CANADIAN SOCIETY OF CINEMATOGRAPHERS
September 2021 www.csc.ca
Tobie Marier Robitaille csc
NIGHT OF THE KINGS
James Klopko csc A Fire in the Cold Season
A publication of the Canadian Society of Cinematographers
FEATURES – VOLUME 13, NO. 4 SEPTEMBER 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.
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.
CSC Member Spotlight: Thomas Harting csc
The CSC is a not-for-profit organization run by volunteer board members of the society. Thank you to our sponsors for their continued support.
CORPORATE SPONSORS AC Lighting Arri Canada Blackmagic Design Cinetx Inc. Company 3 Cooke Americas First Mile Technologies Frame Discreet Fujifilm, North America Corporation Fujifilm, Optical Devices Division Fusion Cine Grande Camera HD Source Inspired Image Keslow Camera Kino Flo Lumenayre Distribution Ltd. Matrix Video Communications Corp. Mole-Richardson MOSS LED Panavision Canada Picture Shop Red Digital Cinema REDLABdigital Rosco Canada Rotolight Sigma SIM SIMMOD LENS Sony of Canada The Source Shop Urban Post Production Vistek Walter Klassen FX William F. White International Zeiss
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Credit: Cass O'Neil
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.
African Nights: Tobie Marier Robitaille Prison Drama By Fanen Chiahemen
csc
James Klopko csc: Worlds Collide in Neo Noir Western By Fanen Chiahemen
COLUMNS & DEPARTMENTS 2 8 20 22 23 24
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Weaves Magical Realism into
From the Editor-In-Chief On Set In Memoriam Laszlo George csc, hsc Tech Column In Memoriam Graeme Ferguson Production Notes/Calendar/Classifieds
Cover Laetitia Ky in a still from Night of the Kings.
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Canadian Cinematographer September 2021 Vol. 13, No. 4 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 csc 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 CHAIR Rion Gonzales 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
T
he September issue of the magazine represents a very welcome comeback. It marks the return of the print version of Canadian Cinematographer, which had been placed on COVID hiatus for the past year. It also marks the end of my involvement with the magazine. I have resigned my position as Editor-in-Chief of Canadian Cinematographer. It is a bittersweet departure, but it’s simply time to go. My roots and attachment to the magazine run very deep. It was a little over three decades ago, when I became president of the CSC, that I also inherited CSC News, which at the time was a 10-page photocopied newsletter about the society. It was important to me to create a Canadian magazine written by Canadian cinematographers for cinematographers, and so my labour of love began. I hired Canadian Press editor/writer Don Angus, who became the magazine’s first editor. Soon, we had our first saddle stitched copy of CSC News, complete with cover, articles and photos. It wasn’t pretty by today’s standards, but it was a start. The magazine continued to evolve over time – articles and interviews improved, pages and colour were added, the paper became glossier, and of course the title transitioned into Canadian Cinematographer to better reflect the content. Throughout it all, the magazine never lost sight of its purpose to provide Canadian cinematographers a voice, where previously there was none. It’s a mission accomplished of which I’m fiercely proud. I would like to thank all the CSC cinematographers who contributed to the magazine over the years, sharing their wisdom and experiences through countless articles and interviews. Without you, there would not be a Canadian Cinematographer publication. Before I sign off, there is one final bit of business – the results of the magazine survey. I would like to thank the 145 CSC members who responded to our mini questionnaire about Canadian Cinematographer. There were only six questions, but the results were quite illuminating. Significantly, the majority of the respondents, 68 per cent, say they read the magazine faithfully each month, while the Tech Column is the most widely read feature in the magazine. The entire results will soon be sent to the membership in a CSC newsletter email. So ends my magnificent adventure with Canadian Cinematographer. It's been terrific! Adieu!
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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.
Credit: Stephen Gardner
Credit:Yannick Grandmont
The Society congratulates the following members on receiving full CSC accreditation
Ian Lagarde csc Stephen Whitehead csc
www.ianlagarde.com
Nick Thomas csc www.nickthomasdp.com
Credit: Colin Akoon
Credit: Kaitlin Moerman
https://vimeo.com/238078852
Kristin Fieldhouse csc www.kristinfieldhouse.com
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CSC Member Spotlight
Thomas M. Harting csc What films or other works of art have made the biggest impression on you?
The Shining, E.T., and The Color Purple sparked my interest in taking this journey as a cinematographer. Photographers Nan Goldin, Larry Clark, and Ansel Adams. The naturalistic depiction of light from Gustave Caillebotte’s painting Les raboteurs de parquet. Mexican muralists José Clemente Orozco and David Alfaro Siqueiros, as well as modern architect Zaha Hadid.
