CANADIAN SOCIETY OF CINEMATOGRAPHERS
January 2021 www.csc.ca
D. Gregor Hagey csc
Norm Li csc: Music Video Cinematography
A publication of the Canadian Society of Cinematographers
FEATURES – VOLUME 12, NO. 8 JANUARY 2021 Fostering cinematography in Canada since 1957. The Canadian Society of Cinematographers was founded by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have joined the organization.
D. Gregor Hagey csc: The Fun Never Waynes By Trevor Hogg, Special to Canadian Cinematographer
The CSC is a not-for-profit organization run by volunteer board members of the society. Thank you to our sponsors for their continued support.
Courtesy Alaskan Tapes
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CORPORATE SPONSORS AC Lighting Arri Canada Cinetx Inc. Company 3 Cooke Americas Frame Discreet Fujifilm, North America Corporation Fujifilm, Optical Devices Division Fusion Cine Grande Camera Henry’s HD Source Inspired Image Keslow Camera Kino Flo Matrix Video Communications Corp. Mole-Richardson MOSS LED Nikon Canada Panasonic Canada Panavision Canada Red Digital Cinema REDLABdigital Rosco Canada Rotolight Sigma SIM SIMMOD LENS Sony of Canada The Source Shop Technicolor Urban Post Production Vistek Walter Klassen FX William F. White International Zeiss
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Ambient Afterlife: Norm Li csc Captures “And, We Disappear” for Alaskan Tapes
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Artificial Intelligence Takes Drudge Work Out of Colour Grading By Ian Harvey
COLUMNS & DEPARTMENTS 2 4 6 8 10 12 14 34
From the Editor-In-Chief From the President In the News CSC Award Winners CSC Member Spotlight – Yuri Yakubiw csc On Set What's Up at the CSC Production Notes/Calendar/Classifieds
Cover Ciara Bravo and Mark McKenna in the TV series, Wayne. Courtesy Amazon Studios
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We facilitate the dissemination and exchange of technical information and endeavor to advance the knowledge and status of our members within the industry. As an organization dedicated to furthering technical assistance, we maintain contact with nonpartisan groups in our industry but have no political or union affiliation.
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The CSC provides tangible recognition of the common bonds that link film and digital professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography.
Canadian Cinematographer January 2021 Vol. 12, No. 8 EDITORIAL BOARD JOAN HUTTON csc, Editor-in-Chief FANEN CHIAHEMEN, Editor, editor@csc.ca JANEK LOWE, Photo Editor PATTY GUYADER, Copy Editor SIMON EVERS, Graphic Designer GUIDO KONDRUSS, Advertising Manager, gkondruss@rogers.com GEORGE WILLIS, csc sasc CLAUDINE SAUVÉ csc SUSAN SARANCHUK, susans@csc.ca CSC BOARD OF DIRECTORS Zoe Dirse csc Jeremy Benning csc Rion Gonzales Joan Hutton csc Kristin Fieldhouse Guy Godfree csc Claudine Sauvé csc George Willis csc, sasc CSC EXECUTIVE PRESIDENT George Willis csc, sasc PAST PRESIDENT, ADVISOR Joan Hutton csc VICE PRESIDENTS Philip Lanyon csc Bruno Philip csc Penny Watier MEMBERSHIP CHAIRS Arthur Cooper csc Zoe Dirse csc EDUCATION CHAIRS George Willis csc, sasc Martin Wojtunik AWARDS CHAIR Arthur Cooper csc ONLINE CONTENT COMMITTEE Jeremy Benning csc – Co-Chair Christina Ienna – Co-Chair Carolyn Wong – Co-Chair DIVERSITY COMMITTEE Kristin Fieldhouse - Co-Chair Nyssa Glück - Co-Chair Rion Gonzales - Co-Chair Samy Inayeh csc - Co-Chair MENTORSHIP COMMITTEE Nyssa Glück – Co-Chair Iris Ng – Co-Chair RELATIONSHIPS Gaston Bernier OFFICE / MEMBERSHIP / SUBSCRIPTIONS 131–3085 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: admin@csc.ca, subscription@csc.ca Canadian Cinematographer makes every effort to ensure the accuracy of the information it publishes; however, it cannot be held responsible for any consequences arising from errors or omissions. The contents of this publication may not be reproduced in whole or in part without the express written consent of the publisher. The opinions expressed within the magazine are those of the authors and not necessarily of the publisher. Upon publication, Canadian Cinematographer acquires Canadian Serial Rights; copyright reverts to the writer after publication.Canadian Cinematographer is printed by Winnipeg Sun Commercial Print and is published 10 times a year. One-year subscriptions are available in Canada for $40.00 for individuals and $80.00 for institutions, including HST. In U.S. rates are $45.00 and $90.00 for institutions in U.S. funds. International subscriptions are $50.00 for individuals and $100.00 for institutions. Subscribe online at www.csc.ca.
ISSN 1918-8781 Canadian Mail Product Sales Agreement No. 40013776 Return undeliverable Canadian addresses 131–3085 Kingston Road Toronto M1M 1P1 THE CANADIAN SOCIETY OF CINEMATOGRAPHERS IS A NON-PROFIT ORGANIZATION.
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FROM THE EDITOR-IN-CHIEF Joan Hutton csc
A
happy and heartfelt New Year to all our readers. Here’s hoping that 2021 will prove to be a much better year and we’ll finally see the back of COVID-19. January 2021 was the month we had originally anticipated for the return of the print version of Canadian Cinematographer. It had been suspended because revenue uncertainty caused by the pandemic dictated austere measures, and the magazine’s hardcopy fell victim. Like everyone else, we need to endure our situation a while longer and we’ve pegged this September as the new target date for reintroducing Canadian Cinematographer in print. In a long overdue announcement, I would also like to introduce two additions to the magazine’s editorial board. Janek Lowe is a multi-award-winning commercial producer and director whose client list sports the likes of RBC and the Ford Motor Company. He’s also worked as a photojournalist and has had visual essays published in the Winnipeg Free Press and the Waterloo Region Record. Janek brings his photographic talents to bear as Canadian Cinematographer’s newly minted photo editor. It is a position that has been sorely lacking with the magazine. With his keen eye and expertise, Janek has elevated the visual component of Canadian Cinematographer to new heights through astute photo acquisition and selection. More recently, award-winning cinematographer and photographer Claudine Sauvé csc brings her considerable visual skill and knowledge to the editorial board as an editor-at-large. A Francophone based in Montreal, Claudine furnishes an in-depth perspective of the contemporary Quebec film industry and will help extend the magazine and the CSC’s reach into the French-Canadian cinematography community. She will also ferret out and help develop stories and interviews on a wide array of topics that are of interest to CSC members and our film industry. Claudine was featured in the January 2020 issue of Canadian Cinematographer and you can also catch her in the May 28 “CSC Live” podcast, which is available on the CSC website. Claudine is also a CSC board member. Besides Claudine and Janek, Canadian Cinematographer’s editorial board is comprised of myself, magazine Editor Fanen Chiahemen, CSC President George Willis csc sasc, CSC Executive Officer Susan Saranchuk, Copy Editor Patty Guyader and magazine Advertising Manager Guido Kondruss.
