says Bielan, who is now hooked on the HD format. “You become one with the camera and become part of the storytelling process. In a way, you are an actor. You get into it, and what you see is really important.”

When the F23 package was not the best choice for the job the

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“And, because we always tried to work with available light or practicals as much as possible, we needed to see and adapt any lamps chosen for both interiors and exteriors. Bob would always find a way to adapt different HD-friendly bulbs to indoor practicals, or on chases, for example, re-tool the headlights of the period cars so that we could control them through dimmers for different shots. And, on many exteriors, where street lights were in the sequences, create 'modern' lighting from things like open-faced 2ks in the 'period' street lights.”

Even 'happy accidents' added to Spinotti's ability to fulfill Mann's desire for a beautiful hyper-reality. There is a sequence in Public Enemies that everyone involved seems to feel is an iconic, extremely beautiful, visual moment in the story. Okay, so Dillinger and his love interest in a romantic tryst, the 'gang' at rest, images in Little Bohemia are beautiful as well. And don't forget the chases. But, when Dillinger is flown in and transferred to prison - that's where everything comes together.

dynamic, visually dramatic value, on top of lighting the big scene efficiently. They were like a gift from God! All we had to do is set a few larger lights on the hangar and in a few other areas, and add a few off-camera torches and the images looked incredible!”

This sequence is also a favourite for colorist Stefan Sonnenfeld, owner of Company 3 Post. The contrast between light and dark is, for him, beautiful. It is also an example of how Michael Mann's unique vision is played out. While a colorist's job is often to 'smooth out' images, to balance them, this was not always the case in Public Enemies. In this sequence, for example, Mann, Spinotti and Sonnenfeld went frame-by-frame, literally. Each tweak was there to support the emotional context of the story - not to match the frame before or after. The result, a kinetic flow of contrast and colour exactly what Mann wanted to create the film's hyper-reality.

Creative HD For Spinotti, HD is the most creative format by far. There is so much ability to push the envelope a little or a lot more than normal. It's all in the team - the ability to go into a camera's menu and change the settings to suit the story, the location.

It's also being confident that the camera often sees a lot more than the eye. So, because he knows the format intimately, when an operator pulls his eye out of the lens and looks at a scene and sees darkness, Spinotti knows the camera's eye will still record the image wanted. Best of all, the captured image is there on the HD monitor, for all to check. No more sleepless nights as he waits to see what comes back from the lab the next day.

And, now he knows, there is no restriction to HD. With a challenging director, a crack crew, and the right camera packages, even the romance of the 1930s can be captured with the most modern of today's tools. Who knows what's next?

“We scheduled the shot for magic hour and into the night,” explains Spinotti. “The media of the period was on the tarmac, waiting for them. Propmaster Kris Peck discovered, in a corner of a newsreel frame, that they were using flares to light their shots. He showed this to me. Working with the scenic effects coordinator, we tested them on the street.

Michael liked the idea of using them as they had a very

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close ups

Warwick Thornton

Samson and Delilah

dawn we would shoot our day exteriors and then go inside for interiors. At around 3.30pm the colour starts coming back into the landscape for dusk. The Panavision worked beautifully with its incredible latitude in the desert light. We stuck to that 10-hour day, though by the end of the shoot, it started at dusk for night exteriors.”

Aiming to shoot the whole film hand-held for a softer, more naturalistic feel, Thornton set up a system of three milk crates (lows, mediums and highs) with a Cinekinetic cine saddle on top to enable smoother longlens shots.

“Proper handheld became a bit too shaky on my shoulder.

Having the cine saddle on top meant that we had the feeling that it was still hand-held but it was in fact much more solid.”

Working with such a lean selection of equipment, Thornton started experimenting with various in-camera techniques, in particular, for the night scenes under the bridge in the later part of the film.

“In the night stuff, I started doing in-camera fades to black by speeding the camera up and turning the flame bar down at the same time. When your only light source is a flame bar, you can lighten and darken in-camera. It becomes organic.”

“Similarly, when Rowan [Samson] sniffs and we want to go from day to night to day, we set up two mirrors, one on either side. I'd speed the camera up and get the camera to change the shutter angle from 90 to 180 degrees. That would crush the shot down to 5-6 stops underexposed. At the same time we would change the key using the mirrors so it looked like one was dawn (the sun appearing to come from a different direction).

Warwick Thornton on set beneath desert skies with the Panavision Millenium.

Samson and Delilah stunned the film world by taking the Camera d'Or at the Cannes International Film Festival in May - not just because of its unique vision as the debut film from indigenous Australian director, writer and cinematographer Warwick Thornton, but the modest shooting process that enabled it.

Thornton, who wrote and directed the award-winning short films Green Bush (2005, Panorama Best Short Film at the Berlin Film Festival) and Nana (2007, which won the Crystal Bear) after a string of credits as cinematographer including the feature film Radiance (1998), says he wanted to shoot Samson and Delilah himself because of the intimacy it would create on screen with his cast, newcomers Rowan McNamara and Marissa Gibson.

daytime) and Kodak 500T Vision3 (for night). With that, Thornton and producer Kath Shelper timed each scene to the right time of day so as to work with the natural Australian light.

“The light gets so hard out here [in the desert area surrounding Alice Springs] and the colour goes from the desert between about 10.30am and 3.30pm; it becomes desaturated,” he says. “In that first three or four hours after

“All I wanted was the audience to feel like they were standing next to these kids. To have the fluidity of hand-held, not for a sense of verite or fast action but a rock-solid hand-held as if on a journey standing next to them. That was the core emotion.”

Though confronting in its depiction of two troubled Aboriginal teenagers in a remote outback community, Samson and Delilah, which screened in Official Selection in 'Un Certain Regard', was praised by the Cannes jury as "the best love film we've seen for many a year.”

Samson and Delilah will be distributed in the UK by Atlantic.

“These kids hadn't done anything before and all I wanted was a camera on my shoulder and them in front of me so I could talk to them and shoot - just me and them,” he says.

“Because there was no dialogue, I talked through whole scenes in whispers rather than having to shout over scaffolding and a dolly in a crane.”

His approach to equipment was similarly minimalist. With a budget of AUD$1.6m (£788,000) and a maximum crew of 12 (including 1st AD Richard McGrath and focus puller Jules Wurm), Thornton says, “We didn't have grips and gaffers. I said, 'just give me a box of redheads and some flame bars and the best bloody camera capturing system that we know of'”.

That camera was Panavision's Millenium XL 35mm, which he teamed with two stocks: the Kodak Vision2 50D 5201 (for

Warwick Thornton and cast, photo © Mark Rogers

This edition of Close Up was written by our Australian correspondent Rachael Turk. page

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meet the new wave

We've identified a new wave of cinematographers who… have a decent slew of films under their belts… are not upstarts, but not quite of “a certain age” either… are not yet members of the BSC… but who have the potential to become the next Billy, Oliver or Remi.

Matt Gray Filmography (so far): Films: The Mark of Cain (2007), Heartless (2009), The Firm (2009). Recent TV: Breaking The Mould (2009), Sherlock (2009), Enid Blyton (2009), 10 Days To War (2008 - eight episodes), Oliver Twist (2007) Talk To Me (2007 - four episodes), Skins, Series 1 (2007 - one episode) When did you discover you wanted to be a cinematographer?

A friend of my mother's was a documentary stills photographer and from a very early age I was captivated by the B&W images he took. However, seeing Star Wars at the Torquay Odeon was the moment I decided to turn my passion for image making into moving cinematic experiences. I was 10 and began to build model space ships and set designs for imaginary stories.

Where did you train?