How did you get started in the business?
After university I shot corporate projects for Sega, Apple, Oracle, and Kaiser Permanente, all the while trying to break into long-format. My first feature Defying Gravity was seen by Halifax-based director Thom Fitzgerald, who invited me to Canada to work with him. It was my first real break and we have enjoyed a 20-year collaboration/friendship ever since.
I had a roommate at SF that worked at a fish store where he had met Stephen M. Katz ASC as a customer. He introduced us and Stephen became a sounding board for me, a good friend, and even helped me get my first agent in L.A. My first gaffer, Alan Steinheimer, opened my eyes to the art of collaboration and how images could be approached from many perspectives. What cinematographers inspire you?
Sir Roger Deakins asc, bsc, cbe, Emmanuel Lubezki asc, amc, Robert Richardson asc, Conrad Hall asc, Philippe Rousselot afc, asc, John Alcott bsc, Bruno Delbonnel asc, afc, Seamus McGarvey asc, bsc, and Rodrigo Prieto asc, amc. My fellow CSC colleagues C. Kim Miles csc, asc, mysc and Paul Sarossy csc, bsc, asc.
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Credit: Cass O'Neil
Who have been your mentors or teachers?
Name some of your professional highlights.
My time in Africa for 3 Needles and spending a hot summer in Romania shooting a street film. The standing ovation at Sundance and observing Academy Award-winning actors embody frames of light I had created. The amazing road trips working for The Food Network as a director/DP. What is one of your most memorable moments on set?
There are many each day. It’s often about feeling you got the tone of the scene just right or when you find yourself in perfect sync with your director.
Power meets performance
What do you like best about what you do?
Creating visuals that impact and drive the emotional context of a film. Travelling to new places and pointing my camera with the wonderment of a child. The ability to keep my recreational flying obsession financed. What do you like least about what you do?
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The “panic vortex” of finishing the day that starts right after lunchtime. What do you think has been the greatest invention (related to your craft)?
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The Technocrane, my Sunseeker app, and the ability to finesse my images in a DI suite.
Next came the Evoke 1200, a powerful portable, IP54-rated water-resistant daylight COB LED that rivals the output of a 1.8kW PAR or 2.5kW HMI Fresnel while delivering fully dimmable flickerfree light.
How can others follow your work?
Thomashartingdp.com and lots of non-film related posts on Instagram.
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Canadian Cinematographer - September 2021 •
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TORONTO | MISSISSAUGA | OTTAWA CALGARY | EDMONTON
VISTEK.CA
Credit: Anton Kulyk
On Set
Credit: Irina Lord
Cinematographer Carl Elster (associate member) setting a scene with gaffer Romanesh Reynoso on location in Orillia, Ontario.
Credit: Mike Decker
Credit: Courtesy of Daniel Abboud
Bryce Zimmerman (associate member) on the set of the upcoming feature narrative film Soft Spoken Weepy Cult Child with key grip Matthew Koropatwa.
Adam Madrzyk (associate member) on the set of a commercial for Ford and The Juno Awards shot in Vancouver, featuring DJ Felix Cartal with director Avery Stedman.
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Daniel Abboud (associate member) operating A camera on the set of the MOW Love Rescued.
Credit: Nesa Huda
Credit: Asif Limbada
Associate member Christina Ienna with Stabilized Remote Head Op on a car commercial with KALA ARM crew.
Cinematographer/editor Drew Hyttenrauch (associate member) filming a commercial for high-end tripod brand SIRUI and filming the Detroit fireworks.
Credit: Justin McLoughlin
Credit: Joey B
Issa Shah (associate member) on the set of Taboo, a short film that explores the taboos of mental health in Islam.
Monica Guddat (associate member) as splinter unit DP (also B camera operator) working with VFX on Guillermo del Toro’s Cabinet of Curiosities. Canadian Cinematographer - September 2021 •
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AFRICAN NIGHTS Tobie Marier Robitaille Weaves Magical Realism into Prison Drama By Fanen Chiahemen
csc
csc
Credit: Hugo Ferland Dionne
Photos courtesy of Tobie Marier Robitaille
Robitaille shoots a scene on the beach. Opposite page: Laetitia Ky as the Queen.