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FROM THE PRESIDENT George A. Willis csc, sasc
W
e have left the year 2020 behind, and without a doubt it will always remain in our memory as a year that no one wishes to remember for so many reasons. We must now reflect on all that we achieved despite the disruptions from the COVID-19 pandemic, as well as focus on the future and all that we hope it will offer. This past year, the Society has added valuable input from many of our members leading to a diversity never seen before. During the imposed lockdown, some of our enterprising board and committee members created a “Liveâ€? CSC platform both on Facebook and Instagram. These live virtual interviews and discussions with some of our celebrated cinematographers and members took place on a weekly basis, which not only energized and brought together our membership during these difficult times, but also contributed to the visibility of the CSC brand. Thus, we were able to capitalize on the availability of so many cinematographers due to the lockdown, creating a vital social connection for our members to watch and participate in during the early anxious days of the pandemic. In addition, the Online Content Committee used the down time to focus on finalizing the new CSC website. The site is now fully functional and is being very well received. It offers many opportunities for members to engage, especially from a historical perspective, as well as the CSC Store, which offers items to purchase. The Diversity Committee was created in February of 2020 to help foster diversity within the CSC and promote diverse members on CSC platforms. 4 • Canadian Cinematographer - January 2021
A few months later, the Black Lives Matter movement prompted every individual and organization to take a good hard look at inclusion, diversity and what it means to be an ally. On June 11, 2020, the CSC held a Diversity town hall meeting online. The following month, the Diversity Committee assisted the Online Content Committee with creating and running a Diversity Consortium. From this consortium, the Diversity Committee was able to understand the need to better support underrepresented cinematographers, both within and outside the CSC. Also, the Mentorship team, the Advocacy, Outreach and Education teams were created in July 2020, and the year ended with a flurry of new associate member applicants eager to participate in our newly revamped mentorship initiative. During the year, the Education Committee was forced to re-strategize as we are not able to have inperson events. While our traditional methods for structuring the workshops has been disrupted, the committee is presently working on a few new initiatives that we trust will take place as the lockdown protocols and guidelines are relaxed. Another exciting news item portends to the further growth of the Society via external funding and the raising of grants. This special initiative has begun, and the membership will be advised of progress. The CSC Board of Directors and the various committees are focused on many undertakings in the year ahead, and most importantly, even while the pandemic is still in effect, the film industry is opening up and that gives great cause for us all to remain positive.
In The News
Courtesy of Airstar Canada.
William F. White Purchases Airstar Canada Balloon Light
William F. White International recently announced the purchase of Airstar Canada, the original inventor and distributor of the LED balloon light. The Airstar Canada catalogue includes balloon lighting designed specifically for the film, television and live event industries, along with industrial or safety purposes like construction or road work. Cooke Welcomes Tim Pugh as CEO, Kees Van Oostrum as Non-Executive Chairman Cooke Optics announced recently that Chairman Les Zellan would be stepping down from the company, and CEO Robert Howard would be retiring, both effective 31 October, 2020. Tim Pugh took over as CEO, while Kees van Oostrum, a Cooke Optics board member, became Non-Executive Chairman. Pugh was most recently CEO of James Briggs, a leading manufacturer of technical products for industrial and automotive markets. Van Oostrum held the position of President of the American Society of Cinematographers from 2016 to 2020. 6 • Canadian Cinematographer - January 2021
Broadcasters and Industry Leaders Launch HireBIPOC Initiative In October, broadcasters and industry leaders nationwide, in partnership with BIPOC TV & FILM, launched HireBIPOC, an online roster with more than 500 members already registered. The industrywide initiative aims to create meaningful change around hiring practices and ensure a more inclusive workforce. Bell Media, CBC/Radio-Canada, Corus Entertainment, and Rogers Sports & Media are Foundational Partners. Bell Media, Corus Entertainment and Rogers Sports & Media have committed to making the use of HireBIPOC a specific condition of greenlight for original productions, ensuring that
the site is used by internal groups and external companies. Other partners include the Academy of Canadian Cinema & Television, Canadian Film Centre, Canada Media Fund and National Screen Institute. Academy Launches Equity & Inclusion Fund
Pixomondo Announces Virtual Production Studio in Toronto In early fall, Los Angeles-based VFX company Pixomondo announced that construction on one of Canada’s first virtual production studios had begun in Toronto and was scheduled to be completed by the end of 2020. The modular smart stage enables remote collaboration between production departments, as well as real-time creation of visual effects. Mayfair Equity Partners is supporting the venture, with space and equipment provided by William F. White International.
ACCEPTANCES / AWARDS / NOMINATIONS
Courtesy Directors Guild of Canada
The Academy of Canadian Cinema & Television recently unveiled its Equity and Inclusion Fund, which was established to enable more inclusivity for minority voices in Canada’s screen-based industry. The fund aims to open doors and build networks by providing training to under-represented creators; advocate for and invest in a more diverse Canadian media landscape; and remove barriers to participate in and to access the platforms which promote Canadian talent. Warren P. Sonoda Elected DGC National President In November, Warren P. Sonoda was acclaimed as the Directors Guild of Canada’s President, alongside the Guild’s new 1st Vice-President, Tracey Deer. Sonoda and Deer will be joined by returning National Executive Board members Wanda Chaffey (2nd Vice President), Grace Gilroy (Secretary-Treasurer), Warren Carr (Production Department Rep) and Paul Day (Editing Department Rep).
The CSC Store Official CSC Merchandise
Philip L Harrison, associate member (director of photography) Global Warning (feature documentary), winner: Best Cinematographer - Documentary Feature (over 30 mins), Alberta Film and Television Awards, October 9, 2020 Jude Abadi, affiliate member (cinematographer) The End of the World (short film), winner: Best Student Cinematographer, Canadian Cinematography Awards, September 2020
cscstore.ca Canadian Cinematographer - January 2021 •
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Courtesy CBC
As part of a continuing series, Canadian Cinematographer will be recognizing two 2020 CSC Award winners per issue.
ROBERT BROOKS AWARD FOR DOCUMENTARY LONG FORMAT CINEMATOGRAPHY
Geoffroy Beauchemin Odyssée sous les glaces / Under Thin Ice
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CHILDREN’S / YOUTH PROGRAMMING CINEMATOGRAPHY
Brett Van Dyke csc Northern Rescue, “D-U-A-L-I-T-Y”
Canadian Cinematographer - January 2021 •
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CSC Member Spotlight
did a lot of PA work on low/ no-pay gigs in order to gain experience and to network. I then drifted to lighting technician to learn as much as possible about lighting. Watching and studying various DPs lighting was an incredible early learning experience. I then started shooting music videos, industrials and docs before getting into drama by volunteering at the Canadian Film Centre with the help of producer and faithin-me friend, Dean Perlmutter.
Credit: Stephen Scott
Who have been your mentors or teachers?
First, it was Humber College instructors Ludwig Diettrich and Robert Bocking csc, with inspiration and practical knowledge. Following was Rob Fresco, who gave many first breaks and generously loaned his lighting and camera gear for personal projects. Also as mentioned above, the numerous DPs I had What films or other works of art have made the the privilege of observing while a PA and electric biggest impression on you? – Robin Miller csc, Rene Ohashi csc, asc, Derek Watching the ‘60s movie The Great Escape in all its Vanlint csc, Alar Kivilo csc, asc and many others. 172-minute running time when I was 7 years old, then analyzing the tunnel escape scenes in my head What cinematographers inspire you? for days after (no VCR in those days). Blade Runner Jordan Cronenweth asc, Néstor Almendros asc, for its sheer cinematic beauty. The lighting nuances Roger Deakins asc, bsc, Janusz Kaminski asc, of such paintings as Martin Drölling’s 1815 paint- Norayr Kasper csc. ing Interior of a Kitchen or The Death of Germanicus Name some of your professional highlights. by Adolf Hirémy-Hirschl. Nominee for 2020 Canadian Screen Awards for How did you get started in the business? Best Photography Drama, Murdoch Mysteries, Knowing I wanted to DP after finishing college, I “Darkness Before the Dawn, Part 1”. Nominee for
Yuri Yakubiw csc
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2009 Canadian Society of Cinematographers Award for TV Drama Cinematography, Anne of Green Gables: A New Beginning. What is one of your most memorable moments on set?