These models and imaginary designs earned me a place to study Art & Design at Art Collage in Torquay – I specialised in photography. My studies of documentary photographer David Hurn, and documentary filmmaker John Grierson, drew me to Newport Film School. After graduating, I had a short stint as a trainee clapper loader on TV dramas and in 1987 I joined Magpie Films, a respected documentary. I took up the post of cameraman in 1988, aged 21. I went freelance in 1992.

However, alongside this CV version of events are the important things, like attending night classes about film studies, test commercials for new directors and courses with famous cinematographers. My training has been as much about late night discussions with contemporaries as it has been working in over 56 countries.

What are your favourite films?

Paris Texas, it seemed to draw the breath from me when I first saw it. It showed me how cinematography can illuminate the subtext of a story, how composition and colour can frame the way the audience feel. Robby Muller's work is naturalistic and hugely expressive at the same time.

Lawrence Of Arabia, there is no escaping the impact this film had on me when I first saw it projected. Freddie Young's classical compositions provide a harmony from which to enter this journey of love and obsession for a country.

The Killing Fields, the story of this search for truth speaks to the other side of me that isn't classical or composed but that

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is just “there”, witnessing a story. The naturalness and sensitivity of Chris Menges' photography is something I constantly try to emulate.

Lost In Translation, if there is a modern example of how available light can bring truth to bare on a story, this is it.

Lance Acord ASC brings a wonderful innocence to this film that is pure poetry.

What's the best advice you were ever given?

Chris Menges once said to me, “It is very easy to destroy something the director is trying to create. You must do everything you can to protect that creative seed and help it grow.”

Who are your DP/industry heroes?

Darius Konji… is, for me, the master of the contemporary landscape. Films like Delicatessen and Seven were groundbreaking in reflecting the contemporary cityscape as character or nightmare. Robert Richardson… manages to balance a wonderful naturalism with a heightened quality. His images are highly considered, drawing your eye to the right elements within the frame. Snow Falling On Cedars is an achingly beautiful and poetic film. Chris Menges… I have great admiration not only for the quality of his work and the creative choices he has made, but the way he has used his background in documentaries to craft sensitive and exquisite human films. He has always been truthful to himself in his choice of projects, which shows enormous bravery. Chris Doyle… is a hugely liberating character; the torchbearer for the cinematographer as artist. A maverick, incredible talent, he gives us all the courage to find our own voice.

What's you proudest moment?

Becoming a father to two wonderful children.

Tell us your most hilarious faux pas?

As a trainee clapper loader! Unloading the wrong side of a magazine and tossing the exposed negative from a wrapped location into my full waste bin! I still remember the blood draining from my face. I managed to retrieve it unharmed by the way.

Away from work, what are your greatest passions?

Music, painting and walking in the country with my family What one piece of kit could you not live without?

The Easy Rig - I love the visceral, observed quality you can get.

I have Tim Palmer to thank for introducing me to it.

Which films are you most proud of to date?

Mark Of Cain. To get the chance to explore issues around the Iraq war, with a great director like Mark Munden, was a fantastic opportunity to create a serious film that was expressive and emotional.

What's weirdest place you've ever shot in?

The edge of a volcano Tell us your hidden talent/party trick?

I'm pretty good at pulling coins from behind peoples ears, this can often bring a smile to people's faces in moments of stress.

If you weren't a DP, what job would you be doing now?

If I had the courage I would be a writer.

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INTERNATIONAL

letter from america

Super 16mm at HBO Bob Fisher reports on how HBO's policy to deliver a film element is helping Super 16mm to thrive.

Cynthia Kanner joined HBO as head of post production for the motion pictures produced and aired by the US cable channel in 1994. She has overseen post production for some 110 motion pictures and mini-series. A short list of some of those memorable films includes Angels in America, Conspiracy, John Adams, Elizabeth, Recount, Bury My Heart at Wounded Knee, Lackawanna Blues, Generation Kill and Grey Gardens.

“Considerable progress has been made since 2001,” Kanner observes. “The postproduction workflow has improved significantly, especially for integrating visual effects. The stabilisation technologies, the enhancement software and improvements of film stocks have alleviated concerns about producing films in Super 16mm format.”

“I believe it is more important than ever to create films that people will take the time to watch, because there are so many entertainment options vying for their attention,” Kanner says. “I feel really lucky that I get to work on films I care about and love watching. I also take pride in the fact that all HBO movies are archived on film in pristine condition for tomorrow's audiences.”

She cites Generation Kill, a seven-part mini-series, which premiered in 2008. The mini-series was based on a book written by Evan Wright. The story revolves around U.S. Marines who were assigned to a reconnaissance battalion during the first 40 days of the war in Iraq. Wright was a Rolling Stone Magazine reporter, who was embedded with the marines and an eye-witness to the fighting and their battle for survival.

Kanner says that production formats for new projects are chosen during early meetings with cinematographers who discuss their visions with producers, the director, production and costume designers and other people on the creative team.

“David Simon (executive producer/ writer) contacted me about shooting Generation Kill,” Ivan Strasburg BSC recalls. “I had worked with him on the HBO movie The Corner in 2000. I also shot Lackawanna Blues for HBO.”

Conspiracy was the first HBO movie produced in Super 16mm film format combined with Digital Intermediate (DI) postproduction. It aired in HD format in 2001. The cinematographer was Stephan Goldblatt BSC ASC, who began his career as a documentary cameraman for the BBC. His credits include Batman Forever and The Prince of Tides, which earned Oscar nominations for cinematography.

The script for Conspiracy was a dramatisation of a 1942 meeting where 15 Nazi bureaucrats gathered in an ornate mansion on the outskirts of Berlin to plan the “final solution.”

Goldblatt estimated that around 70 percent of the story took place around a conference table where the bureaucrats discussed and argued about how to solve “the Jewish problem.” Their “solution” resulted in the murders of six million innocent people.

He suggested filming Conspiracy in continuity like a play with two handheld Super 16mm cameras. The conference room set at Shepperton Studios had windows, which motivated a source of daylight. Goldblatt made painterly decisions to visually punctuate the dialogue, including creating the illusion of a passing cloud to motivate a dark shadow which seamlessly augmented the mood during an argument.

Both of those movies were produced in 35 mm format, but Strasburg agreed that the Super 16mm format was the right aesthetic approach to filming Generation Kill.

“I had shot a number of movies in Super 16mm, including Bloody Sunday, so I was comfortable with the format,” Strasburg says. “I saw Recount that Jim Denault shot in Super 16mm for HBO and was impressed with the look. I also felt that the new ARRI 416 Plus would be easier to work with in tight spaces than a 35mm camera.”

There was a concern raised about digitally compositing Super 16mm film images with the considerable number of computer-generated visual effects that were planned.

Strasburg shot tests, which were composited with CGI images at Cinesite in London. The visual effects facility used stabilisation software that alleviated all concerns.

Generation Kill was produced at practical locations in Namibia, South Africa and Mozambique. Strasburg said the Namibian desert was as flat as a pancake, which was a good match for Southern Iraq. Other locations provided backgrounds with rivers, canals and foliage, and a city in Mozambique served as Baghdad.

Ivan Strasburg BSC

“We generally had two camera crews on little platforms mounted on the sides of a Humvee,” he said. “We shot in every environment, including dust storms, rain, freezing cold and very hot and humid weather without losing a frame of film.”

Last year, Strasburg shot the HBO movie Temple Grandin in Super 16mm format. The title is the name of a real doctor of animal science who was born autistic and didn't talk until she was four years old. Temple Grandin was treated cruelly by her classmates during her childhood, but she persevered and pursued her dreams. Dr. Grandin is a professor of animal behavior at Colorado State University who has successfully advocated policies for more humane treatment of animals by the livestock industry.