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W
hen Tobie Marier Robitaille csc made windows and they’re all different colours. You don’t see that in his first trip to Ivory Coast in March Quebec,” he says. “It’s like just an unusual mix of colour.” In Robitaille’s initial conversations with Lacôte about Night of 2019 where he would be shooting the feature film Night of the Kings, he wasn’t the Kings, the director – who also shot his 2014 debut feature sure what to expect. His only connec- Run in Ivory Coast – referenced the concept of magical realtion to sub-Saharan Africa had been through films shot on the ism to describe his latest film, emphasizing that there would be continent by foreigners that he’d viewed many miles away in his a great respect for realism. “I felt like I was going to touch on hometown of Montreal. “There is always this kind of postal card something so much closer to reality than everything I had seen vibe with films shot in Africa because there’s always this big hot before about Africa,” Robitaille says. “That’s what really moved me and touched me. Our conversations mostly touched on how red sun somewhere,” the DP observes. the film must look real so the backstory Although Robitaille had signed on to could be magical. There’s people flying shoot the film months earlier, he did in this film, there’s people disappearing, not meet French-Ivorian writer-directhere’s people committing suicide for a tor Philippe Lacôte in person before he The very first time cultural ritual, so I had to respect some landed at the airport on the outskirts I read the script I sort of realism.” of Abidjan, Ivory Coast’s major urban Night of the Kings is set in Ivory Coast’s centre. “I remember arriving at the airwas like, ‘This is too notorious Maca prison, an overcrowded port dead because it was like a 35-hour weird,’ but then over concrete edifice just outside of Abidjan. trip and it was hot,” Robitaille recalls. the next hours and Despite the presence of prison guards, “But just the fact that the director himdays it became clear the inmates are really in charge, with self greets you at the airport is kind of to me that it was the a convict known as Blackbeard (Steve important. And then we spent weeks Tientcheu) designated the head together travelling and talking.” Aside strongest part, it was prisoner, or the Dangôro. According from the heat, one of the first things Rothe genius behind it... to tradition, when the Dangôro is no bitaille noticed as they went about was Sometimes you’re longer strong enough to govern, he how light was used – or not used – at trying to fight against must take his own life, making way for night. “When you go by car at night in things you don’t a new leader. But in this world there Abidjan or other cities in Ivory Coast, is one way for the ailing Blackbeard there are roads that are pitch black and understand. I had to to stave off his predetermined death there are roads that are like way too let myself believe. – he can select a storyteller, known bright, too lit, and when you go in some as a Roman, who must tell the prison neighbourhoods you can see the streets population a tale that lasts until the are lit by the lights coming from the Canadian Cinematographer - September 2021 •
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next morning. If the story ends before sunrise, the Roman won’t be good.’ We had to create an environment where they will be killed, plunging the prison into anarchy. So Blackbeard just became inmates.” Helping to create the world of the prison was production appoints a new prisoner (Koné Bakary) as Roman, and while the young man tells his tale, the other inmates act out parts of designer Samuel Teisseire. “He’s a very talented production designer from Paris,” Robitaille says. “And he is used to these the story through dance, pantomime and sometimes song. “The very first time I read the script I was like, ‘This is too kinds of big blockbusters in France, so it was no problem for weird,’ but then over the next hours and days it became clear to him to create a prison.” Teisseire built a set in Grand-Bassam, me that it was the strongest part, it was the genius behind it,” the former French colonial capital that lies east of Abidjan. “It’s Robitaille recalls. “There are these cultural facts. I mean, people really magnificent,” Robitaille recalls. “It’s those nice houses in in West Africa they really believe in the mystic. I would meet stone. The architecture is fascinating, but nature is taking over people there who would tell me – and they were not even trying right now so sometimes you walk on the street and there’s this to convince me – ‘Oh, yeah, my grandfather once transformed magnificent house that is filled with trees and grass. And we himself into a fly and went somewhere and came back and told found this place, the big room where the young man tells his us the story.’ So it took me weeks or months to understand that, story. It was this huge empty place and we decided to build our main room there. There was nothing, but Philippe helped me to understand. only concrete and graffiti, and Samuel When Blackbeard dies he goes to the brought with him very talented men well and he commits suicide and bewho painted the place. It was a first for comes a deer. To us it’s pure poetry, but Our conversations me seeing people taking something old for some people it’s just the way it is. So mostly touched on and just grey and then giving it this patiI had to accept that. Sometimes you’re na, this life. I mean, those men were like trying to fight against things you don’t how the film must close to retirement, but the idea of going understand. I had to let myself believe.” look real so the to Africa was something interesting for Lacôte grew up in Abidjan and during backstory could be them, so they came for it.” his childhood his own mother spent magical. There’s Although Robitaille supported the idea some time at Maca as a political prispeople