My first big break into TV drama, with a vote of confidence from Kevin May and Shawn Levy, was on the Disney show, The Famous Jett Jackson. When wrap was called on the last shooting day of Season One (1998), grip Nick Fasullo approached me and stated how quickly Season One had gone and what a great pleasure it was to work together. Suddenly, in a great epiphany, my eyes began to emotionally tear up and Nick thoughtfully asked what was the matter. I explained how I suddenly realized how extremely fortunate I was through all the years to finally make it to this level, to work with such great people and artists and to, as they say, “live the dream.”
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What do you like best about what you do?
The collaborative spirit, dedication and discipline required among all departments to shoot an average of nine script pages per day in 11 or 12 work hours. Lighting with all the great new LED products and fixtures out there.
What do you like least about what you do?
Lighting with all the great new LED products and fixtures out there in 1-degree Celsius rain (almost snow) coming in sideways at 50kph at 4 a.m. on a “Fraturday” morning. The challenges of life/ work balance with the hours we keep in this industry, especially while raising children.
What do you think has been the greatest invention (related to your craft)?
LED technology. I especially love the Titan and Helios lighting kits, very liberating and conducive to creative lighting opportunities in extremely challenging conditions. For example, when shooting a cave scene at Rockwood Conservation Area, these lights were a godsend.
How can others follow your work?
My website is currently in a rebuild, so for now: vimeo. com/94278034 and imdb.com/name/nm0945109/. Or watch full Murdoch Mysteries episodes on CBC Gem. (Before Season 11, half the episodes were shot by alternating DP Jim Jeffrey csc). Canadian Cinematographer - January 2021 •
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On Set
Associate member Ian Macmillan and camera assistant Godfred Adjei prepping a Ronin on a commercial shoot in October. Credit: Dale Sood
Associate member and B Camera Operator Kelly Mason on the set of Hello, Goodbye and Everything in Between. Credit: Courtesy of Kelly Mason
Associate member Raymond Tuquero (left) with director Aharon Jinjihashvili, audio tech/boom op Mike Barber, gaff Kaleb Laidman, actor Victoria Kucher and actor Eileen Li on the set of Pink Is In in Hamilton, Ontario. Credit: Lisa Crawford
12 • Canadian Cinematographer - January 2021
Brad Rushing csc shooting a commercial in Los Angeles w Christian Epps, the ARRI Mini LF and Supreme Prime lens
Associate member Philip L. Harrison (with camera) on location in Bonn, Germany, for the feature documentary Global Warning. Credit: Carey Opper
with collaborator ses. Credit: Mike Skor Associate member Adam Madrzyk and 1st AC Eric Schweiger on the set of the feature film The Family. Credit: Brian Hamilton
Cinematographer Jude Abadi (affiliate member) on the set of the short film The End of the World. Credit: Maria Quintana
DP Kristin Fieldhouse (associate member) on the set of CBC/ NSBU show Lady Dicks. Credit: Amy Cameron
Associate member Justin Black with director Jessamine Fok shooting the short film Flowers While You're Here with an ARRI 416. Credit: Anthony Tuccitto Canadian Cinematographer - January 2021 •
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What’s Up at the CSC The CSC is a not-for-profit volunteer-run organization which serves to foster the art and craft of cinematography in Canada. We encourage our members to volunteer on the various committees dedicated to different aspects of our society. Being part of a committee is also a benefit of being a member; it’s a great way to network and get to know other cinematographers and to come together with shared visions to create new initiatives or assist with ongoing ones.
8. WEBSITE STORE Soon to come are hoodies and toques!
7. DONATION 1. VICE PRESIDENT CENTRAL We would like to thank Don Purser csc, We are extremely pleased to Wally Corbet csc, Paulis Kolycius and report that Penny Watier has Elizabeth Purser, Board Members of the accepted our invitation to join former Canadian Independent Camera us and offer her services as Association (CICA) for donating $14,800 to Vice President of the Canadian the CSC in support of education and guidance Society of Cinematographers. for emerging, marginalized and diverse We are looking forward to cinematographers. a great collaboration with Penny, especially 6. PUB NIGHT knowing that she 2. VICE PRESIDENT Twelve people joined in for a will contribute in EASTERN great CSC pub night via Zoom her inimitable way Bruno Philip csc is hoping on Saturday, November 21, to promote the CSC. to revisit educational 2020, which was hosted by Welcome aboard, programming in Quebec Winnipeg Associate member Penny. as the merger of AQTIS Andrew Luczenczyn. and IATSE will be officially completed in January with a new executive team in place. 3. VICE PRESIDENT WESTERN Philip Lanyon csc is exploring a couple of great educational ideas. One would be a masters workshop including three DPs lighting the same set and discussing their results, and another doing an online screening and Q+A with a DP.
5. AWARDS The CSC Awards entry forms are ready and on the website. Deadline for submission is January 31.
9. CSC LIVE Jeremy Benning csc hosted a panel discussion on the Bolero Intercom System on December 13. This was our first live event since July. In the works for January is a Virtual Production discussion with associate member Karl Janisse.
10. SOCIAL MEDIA We have 45.6K followers on Instagram, Twitter has 991 followers, we have 8.1K on Facebook, and our YouTube Channel has 227 followers.
4. EDUCATION The Committee is working hard planning workshops for the post-pandemic world. Co-chair Martin Wojtunik is working closely with Rod Crombie planning an outdoor nighttime lighting workshop. John Holosko csc and Ernie Kestler, with the cooperation of ARRI and Inspired Image, spent a weekend in December recording Lem Ristsoo for a Camera Assistant Workshop segment of “Building the Camera from the Ground Up.”
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11. CANADIAN CINEMATOGRAPHER As a special offer to readers, the CSC magazine will be free up until June 2021. We are planning to go back to both print and online editions starting in September 2021.