“It was an inspiring project,” Strasburg says. “Originally, we were just going to use Super 16mm film for flashbacks, but (director) Mick Jackson and I agreed it was the right aesthetic to shoot the entire movie that way. We were mainly using a 200-speed (Kodak Vision 2 7217) film. I timed the movie in HD format with (colorist) Kevin O'Connor at DeLuxe Digital Media in Los Angeles. Instead of using a monitor, Kevin projected images on a big screen. I couldn't see any objectionable grain.”

Strasburg's strong feelings about the subject matter of HBO films and the creative freedom that cinematographers are given are music to Kanner's ears.

“We feel passionate about the films we produce, and respect the opinions of the cinematographers,” she says. “One of the advantages of producing on film is that the more information you capture, the more you can manipulate in post. Our budget allows for 2K scanning, but as 4K television and other advances in display devices approach, one wonders whether today's digital masters are going to look good enough.

Whenever possible, we want to capture and archive media at the highest possible resolution.

“Until there is a perfect digital archiving format, how do you know if the machine or software is going to exist in seven to 10 years, let alone 25 to 35 years? That's why our policy is to deliver a film element and often more than one. We archive either the original cut negative or the DI negative and an interpositive. If there are more than just a few prints, we also make at least one and sometimes two internegatives. We want to protect our assets in the best manner possible, and allow for re-mastering when necessary.”

HBO: Super 16mm was the right aesthetic for Generation Kill

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INTERNATIONAL

f-stop hollywood

Cine Gear Review

US evaluations: the members of the ASC and PGA premiered their Camera Assessment Series at Cine Gear 2009 Cine Gear Expo helped the BSC celebrate its 60th and ASC its 90th anniversary, during its annual event that wrapped June 7th on the Paramount Studios lot in Hollywood, writes Carolyn Giardina.

Awards were presented to both organisations. BSC president Sue Gibson accepted on behalf of the BSC, while the ASC's award was accepted by outgoing ASC president Daryn Okada and newly-named president Michael Goi. Cine Gear also recognised the Society of Camera Operators, celebrating its 30th anniversary.

Meanwhile a panel discussion with BSC and ASC members addressed various cinematography topics, which were reflected at the Expo.

“The role of the cinematographer has grown,” John Daly, BSC told the audience. “We are more involved in postproduction and workflows than ever before. It is continually evolving and you can't afford to sit back.”

Some audience questions involved the potential of 3D. “This time there is a serious threat that 3D is staying,” Joe Dunton, BSC said, adding that the direction seems to be about using 3D to draw a viewer into a story. “3D is storytelling, not an effect. Production is complicated. At least at the beginning, you will need a stereographer. … It's an exciting time.”

Forty-year industry veteran Ed Phillips, president/CEO of Matthews Studio Equipment, received the CineGear Lifetime Achievement Award. Phillips earned two Academy Awards: a technical achievement award in 1982, as part of the team that designed and manufactured the Tulip Crane; and a

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scientific and engineering award in 1985 as part of the team that developed the Cam-Remote.

Four companies were honoured for anniversaries: Fujifilm's motion picture division, 75 years; Band Pro, 25 years; Yellow Jacket, 25 years; and Database Works, 25 years.

Parts of Paramount's lot, both outdoor locations and Stage 12, hosted the annual exhibition. There, Fujifilm emphasised its continued commitment to film, focusing on R&D and the new Eterna Vivid 500T, which will be available in July. Dick Pope BSC, Phedon Papamichael ASC and Kramer Morgenthau ASC have already tested the new stock.

Kodak's latest is its Vision3 250D colour negative film 5207/7207, which incorporates the characteristics of the Vision3 family, optimised for an exposure index of 250 in daylight. BandPro featured Sony's F35 digital cinematography camera and the S.two OB-1 on-board recorder as part of its exhibit. The company also arrived at the show with news that it sold ten Sony F35 cameras to Otto Nemenz. “Everyone wants one,” Nemenz said during Cine Gear. “The numbers speak for themselves in terms of weight and other features.”

ZGC featured Cooke's Panchro set of primes for film and digital cinematography, a relaunch of the original Panchro, as well as P+S Technik's 3D stereo camera rig.

Canon showed the HJ14ex4.3B HD ENG wide-angle lens that has a focal length of 4.3mm and the angular field of view of 96.3°(2/3, 16:9) at wide end. Fujinon previewed its newest PL-mount 18-85mm T2.0 zoom lens for digital and film cameras, as well as additional lenses in the product line.

Thales Angenieux displayed its newest Optimo zoom lenses.

A 30-80 is now available and 16-42 will be ready for use in July.

AJA Video Systems showed its Ki Pro portable tapeless video device that records files to the Apple ProRes 422 codec directly from camera. This makes Apple10-bit ProRes 422 media immediately available for editing with Apple's Final Cut Studio.

Panasonic demonstrated the workflow for its AJ-HRW10 Rapid Writer. With slots for two 3.5-inch removable HDDs and a built-in AJ-PCD35 five-slot P2 memory drive, this appliance was developed to automatically transfer data from up to five P2 cards while the shoot is taking place. At high speed, it can copy material simultaneously to two separate RAID drives.

The company also highlighted its AJ-CVF100G colour viewfinder for its P2 HD and DVCPRO HD solid-state and tapebased production cameras. The viewfinder uses LCOS display technology, and includes a built-in heater for operation in low temperatures.

Stereo 3D Paradise FX featured its 2K (SI Mini) and 4K (Red) Paracam stereo camera rigs at the MK-V stand, where it demoed a stereo rig with the MK-V camera stabilisation systems. Los Angeles-based Paradise is in discussions to bring its 3D camera rigs to the UK, a company rep said at CineGear.

Element Technica previewed a new 3D camera rig and introduced V-Dock, a new mounting system that can be used with a variety of digital camera systems.

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INTERNATIONAL

f-stop hollywood

Dibie, Richard Edlund, John Hora, Stephen Lighthill, Isidore Mankofsky, Daryn Okada, Nancy Schreiber, Haskell Wexler and Vilmos Zsigmond.

Goi has received ASC Outstanding Achievement Awards nominations for the telefilms “The Fixer” (1999) and “Judas” (2005). Last year, Goi earned an Emmy nomination for an episode of TV series “My Name is Earl.”

SAG resolution Days after CineGear concluded, Screen Actors Guild members voted to approve its TV/theatrical contracts by a vote of 78 percent to 22 percent. The decision ends an 11-month standoff with the Alliance of Motion Picture and Television Producers, as actors had been working without a contract since July 1. SAG said the two-year contracts provide more than $105 million in wages, increased pension contributions, and other gains and establishes a template for SAG coverage of new media formats.

Abroad: it's all smiles between Alan Lowne, publisher of British Cinematographer, and leading ASC cinematographers Wally Pfister and Phedon Papamichael Of interest in the 3D format, the company's Stephen Pizzo said: “People are coming from every direction. They want to shoot 3D and buy 3D equipment. We're developing a stereo acquisition line of products that will let a confident 2D crew capture stereo images.”

new line of underwater lighting fixtures, the Litepanels SeaSun Underwater housing series, for its Litepanels 1x1 and MicroPro fixture designs. SeaSun fixture housings are constructed of aluminum and plexiglass, and are rated watertight to a depth of 100 feet.

Rental house Rogue Element Films introduced its digital cinematography services to the Cine Gear audience, following a recently announced joint venture with Elstree Studios.

Rosco exhibited its Lite Pad HO (high output), a slim, soft LED light, available in custom as well as eight standard sizes.

With Rogue, Elstree will house a dedicated greenscreen studio with uncompressed data acquisition and a digital workflow and production pipeline. Short term plans for Elstree include 3D support.