flying in this of hiring a local crew, as he developed his oner. “Philippe knows this place because approach to the film, he was confronted he would go and visit his mother when film, there’s people with some potential hurdles. “There she was in prison, so to him the prison disappearing, there’s were really interesting and competent itself is a character and he knows how people committing people there, but depending on how it’s supposed to look,” Robitaille offers. suicide for a cultural I would approach the film technically, “And as we were building a set outside ritual, so I had we might have big challenges because of Abidjan, he was really precise on how there is technology that exists here that he wanted things to be. He told me once, to respect some doesn’t there, so what do you want to ‘If I don’t believe in this place, no one is sort of realism. do, go there and just be free and do the going to.’ Even the extras, most of them film or bring people to understand these have done time at Maca, so he said, ‘If technologies but then at that point, I don’t believe it, they won’t and they
12 • Canadian Cinematographer - September 2021
you’re putting your energy in something else than just creating the film,” he says. “We knew everything in the prison had to be shot handheld so I knew I wouldn’t be using dolly tracks and cranes too much and I knew I was going to be able to work with a smaller grip crew. And we had this great key grip; it was clear that he was perfect for this job but two months before we got there, he got malaria and died, and that’s the kind of thing that can happen in Africa.” Robitaille ended up travelling to Ivory Coast with his gaffer Hugo Ferland-Dionne, best boy electric Olivier Racine and first assistant camera Maxime Boutin, while the production supplemented his crew with local hires. Having a cast largely made up of non-actors, Robitaille knew it would be imperative to let the actors play freely. “It was more interesting to have maybe not the perfect image, but to give them the freedom to be inmates,” he says. “I remember the first time we were shooting in the main room we were supposed to be doing this 20-second take and I think we shot for seven minutes. Philippe was not cutting because they were so involved, they had workshopped the scenes for months. They knew way more than just this precise scene. It was really like a dance.” Freedom and flexibility also dictated Robitaille’s approach to lighting. “There’s no way you’re going to tell these guys, ‘Okay, go to that mark and then walk from mark A to mark B and stop and turn your head,’” the DP says. “So I had to create an environment that I was able to control with the help of my gaffer to let them be free. So I was handheld, and the gaffer was able to pull down the lights that were behind me so we could create some sort of shape on the light, but then as I was moving around them he would play with the lights so the backlight would be just a bit stronger and the front light would be dim.” Robitaille was initially drawn to wirelessly controlled LED lights like Astera tubes, but he wanted them to blend into the set.. “Everyone is using those Astera tubes, and they’re great tools, but you see them in every single movie and sometimes it looks like Astera tubes rather than actual lights,” he says. “What’s interesting is in West Africa there are so many people who want to work, and you can create things that you can’t really create here in indie filmmaking. So I had these incredible steelworkers working for us and we created these steel casings that you find in prisons. You know, where there’s some sort of cage for every single lamp so the inmates can’t reach the actual lamp. So we built more than 100 cases; it was really iron work, metal work. Two bolts on a concrete wall and then you hang something there. I planned with the production designer where I wanted to put the lights.” All of the lighting gear was brought in from Panalux in France, but it was kept to a minimum because although the film’s narrative starts in daytime, Robitaille did not want direct sunlight to be felt inside the prison. “I wanted to feel the daytime at first but not the sun itself,” he explains. “So I told the gaffer, ‘Let’s not bring any HMIs,’ and he was like, ‘Tobie, you’re crazy.’ We ended up bringing an 800-watt HMI Joker, and that gave us all we needed.” Robitaille saw his style pay off as visual poetry in some of
Opposite page: Bakary Koné as Roman. Top: Shooting a scene in the prison set. Middle: The crew shoots a scene with Laetitia Ky. Bottom: Director Philippe Lacôte with Robitaille and cast on set. Canadian Cinematographer - September 2021 •
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Stills from Night of the Kings.
the film’s key moments. “At some point, Blackbeard has to kill himself when he’s not strong enough to oppose the younger prisoners. So this guy is sick and dying and when we get close to this precise moment where he decides to kill himself, I thought it would be interesting to have him disappear, so in the scenes just before his death I let him go into shadow and I stopped lighting him,” Robitaille says. “And there’s this scene I really like where Roman is brought to him in his cell and they’re having this really intense scene and Blackbeard is a weak man, and he’s still so big but he’s completely dark, you can’t even see his face. It was his last moment of life, and I think for this kind of film, even if it’s realistic, this is where the magic comes and where it’s interesting to play with something else.” Robitaille captured the action on the SONY VENICE for its low light capacity, outfitting it with Hawk V‑Lite 2x anamorphic lenses from Vantage Paris. “Maxime Boutin, my first assistant camera, was just perfect for this kind of film,” Robitaille states. “I mean, if you want to work with no marks, handheld, wide open at night, it can be hell for a first assistant, and he was just perfect; he did a great job.”