2020 CSC Award Winner
D. Gregor Hagey csc
E
The Fun
By Trevor Hogg, Special to Canadian Cinematographer
ven though streaming services have become a prominent source of programming, Google has discontinued producing original scripted content for YouTube Premium with Netflix picking up The Karate Kid sequel series Cobra Kai and Amazon Prime Video becoming the home of Wayne. The latter stars a teenager (Mark McKenna) channelling vigilante Charles Bronson as he embarks on a road trip with a female classmate
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(Ciara Bravo) to reclaim a 1979 Pontiac Trans Am stolen from his late father (Ray McKinnon). “From my perspective, the people at YouTube were supportive and interested in taking risks with new stories and ideas,” D. Gregor Hagey csc who won for Comedy Series Cinematography at the 2020 CSC Awards for Wayne, states. “Wayne is not a conventional comedy.” In 2017, Iain MacDonald (Shameless, Preacher)
n Never Waynes
directed the pilot, which led to YouTube ordering nine more episodes in 2018 with the show going to air in 2019. Despite other directors being brought in – including Steve Pink (Grosse Pointe Blank), Tessa Hoffe (Coronation Street), Michael Jann (Drop Dead Gorgeous), and Stephanie Laing (Veep) – Hagey was responsible for shooting each of the 10 episodes. “I was lucky to have a strong gaffer 'Fast' Eddy Mikolic and key grip Fraser Boyle. Second unit DP Rion
Gonzales went on technical surveys and scouts with directors while I was on set shooting and took extensive notes for me. Aside from that, there were maybe one or two lunch meetings with the director, and I had to do my homework on the weekends.” The pilot felt like a short indie feature. “It was two weeks of prep, seven official shoot days and another day where we reduced the unit. It was very busy. I had three weeks of prep for the series and five shoot Canadian Cinematographer - January 2021 •
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Credit: Courtesy Amazon Studios
Mark McKenna (left) as Wayne McCullough and Ciara Bravo as Delilah Luccetti in Amazon Studios’ Wayne.
days per episode,” Hagey says. Wayne creator Shawn Simmons (Now We’re Talking) focused his attention on running the writers’ room and was involved in approving the style of his show. “Maintaining the visual style and tone of the show was part of my responsibility,” says Hagey, who created a look book consisting of the pilot script and corresponding final stills. “I made that up when we went to series to share with all of the departments as a way to show them what we had done before.” There was also room for creative contributions from the directors. “Episode 9, which won the CSC Award this year, is a good example. Michael Jann came to me with an idea for the opening scene to be shot handheld. One of the rules was we don’t do handheld on this show. It’s much more controlled and composed frames. But Michael made a good case for it and that’s how we shot the opening scene; it worked well. The handheld work was expertly executed by my A operator Brett Hurd, who was a close collaborator throughout the show.” Unlike the rest of the series, a number of scenes in the pilot were storyboarded, like the final sequence when Wayne and Del (Ciara Bravo) are riding the motorcycle out of town. “Stunt choreographer Neil Davison [The Lighthouse] would film a previs of what he had worked out in advance, so we had a good idea of what to expect. Typically fights are fairly time-intensive to photograph so the more preplanning that you have benefits you on the day.” Visual references included Mad Max, Death Wish, Moonrise Kingdom, Paranoid Park, Brick and John Hughes (The Breakfast Club). “I would usually describe the visual style as Gus Van Sant meets Edgar Wright to each director. While researching the 18 • Canadian Cinematographer - January 2021
pilot, Iain and I were interested in films that were centred around teenagers,” Hagey explains. “There is an episode in the series where Del gets picked up in Georgia by a truancy officer and gets sent back to school even though she doesn’t go there. It’s a funny moment where she is in a detention room in the library of a high school; that’s a big nod to John Hughes.” Violence is an integral part of the narrative. “In the pilot there is a scene where Orlando Hikes [ Joshua Williams] is getting beaten up by bullies in the school hallway. Wayne runs down and beats the kid with a trumpet. Teeth and blood come flying out of his mouth. We shot from behind as Wayne swung the trumpet at the actor’s face at a safe distance, but with the lensing you can’t tell the difference. Visual effects took over and added teeth and blood flying out of the mouth. In colour correction we had to enhance the blood sometimes especially for dark scenes by creating power windows to make the red pop a bit more.” Given the tight production schedule, there was not much time for major location moves, however, it was important to create the impression of a cross country road trip. “The story is literally Wayne travelling from Brockton, Massachusetts, down to Florida,” Hagey remarks. “There is this component of trying to find places that are different as they make their way south. The art department had the job of doing that by adding little details to every location and drew a map that was on their wall with Credit (All): Courtesy Amazon Studios
“From my perspective, the people at YouTube were supportive and interested in taking risks with new stories and ideas. Wayne is not a conventional comedy.”
(Top left) Ciara Bravo and Mark McKenna in Wayne, “Chapter One: Get Some Then.” (Top right) Kirk Ward as Calvin Clay in “Chapter Nine: Thought We Was Friends.” (Middle left) Ciara Bravo as Delilah Luccetti in “Chapter Nine: Thought We Was Friends.” (Middle right) Ciara Bravo and Mark McKenna in “Chapter Three: The Goddamned Beacon of Truth.” (Bottom left) Kirk Ward, Mark McKenna and Francesco Antonio in “Chapter Nine: Thought We Was Friends.” (Bottom right) Akiel Julien, Francesco Antonio and Harrison Tanner.
little markers where each episode takes place. It was a helpful tool to look at.” All of the shooting took place in Toronto, Hamilton, Scarborough, Etobicoke, Burlington, and Mississauga. “For Florida, we were at a rundown warehouse in Etobicoke that was used for the main compound where Wayne’s step-
dad Calvin Clay [Kirk Ward] lives. The art department added palm trees and all kinds of decorations to give it a more colourful Southern feel.” Weather was an issue when it came to visual and narrative continuity. The pilot was shot in November/December 2017 and the series in June, July Canadian Cinematographer - January 2021 •
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Credit: Brett Hurd Credit: Brett Hurd
(Top) Mark McKenna (left) and Ciara Bravo on the set of Wayne.
“I would usually describe the visual style as Gus Van Sant meets Edgar Wright to each director. While researching the pilot, Ian and I were interested in films that were centred around teenagers.” 20 • Canadian Cinematographer - January 2021
and August of 2018. Story-wise Episode 2 is supposed to be winter in Massachusetts. “We definitely had some fake snow to put into the shots to create a transition from the pilot to Episode 2. It goes by quickly, so you don’t question it too much,” Hagey says, adding that the time gap in the production schedule caused some issues with the locations. “The house where Del lives with her dad and two brothers was not available when we went to series the next year; it has a huge part in Episode 5 which explains why Del’s mom is missing from the story. Shawn came up with the idea that the family had moved, and we found a house in Hamilton that was appropriate for the look that everybody wanted.” YouTube specifications requiring 4K delivery, and the desire of Hagey and MacDonald to shoot anamorphic led to utilizing two RED WEAPON cameras with Helium sensors provided by Sim International. “There is basically no other camera choice for anamorphic because you have to crop the middle square of the sensor,” Hagey explains. “It’s 5K when you shoot anamorphic down from 8K. I was happy with the result. Cooke Anamorphic has a lot of desirable anamorphic character in the lenses. 25 mm was the widest, and we had a 32 mm, 40 mm, 50 mm, 75 mm, 100 mm and 135 mm, and a Cooke S4 14 mm spherical for high-speed shots above 96fps.” The decided upon aspect ratio was 2:1. “We almost always shot at 1600 ISO, occasionally going up to 3200 ISO when needed. We shot in Legacy mode set to REDlogFilm.” An additional camera was the Sony a7S II, which was a crash camera and rigged for small spaces. “There is a sequence where Wayne rides his motorcycle through a school, so we did have to do a custom rig. A Sony a7S II was rigged to the motorcycle to get that point of the view of riding through the high school hallways, down the stairs; it was a cool shot. We also rigged the Sony a7S II to get closeups of the speedometer and accelerator as the motorcycle drove down the highway. For the rest of the scene we had a camera car that Wayne and Del ride down the highway; that was Nikola Tesla Boulevard in Hamilton, which at night has a great view and cool industrial lighting. The motorcycle was on a process trailer close to the back of it so you can
Credit (All): Courtesy Amazon Studios
(Top) Mark McKenna (left) and Ciara Bravo. (Middle) Mike O’Malley, Ciara Bravo and Joshua J. Williams. (Bottom) Mark McKenna and Derek Theler (right) as Conan.