At CineGear, Panavision and Loumasystems introduced the Louma 2 to the US. The new system expands Louma's telescopic crane technology with the introduction of an openarchitecture programmable software platform called ShotAssist, that enables cinematographers to plan multi-axis shots. The system has a newly-developed arm allowing over 24-feet of telescopic travel. The Louma 2 is already available in the UK and has been used on upcoming Harry Potter and the Half Blood Prince and Harry Potter and the Deathly Hallows.

Service Vision debuted its newest Scorpio telescoping crane with an automatic counter-balance weight system. It can be set up and operated by a single person, and its wheels can collapse to fit though standard doorways. The Tiffen Company featured the Archer 2, a lightweight Steadicam with new features for quick set-ups/tear-downs. Steadicam Ultra2c, a basic version of the Ultra2 was also exhibited, as were the Lowel compact LED Blender lighting system and Dfx v2 digital filter software.

K5600 showed its latest including the Focal Spot, which can be used with any Joker-Bug; and the Multi-Bug Adaptor. Mole Richardson displayed a prototype of its soon-to-be released 24K Daylife Fresnel.

Kino Flo highlighted its TrueMatch KF32 55W compact lamp for HD cinematography and Vista Single location lighting system.

High above the exhibition, Airstar featured its Diamond lighting balloon, which is helium-filled and diamond shaped. It supports multiple lighting and is available in three sizes.

It was a divisive issue for SAG. The guild reported that 35.26 percent returned ballots, which it said was above average compared with typical contract referenda. The Hollywood division was 70.70 percent in favor. In the New York division, the vote count was 85.74 percent to 14.26 percent in favor; and in the regional branch division, the vote count was 89.06 percent to 10.94 percent in favour.

Panavision News At press time William C. Bevins was named president and CEO of Panavision, succeeding William M. Campbell who resigned after roughly three months. Campbell, who had replaced Bob Beitcher, said in a statement: “I've decided to return to my passion of creating, marketing and distributing content. I will remain involved with Panavision and its affiliated entities at MacAndrews & Forbes in an advisory capacity."

Bevins' 40 years of experience in the entertainment business includes serving as president/CEO and director of entertainment media holding company Andrews Group, as well as of its two publicly traded operating subsidiaries, New World Communications Group and Marvel Entertainment Group. He also served as CFO of Turner Broadcasting System and is currently a director of M&F Worldwide.

Matthews Studio Equipment showcased a number of its newest products, as well as a prototype of its Skyscraper light stand that extends 22 ft. and can hold roughly 250 pounds.

MAXine is a new light stand that weighs 6Kg and extends to a full horizontal length of 198cm at a height of 208cm with a maximum load of 4.5 Kg. Matthews also showed its Intel-AJib modular jib system and stable Elephant Blocks.

Bogen exhibited the Long John Silver Junior light stand, as well as its Manfrotto light stands with Quick Stack System.

Formatt Filters were also featured at the Bogen stand.

LEE Filters presented eight new colors in its 700 series, as well as additions in its diffusion line. The Filter Gallery exhibited its new diopter holders.

Lighting ASC Board Named First time CineGear exhibitor LEDStorm showed its line of oncamera rig and panel LED lights with options in features such as intensity. LEDz highlighted its newest Brute30 5500K LED lighting fixture, which the company says is essentially equivalent to a 400w HMI. Litepanels worked with underwater motion picture specialist HydroFlex to develop a

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In addition to aforementioned Goi, the newly-named ASC member officers are vps Richard Crudo, Owen Roizman and Victor J. Kemper; treasurer Matthew Leonetti; secretary Rodney Taylor; and sergeant at arms John C. Flinn, III. The other ASC board members are Curtis Clark, George Spiro

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BRITISH CINEMATOGRAPHER

INTERNATIONAL

imago

Destination Copenhagen 2010 Imago has made an historic step forward by proposing an International Conference of Cinematographers in a submission for funding under the 2009 Media International preparatory action of the EU Commission that was made in June. The aim of the proposal is to meet the challenge of global technological changes.

These are: to examine working conditions; and to improve standards of training and understanding of intellectual property rights.

This Media International proposal to strengthen media cooperation between industries of EU Member States and 3rd

countries is a perfect opportunity to promote the role of the cinematographer, and to highlight the need for regulation across frontiers. Imago intends to launch more applications for training using the funds which have been available since the EU began to act on the UNESCO Convention on the Protection and promotion of the diversity of cultural expression.

The result of this ambitious programme should be known by imminently and, if successful, preparations will begin a year ahead of the Conference which will be held in Copenhagen in October 2010.

• The Conference aims are as follows: • Evaluating and confronting the challenges caused by the advent of technological change to the working lives of filmmakers • Improving training standards as regards new technologies for the benefit both the EU and “third” countries • Promoting internationally the Imago “Model Contract”, which aims at improving working conditions in the film industry by providing guidelines on authors' rights and working conditions • Developing contacts amongst cinematographers around the world

Andrei Austin Associate BSC taking a phote during Norway Day.

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As a European Federation representing 37 societies, 10 outside Europe, Imago will organise this event with the collaboration of the Danish Society and the Ukrainian and Australian Societies. Uni-Mei, representing artists globally, has also agreed to contribute its experience to the five

Paul-Rene Roestad NFN, mastermind of Oslo Digital Conference workshops, each with a specific subject. The budgeted number of delegates is ninety, 30 coming from countries outside Europe.

In recent years Imago has held events in the Copenhagen venue, such as the acclaimed Masterclasses last October, which were attended by over 100 filmmakers. It has also organised with the help of the Norwegian Society its successful Digital Cinema conference in Oslo in May. Imago was founded in 1994 to meet the challenge of maintaining standards in cinematography. Today's communication is by web site www.imago.org. This conference will also seek to strengthen Imago's base in order to improve artistic, training and technological co-operation and the sharing of knowledge between Europe and the rest of the world.

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INTERNATIONAL

imago

Oslo The Second Imago Digital Cinema Conference was attended by over 160 delegates to great acclaim in Oslo, writes Andrei Austin. It was three days of discovery, learning, entertainment and education and was a triumph of organisation

by Paul-Rene Roestad and the Society of Norwegian Cinematographers. The event was held in close partnership with the European Digital Cinema Forum and the Norwegian Film Institute.

The high standards and quality of the contributors, and the variety of topics discussed, enthralled the audience, and throughout there was a relentless barrage of goodhumoured (largely) questions and answers. Although invidious to select individuals, two presentations by French cinematographers were memorable both for their humour and dedication to their craft.

Next October the film Oceans will be launched in Europe. The documentary costing 50 million euros was shot worldwide over five years. The audience in Oslo witnessed amazing photography, imaged using 35mm above the water and HD below. It had been supervised

by Philippe Ros, AFC consultant whose enthusiasm for the project was matched only by the artistry and courage of the underwater cameramen. Oceans is now in its final stage of post production in Paris, where the grader is Laurent Desbrueres under the supervision of Luciano Tovoli AIC. Directed by Jacques Cluzaud and Jacques Perrin it will be released in 70mm. A preview can be seen on http://disney.go.com/disneynature/oceans.

The interaction and importance of the collaboration between the colourist and the modern cinematographer was illustrated with great humour by Richard Andry AFC. Despatched to Vietnam to shoot Saigon Eclipse he encountered his first problem in the film stock. All initially available was outdated Fuji 64D and there was considerable night shooting. By the time day shooting took place, some 500Asa stock was available.

Fortunately he met in a bar the colourist Thomas Harbers from Greenpost Munich who just happened to be setting up post production facilities in Saigon. Their collaboration to save a looming disaster was the story of their humorous but meaningful presentation.