Canadian Cinematographer - January 2021 •
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Courtesy D. Gregor Hagey csc
“I felt supported by every level to take creative risks and push the envelope. Creatively, Wayne was a very enjoyable show to work on.”
TION:
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22 • Canadian Cinematographer - January 2021
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Storyboards by Gergely Kapus. (Above) D. Gregor Hagey csc on the set of Wayne.
see the road, but the actors are safely strapped in. Visual effects removed the safety tethers.” LEDs, HMIs and Kino Flos were supplied by William F. White. “I transitioned fully to LED by the end of the show,” Hagey reveals. “That was largely thanks to my gaffer Fast Eddy. There is a good scene where we created a lightning effect at night. We used an array of SkyPanels on a lift that were being remotely triggered with a program to create lightning. It worked well. There was no issue with a rolling shutter. We had a couple of 18Ks to recreate the sun when we needed and a SoftSun for a pawnshop location.” Over the series, the production had to shut down seven times because of lightning strikes. “At Del’s house for Episode 5 we lost power not because of lightning strikes but because someone stole the Seaway cable that connected all of the lighting to the generator. It’s worth a lot of money because it’s copper. We had surrounded the place with lights to simulate daylight. Then all of the lighting starts to go down. Fortunately, we had more cable, and the shoot did go on. It was one of the more unusual problems that I had onset.” When the story shifted to Florida, we wanted to contrast it with Massachusetts, which was cold, grey and desaturated,” Hagey remarks. “Florida was much more colourful and had a gold quality
to it. We tended to use atmosphere for the interiors in Florida as well. The sunbeams contrasted with the overcast light of Massachusetts.” Only one LUT was produced. “I was emulating Fujifilm 3510. I wanted something gritty with more cool tones and have greens register more. The DI was graded in Los Angeles at Company 3 by colourist Mike Levy. I got to go down to grade the pilot and work directly with the colourist. He did a great job of keeping the contrast that I wanted but still keep blacks and shadows with a velvet quality to them. They’re a bit open and not totally crushed. I graded the series remotely through Deluxe Toronto, which had a system where I could view what the colourist was viewing, had him on a speaker, and we made adjustments on the weekend or during the week after the show wrapped. It worked well.”
Other key crew members included rigging gaffer John Hall, rigging grip Carson Foster, B cam operator/Steadicam/underwater Brent Robinson, pilot only B Cam/Steadicam operator Brad Hruboska, A cam 1st AC Brent Craig, B cam 1st AC Chris Chung and DIT Morning Glory. “The final sequence in the pilot with Wayne and Del on the motorcycle getting chased by the tractor trailer logistically was a big challenge to do,” Hagey recalls. “It was insanely cold, a reduced unit and was day zero. That was the first time working with everybody together, and there was no other way to fit it into the schedule. The car crash in the final episode is a great sequence that ties together a lot of main unit and second unit work. I shot a good portion with a homemade Lensbaby. I used a technique called freelensing. If you hold the medium format lens in front of a film camera by hand, you can distort the image and tilt the focal plane. I felt supported by every level to take creative risks and push the envelope. Creatively, Wayne was a very enjoyable show to work on.”
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Captures “And, We Disappear” for Alaskan Tapes
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he music video for the song “And, We Disappear” by the Toronto-based ambient music project Alaskan Tapes – the creation of composer Brady Kendall – follows an elderly woman into the initial stages of her death as she embarks on the journey she must take to the other side. Shot on a mix of textured black-and-white and colour 35 mm stock, the musical short film was directed by Brooklyn-based writer/director Meredith Hama-Brown with photography by Norm Li csc, who won the 2020 CSC Award for Music Video Cinematography. Li tells Canadian Cinematographer how he captured the haunting visuals.
2020 CSC Award Winner
Canadian Cinematographer: How did you get involved as the cinematographer on this project? Norm Li csc: Alaskan Tapes approached me to direct its next music video, but I felt that my talented partner Meredith Hama-Brown was the director to conceptualize and execute this. I suggested Meredith to Alaskan Tapes and he immediately loved her treatment and work. She’s an incredible director with a very unique vision. Not only do we have similar tastes, but we also work really well together. It ended up being such an incredible collaboration and experience as we were able to make something special that we were both proud of.
CC: How was the initial concept for the video arrived at? NL: Meredith came up with the concept. She was drawn to the idea of following an elderly woman who discovers that she has passed away and must accept and navigate through her afterlife. She is mysteriously drawn to a small remote island in the middle of the ocean where she finds a baby, meant to be an infant version of herself.
CC: What was the tone you wanted to capture? 24 • Canadian Cinematographer - January 2021
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NL: We wanted to capture a meditative and atmospheric tone as we had to build an enigmatic and nostalgic world that felt strange, yet familiar. It was important to show the progression from darker black and white imagery to that of pastels and gentle colours, reflecting her journey from bewilderment to enlightenment.
CC: What were your visual references or inspirations?
All: Courtesy Norm Li
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NL: Some of our visual references and inspirations are drawn from Wuthering Heights by Andrea Arnold, The Seventh Seal by Ingmar Bergman and some select photography from Shōmei Tōmatsu, Bill Henson, Fan Ho, and Gregory Crewdson.
CC: How did you achieve the effect of the surreal light that appears to guide the woman, especially in the first half of the video? NL: Meredith really wanted a special quality of light to symbolize death in this music video. At first I thought of utilizing Astera Titan LED tubes arranged in an array, to create an undulating movement. However, the more I thought of that idea, the less interested I was, as the effect would have been too soft and subtle. I wanted it to be much more hypnotic and something ideally no one has really seen before. Because of the water motif in the film, I came up with the idea of using a Rosco X-24 projector light. It’s a fairly powerful light with a lot of punch, and has the ability to control the speed of the effect. It essentially uses two pieces of custom glass on rotating motors. We created the organic fading of light using our fingers directly in front of the light. The X-24 light is mainly used in art galleries, museums, concerts and events. I haven’t seen it used on people before and thought this would be the perfect tool for this project.
CC: What influenced your choice of camera? NL: We decided to shoot with my Arri 235 4-perf 35 mm camera as it was very lightweight and small. It was ideal for a small crew that had to be nimble. Additionally, we also used it on a DJI Ronin 2 stabilizer for a few shots, so the
(Main photo) Kanjana Comeau in the Alaskan Tapes’ music video “And, We Disappear.” Courtesy Alaskan Tapes (Top) Kanjana Comeau with director Meredith Hama-Brown (left). (Middle) Norm Li with ACs Jeremy Cox (left) and Ryan Ermacora (right). (Bottom) Gaffer Jordan Findlay.