Other contributors were Sean Bobbitt BSC (Hunger), Carlos Alvares (P+S Technik), Richard Lewis (Sony), Vidar Engen (Panasonic), Ted Schilowitz (Red), Kasper Vesth (Arri D21), Klaus Merkel BvK (The Red Baron), John Graham (EDCF), Kommer Kleijn SBC, Dave Stump ASC (Megadata), John Christian Rosenlund FNF (Key Frame), Torkel Saetervadet UCS, Rune Bjerkestrand (Cinevation), Dave Munk EDCF CEO (3D), Per Wilson EDCF (3D), Florian Maier (Stereoscopic Technologies, Germany), Joe Dunton BSC. The conference was concluded as it had begun by the Imago president Nigel Walters BSC. It had been moderated by Andreas-Fischer Hansen DFF and Tony Costa AIP. Final word is in praise of the 12-minute short film, A Year Along The Coast Road, planned over eight years and shot over one year in 70mm by Morten Skallerud FNF. The whole audience was overwhelmed by this magnificent cinematographic experience.

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Bill Lovell of ARRI and Rodrigo Gutierrez Associate BSC member in Romania

Ivan Tonev BAC Imago vice-president makes notes on set

Romanian encounters Imago members from France, Romania, Australia and the United Kingdom assisted the enthusiastic Romanian Society of Cinematographers in staging a successful three-day Masterclass for its members and students in Bucharest.

Organised by RSC President Alex Sterian and Diana Apostol from Panalight, and assisted by Imago, this first major event for the young Romanian society was a fine example of cooperation between societies on an international basis.

Generously supported by ARRI with the presence of Bill Lovell, who demonstrated the D21, and P&S Technik which brought Carlos Alvarez from Germany with the popular SI2K. The purpose of the event, which included the use of film on an ARRI 435, was to show the performance of the three cameras in a studio environment and follow the results through post production.

Hamburg, showed a Kodak camera evaluation test shot recently by BvK members in Germany. On the final day the results of the filming were projected and discussed.

Lessons will have been learnt from this experience by all involved. However Imago would like to acknowledge the generous sponsorship also of Lee Filters, Vantage Hawk lenses, and the Bucharest companies of Abis Studio (post), Fundatia Arte Vizuale, Castel Film, Multimedia Est, Tandem Film, Domino Productions, Multimedia Film, Bivolution, Sagafilm, Stage 2 Studio. Imago's final appreciation goes to the Dean of the Film School, Sorin Botoseneanu and his staff.

Nigel Walters BSC President IMAGO

The scenes were lit by Tudor Lucaciu RSC, Jean-Louis Viallard AFC, Ivan Tonev BAC and Marius Panduru RSC in the studio of the UNATC of Bucharest. This gave the students from the five cinematography schools present, along with RSC members, a unique opportunity to view the D21 and SI2K in operation and subsequently follow the post through to the grading stage.

A “hands on� session presented by Josef Demian RSC from Australia, and Rodrigo Gutierrez Associate BSC, enabled an interaction between the students, cinematographers and cameras.

Another session dedicated to post-production, colour correction, and DI, was illuminated by Jacques Delacoux from Transvideo, who explained the working of 3D on his high quality monitors.

The Kodak Cinelabs in Bucharest is the first Kodak Laboratory in the world. Established and managed by Cornelia Popa who showed the latest 250asa daylight stock to the participants.

Holger Schwarzel, the european product manager from

Diana Apostol of Panalight with Jean-Louis Viallard AFC

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INTERNATIONAL

Storytelling is sharing

imago

Telling a story is sharing something! Filmmaking is the need to share itself to others, sharing has to do with love, which is not about competition.

In each small experiment, in each take, in each technical achievement, even in those which fail, one of us is sharing their thoughts, bringing something new or a different idea, which sooner or later, in one way or another, will come back to you and will maybe link you to another path you never thought of before. This is a real interactive and creative process we are in fact all striving for.

I have noticed there are always a team of dedicated people involved in this process, who in fact are deeply in love with their profession. We were lucky enough to experience some of these people in our first workshop.

I think you've noticed that all technical company representatives brought us not only a bunch of new gear and materials, but also a huge amount of passion and curiosity for what they are doing. It was not done out of competitive spirit, nor the will to sell a product in the foreground, it was about the process of finding the appropriate tool and elements that each story and each creative personality needs.

I hope that despite the short time we spent together, that the respectable amount of knowledge we all achieved in these three days, the passion of the participants, their lifelong searches for new ways of expression, and their thirst for learning, were the main things to come out of this first workshop.

I am just trying to keep my interest for the spirit of time up, and I hope that this first workshop by our young Romanian Society of Cinematographers, together with the Filmacademy organisation, will open a new atmosphere for the exchange of creative thoughts. It's what we at the RSC call: the real spirit of cinematography.

Thank you to all of you for your contribution to the success of this first step!

Sorin Dragoi RSC

Right stuff: Sorin Dragoi RSC says the recent international workshop reflected the true spirit of cinematography

Dear students, guests, workshop sponsors, participants and dear RSC members, I address myself like this because the short time we have been together, the tight schedule, the fact that I couldn't attend the last day, all meant that I lost the chance to say something I wanted to express at the beginning.

This very first international workshop, organized by the Romanian Society of Cinematographers, was held in the school I left 19 years ago. When I left Romania, continued my studies for four more years in Munich, and during this period became a regular reader of the American Cinematographer, a monthly magazine in which I discovered a world I had no way of getting in touch with before 1990. It was a place in which our American colleagues revealed to me a straight way of sharing knowledge and ideas about - what we are all interested in - filmmaking.

I have to say that I was not at all used to this kind of frank talking. This was not the way things happened before in Romania, but after some time I understood how important and how stimulating this kind of sincerity is in our work, and I started more and more to feel and act in the same way.

This reflected a strong community of people interested in one thing: finding the best technical solution to tell a specific story. This is what we are always looking for: the proper way to catch a moment, to share thoughts and feelings, and to express yourself.

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FEATURE

on the job

Authentic recreation John de Borman BSC Filmmakers and cinema audiences alike have always had a fascination with tales of yore, and the mark of a good period production is the evocation of the times the film is set in, but without obtrusive or selfconscious detail getting in the way of story or the characterization, writes Kevin Hilton. John de Borman BSC is beginning just such a balancing act on the Stephen Woolley produced Dagenham Girls, which the cinematographer sees as a progression from his last outing, An Education.

Both focus on changing social times in Britain during the late 20th century as seen by the central characters. An Education is based on the memoir by journalist Lynn Barber and is set as the dour, repressed 1950s turn into the more optimistic, permissive '60s, mirroring the sexual and cultural awakening of the central character.

De Borman won the cinematography award in the World Cinema Drama category at the 2009 Sundance Film Festival for An Education, which was a change in style and pace for him.

"It was the first time in a while I'd done a proper investigation of characters, as opposed to a comedy," he says. "Dagenham Girls is going to be the same again and it's thrilling to do that and find ways of filming so that you follow people and get to know them well, rather than concentrating on the images."

Dagenham Girls started pre-production at 3 Mills Studios during May and will also have location shoots in Essex, Wales and Croydon in south London. It tells the story of the 1968 strike by women machinists at the Ford car plant in Dagenham, Essex, who campaigned for equal pay with their male counterparts.

De Borman says what he has in mind for Dagenham Girls will be a "style and a look that is very different" from An Education.

Either way he does not subscribe to the Ashes To Ashes school of period recreation, which, he says, makes a big play of having a big, untarnished poster from the era slam-bang in the middle of a shot. "It's trying too hard," he observes. Nor does he try to imitate the film stocks of the time: "There'll be none of that, but there might be a little more hand-held and maybe I'll use the framing of the time."