Canadian Cinematographer - January 2021 •
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Courtesy Alaskan Tapes
Frame from the Alaskan Tapes’ music video, “And, We Disappear.”
camera had to have a fairly compact form factor. It for all the really slow zooms. It was meant to draw also had to be under 30lbs to stay within the Ronin us into her state of mind. For the follow shot in 2’s maximum payload. the hallway of her house, she stood on a doorway dolly attached to another doorway dolly that had CC: What was behind the decision to shoot 35 mm film stock? our camera mounted on it. We also used a Tiffen 1/4 Black Pro Mist filter throughout the shoot, NL: I have always adored the indescribable depth that as it added a subtle glow to the highlights that 35 mm captures. It’s something I have been drawn kept shadows unaffected and also added to the to for my entire career. In this case, combined with overall elusive quality we desired. the concept, character, lighting and locations, it brought an emotional and surreal quality that would CC: What was your approach to camera movement? have been missing had we shot digitally. Not to say that digital isn’t a great format, but for this music NL: Everything in the house was on a slider or dolly video we knew film would bring something special with slow pushes, and all camera movement outside that digital wouldn’t be able to. In terms of film of the house was mainly created using the Optimo stocks, we shot on Kodak 5222 200T black-and- zoom lens. Any scenes where the “afterlife” light white film for the woman’s main journey following found her, we physically moved the camera, and the light but switched to Kodak 5219 500T colour anything where she followed the light, we motivated film when she finally realizes what her purpose is. those scenes or shots with zooms. There was only one tilt in the whole music video, which we used to CC: What other tools did you use to create the emphasize the moment she finally sees the infant feeling you were trying to achieve? version of herself. Other than that, everything had a forward tracking or zooming momentum without NL: We utilized an Angenieux Optimo 28-76 mm any panning or tilting. 26 • Canadian Cinematographer - January 2021
Free ART Zone
CC: What did you and the director discuss about composition and framing?
Courtesy Alaskan Tapes
NL: Along with striving to make each shot as
striking as possible, we wanted to compose each shot from a more objective perspective and felt that by framing the character in mainly wide shots, it would show how alone and isolated she was feeling in this newly found solitary existence. The only closeup of her is when she realizes that she must travel to a small remote island and also her POV of the infant.
CC: What was your crew support like on the project? NL: We had a very small crew of about 10 people on set, who were all good friends and frequent collaborators of ours. My gaffer was Jordan Findlay, key grip was Matt Koropatwa, and my ACs were Ryan Ermacora and Jeremy Cox. We couldn’t have done this project without their generous help and support.
CC: What was your role in post? NL: I mainly just provided my notes on the edit, VFX, and supervised the colour grade at Company 3 in New York with senior colourist, Joseph Bicknell who did an amazing job.
M
usic videos have existed in some form or other since the days of the talkies, but after exploding onto the pop culture landscape in the 1980s with the popularity of MTV, they have become a staple on most cinematographers’ resumes, regardless of skill level or experience. With their short formats, music videos also offer a low barrier of entry to the feature film landscape that many cinematographers aspire to and as such can serve as a valuable training ground for those seeking to experiment and diversify their styles. “Music videos have had an enormous role in my development as a cinematographer,” 2020 CSC Music Video Cinematography Award nominee Alexandre Nour Desjardins (“Lady Winter” performed by The O’Pears) says. “It’s a great format to try things out and find out what visual styles fit you best. It is also a great way of meeting new directors. I have met a lot of great friends and collaborators through music videos.” In the early days of music videos, established cinematic techniques of film and television were commonly employed,
(Right top) Courtney Brookes, Elizabeth Mayer and Hala Zabaneh in the Apocalyptica music video “Rise.” Courtesy Apocalyptica
(Right 2nd from top) On the set of the Jordan Klassen music video “Virtuous Circle.” Actor Antoine Olivier Pilon, cinematographer Farhad Ghaderi, and focus puller Mikael Bidard. Courtesy Farhad Ghaderi.
(Right 2nd from bottom) Brittney Canda in the music video “Lady Winter” by The O’Pears. Credit: The O’Pears.
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Credit: The O’Pears.
but many cinematographers feel music videos have evolved to allow for more visual boldness. “I can light a lot from emotion and not have to worry about the strokes of light being motivated from fixtures that physically exist within the world of the character,” associate member and nominee Matt Bendo (“Children of Today” performed by Blasterjaxx) says. “For my more involved music video endeavours, I have been able to focus a lot on world building, which has been great because it has allowed me to develop and test a lot of my creative lighting methods. By exploring these different visual languages, I have gained skills and honed techniques that lend themselves to the other genres of film and commercial.” The music video genre has so evolved as
Courtesy Blasterjaxx and Matt Bendo.
(Top) Brittney Canda in the music video “Lady Winter” by The O’Pears. (Middle) Scene from the Blasterjaxx video “Children of Today.” (Bottom) On the set of Apocalyptica’s music video, “Rise.”
Credit: Lisa Mann
to have generated its own visual language distinct from mainstream film language, according to the 2020 CSC Award nominees. “There really is a lot of liberty in music videos. I think that is the key difference between the visual language in mainstream film and music videos,” associate member Jason George (“Rise” performed by Apocalyptica) says. “Images can be devices that make sense in a video but might have no equal in mainstream narrative film. We recently did a video that had no human character nor dialogue, yet there was a storyline, using insects and a musical instrument to convey a story of destruction and rebirth.”
28 • Canadian Cinematographer - January 2021
Photo: StudioCanal
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“The lenses I chose for Supernova were based on the look that Director Harry Macqueen wanted for his film, which was somewhat old fashioned, warm and romantic in feel, offering a close and intimate chemistry between the two main characters. I arranged a screening for him of Edward Norton’s Motherless Brooklyn, on which I had previously used Cooke Panchro/i Classic Primes, and Harry loved them on that film. Subsequent testing for Supernova featuring the principal actors confirmed our thoughts. Harry described them as having a rounded and natural feel which reels in the viewer.
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Over the three films I’ve shot with both the original and updated versions, I have become very attached to the antique look of the Panchros, partly because they’re not clean, modern looking or super sharp, but really rather ‘painterly’ and cinematic. Like the originals they feature the eccentricities of the original Speed Panchro designs, and when used wide open, can if required, offer focus fall-off at the edges of frame along with a gentle fall off in the corners — in fact, all the attributes Harry and I really wanted for Supernova.” Dick Pope, BSC Cinematographer Supernova
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Courtesy Jordan Klassen. Credit: Boldly Creative
(Top) Scene from Jordan Klassen’s video “Virtuous Circle”. (Bottom) On the set of the Jordan Klassen music video “Virtuous Circle.” Gaffer Jordan Findlay (left), Steadicam operator Peter Park (centre) and key grip Matt Swatsky.
30 • Canadian Cinematographer - January 2021
Nominee Farhad Ghaderi (“Virtuous Circle” performed by Jordan Klassen) advises that cinematographers who have the stamina and financial security should make as many music videos as they can. “As a cinematographer, the best thing you can do is really immerse yourself in the music and take it in deeply so you can later create something that reflects and mirrors those emotions but visually,” he says. Although film genres blend so much today, cinematographers who shoot music videos have managed to carve out a unique category of cinematography. “It’s a freeart zone, and it has its own language and poetry to it, so I think it’s important to distinguish music videos as a unique genre,” George says. But music video cinematography should be recognized for another
Courtesy Blasterjaxx and Matt Bendo.
Scene from the Blasterjaxx video “Children of Today.”
significant reason, according to Ghaderi. “They have been an entry point for decades for a lot of underrepresented voices in the film industry, such as BIPOC and female cinematographers. Recognizing the artistry of music videos also creates space for the diversity that is incredibly lacking in our industry. For example, look at who is represented in each
category of the CSC Awards [in 2020]. While every category has a long way to come in terms of representation, the music video category clearly has more racialized nominees than the feature film and TV series and most categories.”