Inspired by Poor Cow Every time de Borman starts a new project he goes to his "pretty extensive" library of films and looks at work he feels

Stylist: de Borman says Dagenham Girls will have a different style and look to An Education might "inspire and influence". For Dagenham Girls some of the inspiration is coming from Ken Loach's 1967 Poor Cow, which was shot by the late Brian Probyn. "It has a very genuine approach to the characters and feels so free and beautiful because it was shot in the period it was representing, and we want to find a way of doing the same thing," de Borman says.

"Everything is period and when we put in the cars and the cycles we'll have that look automatically, which is sensational," he says. Tests are still being done on stocks but de Borman suspects he will go for Kodak. Whatever happens he will shoot on ARRI Arricams and Studios, with their lightweight versions for handheld work.

Consequently, a set of rules has been compiled to shoot Dagenham Girls as though it is the 1960s. Key amongst these is being able to have more than one point of view, so the location finders and production design team have worked hard to find locations that are close to how England looked in the late '60s. The high-rise flats built by Ford in Dagenham for its workers are still there, although they are scheduled for demolition later this year, but the town itself has changed, so Croydon High Street will be the stand-in because, de Borman says, it has the right period feel. The Ford plant does not look the same today but a doppelganger was found in Wales in the shape of the Hoover factory at Merthyr Tydfil, which closed in March.

"They're my cameras of choice and I like to change the lighting, not the equipment," he explains. "I light through the lens and so I need a camera with a very good viewfinder and the ARRIs give me that."

A vital tool de Borman has found for authentic recreation of different eras is an early Cooke lens, the S2, which he used on An Education and 2008's Miss Pettigrew Lives for A Day, set in 1939. "They give an immediate period feeling," he enthuses, "without putting filters or nets on the front. The lens itself has a rather beautiful, very fast fall-off of focus. There's a slight softness of the image, which you don't get any more with new lenses and HD."

Winner: de Borman won the cinematography award in the World Cinema Drama category at Sundance for An Education

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FEATURE

on the job

Tales of yore: de Borman sees his new work on Dagenham Girls as a progression from his last outing An Education

The lenses will be augmented by more physical, concrete techniques which are being used to recreate life in high-rise '60s Britain: "We've decided to shoot like the French New Wave system, and have taken over two flats and knocked down the walls on either side, which gives us more space but we'll be using the real size of the room and will always be able to see through the window to the '60s atmosphere outside, so as much as possible it's real. But what we're really doing is following characters and their involvement with each other - it just happens to be set in the '60s."

La Nouvelle Vague De Borman "adores" French cinema, and the New Wave in particular, which might seem to follow as he was born in Paris in 1954. But his cultural influences are not quite as straightforward as that. When he was six months old de Borman's parents - French mother, naturalised English father - brought him to London and, although his first language was French as his “mere� spoke little English, he feels "entirely British".

colour or shading in DI is an advantage on a low-budget film," he observes. "The critical thing is that it doesn't mean a producer can sit down and do it as well as you. The grading in DI is much more complicated than in a lab, because you can change the gamma, the colouring, the skin tones and darken areas - and however much you explain to the timer you still have to be there to get exactly what you want, because this is a very subjective procedure."

Despite the new challenges presented by working with DI to achieve his goals, John de Borman clearly loves his filmmaking. "The possibilities are greater than the conventional way and I've got to really enjoy that," he concludes. "The trick is for us all to find new ways of making images and looks - that's the thrill."

While at boarding school he "found my passion by accident", moving from sculpture and drawing into photography and, ultimately, editing his own films, building up his knowledge by going to the cinema every weekend. "Then I went to art school and after leaving there I knew I wanted to be a cameraman," he says. In the early 1980s de Borman teamed up with director Nigel Cole, with whom he is now reunited on Dagenham Girls. The two shot pop videos and documentary footage for a monthly MTV programme: "It was fabulous, a great and fast way of learning. From that moment I've carried on doing pop videos and commercials."

De Borman moved into features during the late '80s and early '90s but a turning point was Gillies McKinnon's low budget Small Faces (1996). "We shot up in Scotland on 16mm for very little money and I never looked back," he says. "I haven't come up the traditional clapper loader/focus puller/operator route. I was an assistant for a very little time but I knew that my talent, if I have one, lay in the camera rather than focus pulling. Focus pulling is a great art and I didn't think I'd be any good at it."

Each film calls for a different approach, de Borman says, and he believes in not duplicating a style or a way of doing something, but a parallel can be drawn between The Full Monty (1997) and Dagenham Girls in the theme of down-trodden working people fighting back against the system. De Borman says the difference is The Full Monty was "a storyline played to camera", whereas he intends Dagenham Girls to be "more like a Robert Altman film, with people adlibbing and talking over each other", which he says is challenging. "That's the whole point of filmmaking is to challenge yourself and do things in a different way."

An early departure for de Borman was the 1995 low-budget science fiction thriller Death Machine, written and directed by Stephen Norrington, who, the cinematographer says, taught him a lot about effects and how to create a big screen look for little money. "It's one of the few true anamorphic films I've done," he comments. He says he prefers non-anamorphic shooting, as it is quicker and easier: "Anamorphic lenses are very heavy and if you use a couple of cameras, which I like to do, matching the lenses is always quite difficult. The spatial look on an anamorphic film is very different to one shot using a spherical lens, like the S2."

For recent films de Borman has been using 3-perf pull downs, as well as spherical lenses, which, he says, pushes the production towards digital intermediate. "Being able to get the right

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UK

post & techno news

Element Technica Introduces V-Dock Mount Element Technica has introduced V-Dock, a new professional mounting system designed to replace the messy and insecure practice of using Velcro-type material or gaffer tape to attach camera accessories.

V-Dock can be used with popular digital camera systems, including the Red One. One popular use of the V-Dock is for the Element Technica Red Drive Shock Mount System. When combined with the ISO-Plate shock mount, it expands the

da Vinci and Kodak collaboration

range of shooting conditions for the Red Drive by eliminating dropped frames in many situations where a compact clash card would normally be used. It is easily converted to a rigid mount for the Red RAM by substituting the individual shocks for stainless fasteners.

With the addition of Element's V-Dock AJA mounting plate, the V-Dock system also allows any AJA mini-converter to be mounted on the camera rig.

MPC’ VFX for Angels and Demons

Kodak and da Vinci Systems, which manufactures high-performance colour correction tools for the postproduction industry, have announced a collaboration that will bring Kodak's image-quality enhancement algorithms to the marketplace. These tools are used to modulate the texture and sharpness of images in postproduction. da Vinci will integrate Kodak's proprietary Motion Compensated Grain Management tools into its Resolve Rseries colour corrector, which allows grain levels to be manipulated in scanned film. Kodak's Adaptive Sharpening Technology, which preserves the detail of the image throughout processing, will also be incorporated into the Resolve product. Kodak's algorithms will be integrated into da Vinci Resolve software later this year. "da Vinci's Resolve R-series provides an ideal platform in which to implement Kodak's high-tech software algorithms'� said C.J. Johnson, product manager for Kodak's Entertainment Imaging Division.

London's Moving Picture Company completed 170 shots for Ron Howard's Angels And Demons. The company reunited with VFX supervisor Angus Bickerton to help create some of the integral visual effects for this action thriller set in Rome - these included full CG environments, VFX sequences and complicated composites.

The work involved a wide range of VFX techniques including the creation of a CG ring, set extensions for key Roman sites and the design and conception of the Antimatter and its journey through CERN's Large Hadron Collider. The team also produced the title sequence and handled the 2K dailies for the production.

"We've enhanced our algorithms to take advantage of the latest in GPU (graphic processing unit) processing capability. da Vinci has the market reach to allow our mutual customers to benefit from the ability to efficiently enhance film images, including 16 mm and archival footage."

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post & techno news

Cinesite expands

New ARRI grain tools ARRI has introduced Relativity, a new degraining software tool for DI post production.