– Fanen Chiahemen
Meet the new scene stealer. Although a relative newcomer to the scene, the Z Cam flagship series of compact cine cams has quickly found a place for itself on film sets around the globe. And there are plenty of good reasons for that. Perfect not only for documentary-style production and FX shots, these highly affordable state-of-the-art Z Cam models are also growing in popularity among major motion-picture professionals for their use in second-application units. They’re made of lightweight aluminum and packed with state-of-the-art capabilities, intuitive operation buttons and menus, infinite customization and, most important, the power to capture stunning cinema-quality 10-bit colour video with exceptionally wide dynamic range – up to 16 stops – in a versatile assortment of codecs and frame rates. Check out the full-frame 6K E2-F6 (EF), Super 35mm 6K E2-S6 (EF) and full-frame 8K E2-F8 (EF) Z Cam models at Vistek and see what you’ve been missing. (Optional M, MFT and PL mount accessories also available.) Z CAM PRO CINE CAMS ARE AVAILABLE EXCLUSIVELY IN CANADA AT VISTEK
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Tech Column
Artificial Intelligence
A
t first blush, there were two reactions to the announcement of Color Intelligence’s Colourlab Ai the new automated colour grading application: one side was curious, while the other was adamantly opposed because it risked colourists’ jobs. That’s a pretty standard response in almost any industry to automation and technology and, to be fair, the fear of a skill set being rendered redundant is palpable. But hold on a second. As Color Intelligence CEO and founder Dado Valentic explains, he’s a colourist too and the last thing he wants to do is put himself or any of his colleagues out of work. 32 • Canadian Cinematographer - January 2021
“I understand that level of fear, but it’s completely unfounded,” he says. “Colourlab Ai has nothing to do with replacing colourists, it’s to assist colourists. It takes one small part of what we do [and automates it], but it does not replace the colourist or their skills. It makes them more efficient.” Starting out in London, U.K. three years ago, Colourlab Ai retains the English spelling in its name, though Color Intelligence is very much U.S.based and reflected in the spelling. Valentic worked with Mark L. Pederson and Steve Bayes to build Color Intelligence, and has partnered with Warner Brothers, HBO, Netflix, NBC Universal and CBS
Takes Drudge Work Out of Colour Grading to create advanced HDR colour pipelines and specialized colour grading plug-ins for look design and creation. So he knows a thing or two about the process. Ultimately, he says, colourists should be more productive and thus able to earn more because the application speeds up the colour grading process and allows the colourist more time to apply their skills on more critical frames of the images. Chris Evangelou, a 14-year veteran and colourist at ColorSemantics, thinks Colourlab Ai is onto something. “I think in long form there’s real value to speed up the process,” he says. “I don’t think colourists are going to lose work because you can’t replace creative intent.” He likes the concept and is anxious to see how it works with Baselight, his preferred application. “Colour grading is the finishing process,” he says. “There’s a joke that when you’ve colour corrected, the film is finished. You can’t replace a colourist with AI, not yet anyway, it’s about a change in perception, not the hue; an algorithm can’t do that now.” Colour grading can also be tedious, sometimes requiring each scene to be graded and tweaked, each focus change or zoom shot and for each camera capture to be tweaked differently. That’s where Valentic sees opportunity, to take the tedious grunt work out of the process through AI automation. It starts with the colourist selecting a key frame of a
scene and then grading it and passing it on to the application, which then takes those digital parameters and applies them to the entire scene. Then the entire scene needs a review to ensure the grading has been applied correctly with a few tweaks here and there for those focus pulls and other lighting changes. Valentic thinks it will open up more work for colourists because they can knock projects out in an hour or two for a decent rate rather than having to accept low-budget work, which ultimately reduces their hourly rate. “The digital content market is driving the industry,” he says. “And instead of 10 hours, you can do a job in two hours.” At this stage, the application is Mac based because Apple monitors can be synched to the same colour settings and because the industry is almost wholly Mac based. It works seamlessly with DaVinci Resolve and will soon support Filmlight’s Baselight, followed by Avid and Final Cut Pro 10. When we talked, Valentic was getting ready to launch, having beta-tested with 500 colourists who signed on for US$99 to access the program. “We wanted people who would use the application not just test it and put it aside,” he says. For DPs nothing changes, he adds, they shoot with whatever cameras or combination of cameras and lenses they always have from ALEXAs to GoPros, and then the colourist takes the workflow and grades as they always have, with the assist from Colourlab Ai to speed things up and take out the tedious work. “It’s like autonomous vehicles,” he says. “They come with a steering wheel because someone has to be there to watch what’s going on. It’s the same with colourists, you still need someone to look at every scene.” Ian Harvey is a journalist who has been writing about digital disruption for 20 years. He welcomes feedback and eagerly solicits subject matter ideas at ian@pitbullmedia.ca.
CORRECTION In the December 2020 issue Tech Column, Blackmagic Design’s 12K camera should have been transcribed as the URSA 12K Mini Pro.
Canadian Cinematographer - January 2021 •
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Production Notes & Calendar
Classifieds
BIG SKY, THE I (series)
C Camera Operator Ian Kerr csc
to April 23
Pitt Meadows
BOOT CAMP (MOW)
DP Kamal Derkaoui csc
to February 5
Vancouver
CHROMA (series)
DP Craig Wrobleski csc (alternating episodes) 2nd Unit DP/C Cam Op D. Gregor Hagey csc
to August 17
Toronto
CORONER III (series)
DP Samy Inayeh csc (alternating episodes) Camera Operator/Steadicam Keith Murphy B Camera 1st Assistant Kyryll Sobolev
to January 18
Etobicoke
DC’S LEGENDS OF TOMORROW VI (series)
DP David Geddes csc, asc (alternating episodes)
to May 7
Burnaby
DEBRIS (series)
DP Michael Wale csc (odd episodes) & Tony Mirza (even episodes)
to March 10
Burnaby
EXPANSE, THE VI (series)
DP Jeremy Benning (alternating episodes)
to April 26
Toronto
FLASH, THE VII (series)
DP Brenton Spencer csc & Alwyn J. Kumst csc, sasc (alternating episodes)
to May 19
Vancouver
GOOD WITCH VII (series)
DP Ken Krawczyk csc B Camera Operator Paula Tymchuk
to February 5
Toronto
HIPPOCRATIC OATH (TV movie)
DP/OP Michel Bisson csc 1st AC Lem Ristoo
to January 14
Hamilton