The software bundle comprises three applications which control the texture, grain and noise of images acquired in any film or digital camera format. Grain can be removed entirely, reduced, or even added, allowing production formats to be mixed and matched without textural variation. The software overcomes grain difficulties that have prompted television broadcasters such as the BBC to restrict filmed content, particularly Super 16 material, on HD channels.

Cinesite's recent award of a major visual effects contract for the Twentieth Century Fox production Marmaduke, scheduled for release in 2012, means it will expand its production department by at least 25%, particularly in 3D and character animation areas. Large areas of its Soho offices, which were originally a storage facility for the British Library, are currently undergoing major refurbishment in readiness.

Antony Hunt, managing director of Cinesite said, “We are working on several exciting and challenging projects, both this year and in 2010. Marmaduke is another fantastic opportunity for us to work with Fox, having worked recently with them on The Day The Earth Stood Still and Wolverine.”

Marmaduke is the big-screen adaptation of Marmaduke, the

Brad Anderson-created newspaper comic strip first introduced in 1954, revolving around the adventures of a mischievous Great Dane. The production will be shot in Vancouver and LA, and use Cinesite's transatlantic portal service, a digital link between mirrored 2K playback suites in London and Los Angeles, which was first used on Disney's Bedtime Stories.

Cinesite recently completed over 270 visual effects shots for sci-fi thriller Moon, lensed by DP Gary Shaw for director Dincan Jones. Cinesite's work included Gerty, a fully CG service robot and one of the film principal characters, large scale digital lunarscape matte paintings and extensive motion control composite work. The company is currently working on Harry Potter And The Deathly Hallows: Part 1, Naked Beauty, Clash Of The Titans, Prince Of Persia: The Sands of Time and Leap Year.

“In the last decade, film post production has been reinvented by the application of digital tools to the colour correction and finishing process,” said Glenn Kennel, CTO at ARRI Inc. “Relativity takes the DI process to another level, providing interactive control of grain and texture, plus motion effects.”

Along with allowing productions bound for HD broadcast to be shot on Super 16, the new software also provides opportunities for existing film-originated television programmes, in archives across the globe, to be remastered, degrained and broadcast in HD. London post house Ascent 142 has installed the first ARRILASER II in the UK. The new machine is the next generation of ARRI's successful film recorder that has over 250 units in operation worldwide. The ARRILASER II supports a 16-bit image path and offers recording speeds double those of previous models.

MovieTech enhances Sapsford Joins iLab Magnum dolly MovieTech is shipping a completely redesigned system platform and central steering for its Magnum Dolly. The Magnum Dolly System Platform offers numerous options for mounting a large range of accessories, adding to its versatility on the set.

Seating arms and offset ball adapters can be rapidly mounted securely and directly on to the platform.

An additional option of a platform with an opening for various MovieTech ball adapters, such as the 150mm ball adapter, is available for low camera positions.

The new system platforms can be used without any need for conversion on existing Magnum Dollies.

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iLab: (l-r) MD Nigel Horn, with new rushes man Roger Sapsford, and production director Martin McGlone Soho independent film laboratory, iLab, has announced that Roger Sapsford, the former Fuji Film UK sales manager, has joined its rushes team. Sapsford is well-known amongst the UK cinematographic community, and iLab MD Nigel Horn commented, “Roger has a wealth of experience in film, as well as listening to and working closely with many of the finest DPs in the country. We will give him the service and commitment to delivering the highest standards that client base will demand. His appointment further strengthens our team headed by production director Martin McGlone.” iLab recently merged with Rocket to provide film and programme makers with an independent, boutique independent environment, and comprehensive post-production facilities from rushes to HD master deliverables.

Lee Swatchball download Lee Filters has made its Swatchball available as a free download. Swatchball provides a three-dimensional way of viewing and comparing all of the colours in the Lee range, and has proven to be a popular tool amongst lighting designers. Lee says it developed the standalone version, in response to customer demand. Visit www.leefilters.com for the free download.

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gbct

GBCT - The chairman speaks

Equipment news

Quantum of a bit of solace?

I sincerely hope that by now most of us, if not all, will have found solace in at least having had a bit of work this year. If you've been having doubts about your own worth, you might find it slightly consoling to know that almost everyone that I have spoken to has had the most dreadful six or seven months ever in their careers. And that includes some of the most respected and busy people in the business.

Whilst it is encouraging that there are currently a number of high-end pictures shooting in the UK, it has to be tempered with knowledge that I received from a very experienced international line producer recently that he wasn't optimistic about the prospect of more big pictures following in on the back of the current batch. Let's hope that information proves incorrect, but it does make me wonder if there is anything we could do as a group of technicians to improve our chances of encouraging productions to come to the UK. The GBCT's new crew directory is, I hope you agree, a step forward in design and usefulness. A number of copies were taken to Cannes in May and the Cine-gear event in Los Angeles in June, and distributed specifically to cinematographers and producers who showed an interest in British crews. If you know of a studio intending to crew up in the UK or Europe, please let the office know so that they may also receive copies. For that matter if you have the opportunity to give any production office a couple of copies of the directory it would be most useful and much appreciated. The office will be delighted to dispatch as many copies in the UK or around the globe as possible. Not only will it help the members promote themselves, but it will also increase the footprint of the advertisers who support the GBCT. On another subject, I am pleased to be able to say that after a considerable amount of effort by a number of our members, and organization by Dee Edwards, there is now in place a structured GBCT Camera Department Trainee Scheme. Following applications from prospective trainees, a selection process and interviews plus a training assessment, there are now 12 trainees being inducted to the scheme and already a number of them have been assisted in finding jobs within the industry. All these young trainees have been promised a mentor to assist them through their training period, and I would ask all experienced technicians to please consider volunteering to be a dedicated mentor. We probably all remember someone special who gave us encouragement and advice as we began to establish our careers. Perhaps now is the time to be that someone for a new face in town. Also please make every effort to secure a GBCT trainee on each project that you work on.

Jamie Harcourt GBCT Chairman

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Gekko buys Kelvin Gekko Technology, an industry leader in the design, development and manufacture of LED luminaires created specifically for the requirements of the image capture and entertainment sectors, has announced it has signed an agreement with Element Labs, headquartered in Santa Clara, California, to buy the Kelvin TILE product line.

The agreement will see Element Labs' Kelvin TILE product transferred to Gekko and incorporated into the current Gekko portfolio of film and TV products. Kelvin TILE will complement Gekko's newly developed kleer colour range of colour products, including the award-winning kedo which debuted at NAB 2009.

“We were extremely impressed with the Kelvin TILE, both as product and a concept, and felt Element Labs and Gekko shared colour quality as a core value," said David Amphlett, MD of Gekko Technology. "We considered Kelvin TILE would be better stabled with peer products under a brand known for innovation and quality in the film and broadcast space.”

Element Labs' CEO, Barbara Nelson, commented: “Gekko has a strong reputation for designing high-quality fixtures and for continuing to develop innovative products with all of the advantages digital lighting allows. I am delighted that they have chosen to take Kelvin TILE, itself a high quality and innovative product, and bring it under the Gekko brand.”

The Kelvin Technology Series LED-based lighting system provides unlimited variable colour temperature, creating a new level of flexibility in lighting. Kelvin TILEs have a mix of six LEDs, resulting in a high-quality, full-spectrum white light specifically developed for film and video applications. Unlike traditional lighting products, the colour temperature remains consistent throughout the full range of intensity variation.

The Kelvin TILE is a professional lighting unit developed specifically to adapt to the dynamic requirements of film and video shoots. The TILE can be ordered with an industry standard v-mount to allow flexible, battery-powered

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Whose crew?