HOME BEFORE DARK II (series)
DP Craig Wrobleski csc & Bruce Worrall csc (alternating episodes) Camera Operator Nathan McTague
to January 27
Richmond
IN THE DARK III (series)
1st Assistant Pierre Branconnier
to April 22
Mississauga
KUNG FU I (series)
DP Neil Cervin csc (odd episodes)
to April 26
Langley
LOST OLLIE I (series)
DP C. Kim Miles csc, mysc, asc (odd episodes)
to March 17
Langley
LOCKE & KEY II (series)
DP Dylan Macleod csc (alternating episodes) C Camera Operator Rion Gonzales
to March 31
Toronto
MAID (series) DP (Block 2 & 4)
Guy Godfree csc & (Block 3) Vincent De Paula csc
to March 3
Victoria
MILL STREET (series)
DP Philip Lanyon csc(alternating episodes) C Camera Operator J.P. Locherer csc
to June 21
Toronto
MYSTERIOUS BENEDICT SOCIETY I (series)
DP François Dagenais csc
to January 27
North Vancouver
PARKER ANDERSONS, THE (series)
DP Mitchell Ness csc
to January 22
Kleinburg
PEARL IN THE MIST (MOW)
DP/Operator David Bercovici-Artieda
RAPHANIS I (series)
DP Gavin Smith csc
to May 21
Calgary
Victoria
REPUBLIC OF SARAH, THE (TV series)
DP Pierre Jodoin csc (alternating episodes)
to April 1
Montreal
RIVERDALE V (series)
DP (Block 1) Ronald Richard & (Block 2) Brendan Uegama csc
to April 30
Langley
SCAREDY CATS (series)
DP/Operator Mark Irwin, csc, asc, 1st Assistant Karl Janisse B Camera Operator Jeff Zwicker
to February 5
Saanichton
STAR TREK: DISCOVERY IV (series)
DP Philip Lanyon csc (alternating episodes) C Camera Operator JP Locherer csc
to June 4
Toronto
STATION ELEVEN (series)
DP Steve Cosens csc & Daniel Grant csc (alternating episodes)
to June 30
Mississauga
STRANGE NEW WORLDS I (series)
DP Glen Keenan csc (alternating episodes)
to July 16
Mississauga
SUPERGIRL VI (series)
DP Michael Story csc (alternating episodes) C Camera Operator Jill MacLauchlan
to May 28
Langley
SUPERMAN & LOIS (series)
DP Stephen Maier & Gordon Verheul csc (alternating episodes)
to May 27
Vancouver
TITANS III (series)
DP Boris Mosjovski csc & Fraser Brown csc (alternating episodes)
to June 11
Toronto
TURNER & HOOCH I (series)
DP Corey Robson
to April 19
Burnaby
VICAP I (series)
DP Marc Laliberté csc & Brendan Steacy csc (alternating episodes) 2nd Unit DP Claudine Sauvé csc Camera Operator Peter Sweeney
to April 13
Toronto
WHAT WE DO IN THE SHADOWS III (TV series)
1st Assistant Ciaran Copelin
to April 19
Toronto
Y: LAST MAN, THE I (series)
DP Catherine Lutes csc (even episodes)
to July 5
Mississauga
ZOEY’S EXTRAORDINARY PLAYLIST II (series)
B Camera Operator/2nd Unit DP Christopher Oben
to March 25
Richmond
CALENDAR JANUARY 28-Feb. 3, Sundance Film Festival, Park City, Utah, sundance.org 31, CSC Awards entry deadline, csc.ca
FEBRUARY 12-25, Slamdance Film Festival, Park City, Utah, slamdance.com 26-March 7, Kingston Canadian Film Festival, Kingston, ON, kingcanfilmfest.com
@canadiancinematographer @csc_CDN
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34 • Canadian Cinematographer - January 2021
EQUIPMENT FOR SALE Arriflex BL camera with 12 - 120 blimpted Angenieux lens, several film magazines, and accessories. Arriflex S camera with 9.5 - 95 Angenieux lens, film magazines, and accessories. C P 16 camera with angenieux 12 -120 lens with several film magazines and accessories. 2 Canon Scoopic film cameras, one takes a 200 foot load. Bell and Howell DR 70 wind up camera with lenses. Al Sugerman at 519-768-1623, or at sugermana8@gmail.com Sachtler Video 20P Head (7x7) with carbon fibre standard legs (thick) 100mm ball base, pan handle, interior spreader, rubber feet and hard case. $5000 Michael Ellis 416-729-6988 michaelellis70@gmail.com COLORTRAN Nook light with bard doors and bulb. Includes long power cable and Quartzcolor 2K switch. $75. LOWEL Blender with AC power adapter, battery adapter for Canon E6 batteries, 1 protective screen, 3 diffusion screens. Very Good condition. $250. CHIMERA Triolet with 3 bulb adaptors, Chimera 9890 ring, glass diffusion dome and small Chimera pancake lantern (type 1864). $475. CHIMERA Extra Small Video Pro Plus with 3 screens (type 8115, 16"x22"). New condition. $200. CHIMERA Small Video Pro Plus Strip bank. (type 8155, 9"x 36"). Good condition. $250. epkcine@gmail.com 416.587-4848 ALEXA ITEMS FOR SALE Arri Alura T2.9. 18-80mm (PL Mount, Feet) CAD$20,000 OBO Arri Eyepiece Leveler (EL-3) Brand New CAD$400 OBO Arri Viewfinder Cable Medium KC151S Brand New CAD$350 OBO Please email Ian Toews csc at: ian@291filmcompany.ca Canon CN-E Prime Lenses. 24mm T1.5, 35mm T1.5, 50mm T1.5. In excellent condition. EF mount, covers S35 and full frame. Asking $3400 each. Contact info@johnker.com. 35 4x5.6 Schneider filters: ND’s, color correction, diffusion, grads 2 138mm Tiffen Tobacco, Sunset grad 2 138mm Schneider Tru Pola, 85 Pola 2 138mm Schneider CU diopter #1, Cu Diopter • includes case and pouches for every filter. • Excellent condition • 4x5.6 and 138mm. clears included Today’s value in U.S. dollars $13,705 U.S. Selling price $9,500 CDN CONTACT: Bert Tougas H: 514-634-2374 C: 514-913-2376 I have 15 - 3x3 Tiffen filters for sale - fogs, Promists Grads, 812's etc. all with cases. $185.00 - contact Barry Casson csc - 250-721-2113 or e-mail bcasson@speakfilm.com TIFFEN ULTRA STEADICAM , HD Ultrabrite color monitor ,HDMI Decimator 2,Iso-elastic arm, 4-24 volt batteries, 1-Pag battery charger 24v,1-Lentequip battery charger 12/24v,Klassen vest and carrying bag, 1 Preston F1+Z transmitter 1 Preston MDR-1 receiver,1 Preston control, 2 motors, 2 batteries, charger, numerous Hill motor mount brackets rossette brackets and rods, 1 long dovetail plate,1 short dovetail plate, 1 docking bracket,1 fgs wheel chair/dolly adaptor,rain cover, too many cables, hard cases and accessories to list.This rig was well maintained looks new, all it needs is a few upgrades. $23,000.00 cad 416 817 3938 or acadian@rogers.com Rick Kearney Preston FIZ 2 kit - $5,000 2 x Arri MB-20 studio matte box - $8,000 Arri LMB-15 Clip-on matte box - $1,200 Power-Pod Classic - $5,000 Please contact Michael Balfry csc @: michaelbalfry@gmail. com for a complete list of items. Looking for a set of old, no longer used, standard legs with Mitchell base. Or any type of disused heavy camera support. This is to be used to mount a Mitchell BNCR camera in order to place it on display. Anyone with access to such a tripod or with information about one, please contact me: rawi@earthlink.net 416-691-6865 CAMERA CLASSIFIED IS A FREE SERVICE PROVIDED FOR CSC MEMBERS. For all others, there is a one-time $25 (plus GST) insertion fee. If you have items you would like to buy, sell or rent, please email your information to editor@csc.ca.
FULL-SPECTRUM
CINEMA
WORK LIGHT
2000 180° 3 Li-Ion
Lumens Output
Adjustable Handle
Brightness Levels Rechargeable Battery
Color Temperature 2700k 3500k 4500k 5500k 6500k
Adjustable
CRI & TLCI 95+ FOR MORE INFO PLEASE SCAN QR CODE MOSS LED INC.
OPL11V2735455565
HIGH
CRI
Winner 2019 Cine Gear Expo Technical Awards
Input 15V-2A
Operating 11.1V 48.84Wh 4400 mAh
IK07 Specialty Lighting - Moss LED
IP65
-10°~40°C
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