With the recent downturn in the world economics, it is perhaps a convenient time to examine the crewing levels. There has long been a steady decline in the crewing levels in some areas of TV land, with many camera “crews” being pushed to add sound recording and other tasks to their ever extensive list of duties. The “one man band” style of shooting is now a reality, and has been for some time in many areas.

Television companies making TV documentaries have for many years been dispensing with the trained lighting cameraman and employing “shooting producers and directors”, who have little training (and often little enthusiasm) for the intricacies of camera work. Never has “we can fix it in post” been so often used as a get-out clause on the shoot, yet often it is impossible to fix something that is so clearly broken. It has often been said that one cannot polish a turd. This is certainly true. You can roll it in glitter, however, yet it is still a turd underneath.

What is happening in the business is that producers are trying to save money at the shooting stage, yet then spend huge amounts more “fixing it” in Post. If you go to any of the major TV trade shows such as IBC, the emphasis is going away from cameras and lighting to what a clever box of tricks can do to save your footage in a darkened room. The one breath of fresh air in recent years is (love it or loath it) the Red camera system. In properly trained hands the various flavours of Red camera (and many other systems, of course) can produce some incredible results, yet it is at a price point that has made it readily available to the masses. It is still a box with a lens on, however, and it still needs a collection of well trained individuals to get the best from the camera.

operation. These LED-based fixtures operate with a fraction of the power required by traditional professional lighting and with little to no heat emission.

All Kelvin Technology fixtures offer three modes of control. The Kelvin Paintbox is a remote system that accesses Kelvin Technology's full-range of capabilities. It also allows a series of lighting parameters to be saved, recalled, and cloned. In addition to remote control, the Kelvin Technology Series supports full implementation of DMX. The Kelvin TILE also offers local control for standalone operation. www.gekkotechnology.com

In HD drama productions it seems to be that production staff will try and reduce the camera crew because “there is no need for a loader anymore”. Never has this area been so misunderstood by so many in production. Indeed, there are no camera magazines to load and unload when shooting on HD. However, what there is in place is a big monitor that needs constant attention, there are tapes or data to be checked, labelled and backed up, and a multitude of other essential tasks that make the shoot a safe and efficient place to work. HD may not need a “loader” as such, however, if the camera crews are cut down any more from the minimum of Operator, 1st AC and 2nd AC and Grip, that leads to the crew being overladen with many tasks, and mistakes can be made that will eclipse the costs savings made.

The questions need to be asked how far can this go? Working in the movie or TV business is never likely to be cheap, yet it now has the potential to become an unsafe working environment, as a cutting of the camera budget ultimately ends up as a cut in the camera and grip departments, with the associated safety risks. This means it takes longer to set up each shot, and then the production over runs, leading to fatigue. How far can this be pushed before standards are seen to suffer on the screen? It is already happening, of course. There have been many examples of overworked technicians having to drive home after a long shoot, falling asleep at the wheel and killing themselves and leaving families without a loved one. No film or any form of entertainment is worth the life of a person like this.

Rise of the DIT There has been a new role created in recent years that has various names attached and discussed, but is most often called the DIT, or Digital Imaging Technician. (I feel a better term can be produced that better describes the role, but the name sadly seems to have now stuck as a DIT. Answers on a postcard with better suggestions…).

A cross between a computer technician and a camera technician, the DIT has been created to span the gap between traditional camera crews and digital methods of acquisition. They mainly treat the images the DP has captured as data. The Red camera workflow is a good example of how a DIT may be used to full potential. With the output of camera RAW data onto compact flash cards, and often with other forms of recording the camera output, it needs a competent and switched-on technician to make sure the day's rushes are not wiped out and recorded over by mistake. Any of you who have seen how quick and easy it is to entirely format a compact flash card will know what I mean. The “negative” data needs to be downloaded from the flash card, checked for errors, and then ideally backed up to another machine for safety. The flash card will then be used again for additional capture-possibly on the same day. Scary if in the wrong hands.

If the talent in front of the camera is a hugely-expensive major star, along with the costs of the location and other crew members, then there is a lot at stake if this part of the equation goes wrong, yet often this part of the process is somewhat overlooked and is not felt that important. How wrong and misguided they can be, and woe betide anyone who underestimates the importance of the role of the Clapper/ Loader (2nd AC) or more recently the DIT.

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From acorns The Guild of British Camera Technicians recently relaunched its completely overhauled Camera Trainee Scheme, the primary aim being to provide productions with camera trainees of varying skill levels and experience to help work on films and television programmes. This is a project that a number of Guild members have been involved with and dedicated a lot of their time to make sure it was correct. GBCT members have sifted through over 150 applications (Julian Bucknall, Peter 'Skip' Howard, Hilda Sealy) to select for interview. Others came together as an interview panel (Tim Potter, Graham Martyr, Emma Edwards). Members also provided their skills as tutors for a six-day course of the short list (Tutors: Axel Ulrich, Renee Willis, Milos Moore, Rupert Lloyd Parry, Steve Brooke-Smith) and others were on hand to observe and assess the trainees being tested on their new-found skills (Dermot Hickey, Clive Mackey).

Competition was stiff but all the trainees have now all been signed up. Over the next 6-18 months (the duration of the individual's 'trainee-ship' depends on existing experience), they will be trained in all aspects of camera assisting, be placed with and mentored by Guild members, and gain more knowledge and experience by working on different productions. The GBCT has a remit to pursue the highest of

standards and that means a solid foundation in the basics. The course was extremely comprehensive in nature, and many students had quite a steep learning curve, although all the tutors were highly impressed by the quality of everyone who attended the course.

1st AC Axel Ulrich, 2nd AC Rene Willis and existing Guild Trainee, Milos Moore, guided the students through their role as Camera Trainees. This started on Day One with the preparation and set up of equipment and a demonstration of procedures. The second day, set discipline and a comprehensive guide to marks, note taking and camera sheets. After a brief break there was a practical hands-on demonstration of steady tests, frame leaders, filters and lenses.

Day Three, and due to the fantastic support offered to us by Fuji and iLab, this meant we could offer the students an opportunity to load and shoot with 'real film'. The morning was spent loading and lacing and then after an afternoon of filming short sequences all the students could download, prepare their sheets and send their Rushes to the lab. The equipment was packed up and the batteries put on charge!

The next day was all about HD, and who better than Paul Wheeler to give his fantastic interactive lecture. Crucially the

students were then given a comprehensive lesson in setting up an HD monitor followed by practical introductions to High Definition cameras. A practical hands-on knowledge of the monitor is, as we all know, crucial for today's Trainee. One of the key elements of this course was tailoring it specifically to what the students would be expected to do, and know, in their placement. With this in mind, Rupert Lloyd Parry gave a short practical lecture about the role of the Grip and what might be expected from a Camera Trainee in occasionally assisting him.

From here the next two days were purely practical and everyone was given the opportunity to expand on the skills that they were all starting to develop, divided into groups they could assist each other under close supervision from the tutors rotating through different camera systems and procedures. It was inspiring to see how quickly and enthusiastically everyone who attended the course became ever more confident with the equipment.

On the final day 1st AC Dermot Hickey and 1st AC Clive Mackey had the unenviable task of assessing the candidates as they were put through their paces.

This whole project is reliant on support from the Industry so if you need a Camera Trainee for your next job, please contact the GBCT office. The course would not have been possible without the support of Tom Hannon of Hannon Media, John Sutton of Panavision, Arri Media for supplying all the camera and grip equipment, Fuji for the film stock, iLab for processing, Ealing and West London College for the course venue, Kodak for its superb reference materials, Dan Mulligan of Rogue Element Films and everyone else involved in helping out our trainees - we are very grateful for all contributions made.

Rupert Lloyd Parry

The GBCT section is written and compiled by John Keedwell GBCT page

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