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Robitaille was also struck by Lacôte’s working style. “What’s different about Philippe is he has his own way to do things and he just goes with his gut so much. So he’s not a technical director, not at all,” Robitaille observes. “To work with him, you really have to adjust and do it the way he does.” After spending up to four months in Ivory Coast, with his family accompanying him, returning to Montreal took some getting used to. “I think it took me a while to readjust to normal life,” Robitaille reveals. “We went through really intense things in Ivory Coast. We lost a set in this huge flood, and I had to go to my apartment in some sort of a canoe. It was truly an amazing experience to me. When I read the script I knew it was going to be hard, but I was at the point in my career where I was looking for this kind of film, you know, the kind of film that can be hell but can bring you somewhere else. And it did. I won’t lie, it has opened up a whole new world. It was seen all over the world and I now have great American agents and was recently invited to be an Academy member. I won Best Cinematography at the Chicago International Film Festival for this film, so it really did open new doors, and interesting ones, for me.”
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James Klopko csc
WORLDS COLLIDE IN NEO NOIR WESTERN
“
By Fanen Chiahemen
S
et in the heart of Newfoundland, A Fire in the Cold Season is a gritty crime thriller following a reclusive fur trapper named Scott whose world is turned upside down when he stumbles upon a dead body in the wilderness. Scott’s discovery leads him to a young woman named Mona – the dead man’s pregnant widow – and the two quickly become entangled in a world of violence and crime. A Fire in the Cold Season stars Michaela Kurimsky (Firecrackers, Hudson & Rex) and Stephen Oates (Black Conflux, Little Dog), as well as Stephen Lush (Cast No Shadow), who plays Cotton, a criminal gang member seeking to recover money owed by Mona’s late husband. Director Justin Oakey (Flankers, Riverhead) wrote the script with Kaela Babstock, and enlisted James Klopko csc to shoot the feature. Klopko’s work on the film earned him a 2021 Canadian Screen Award for Achievement in Cinematography. “What stood out to me when I initially read the script is there’s a triangle of characters – there’s Cotton, there’s Mona and there’s Scott.” Klopko says. “They all come from different worlds in a way. They’re living totally different lives, but because of the events in the beginning when Scott finds a dead body, these three people’s lives intersect, and how are we going to
16 • Canadian Cinematographer - September 2021
show these three different worlds colliding together and how can we visually through colour and light and camera mix these worlds together? “It was also about how will Justin and I evolve since we’ve worked together on a few projects already. What’s the next step for us? This is a film where we can make some pretty grand decisions and push our comfort zone because before we were doing all naturalistic-looking films that were really heavily rooted in natural lighting, a kind of grounded world, and this has a mix of that but also pushes the lighting and colour and production design even further than we ever did on other films,” he says. “You have a lot of tension and suspenseful moments in this script where there’s men confronting each other with guns and standoffs and things like that, and our previous handheld naturalistic approach won’t enhance the tension of the characters, so we need to look at using heavier dolly push-ins and just feeling the pressure on the characters. As we developed the look, the decision was that our film was going to be kind of like a neo noir western.” During preproduction, Klopko set out to find the ideal camera, lens and filtration combination to create a look that was not done in post. “I started with looking at uncoated lenses, but as I played with
This is a film where we can make some pretty grand decisions and push our comfort zone because before we were doing all naturalisticlooking films that were really heavily rooted in natural lighting… and this has a mix of that but also pushes the lighting and colour and production design even further than we ever did on other films.”
them I noticed the flaring wasn’t consistent from lens to lens and from different focal lengths, so it didn’t feel consistent for our story and the style,” he says. “I’d previously worked with Clear Streak Filters on a commercial project where they wanted this anamorphic look, so I sent Justin a picture of me with Christmas lights during camera tests and there were just streaks everywhere. And I was like,
Credit: Jeffrey Elliot.
Fog and rain in Newfoundland gives a moody atmosphere for main character, Scott, who’s contemplating his next actions.
‘He’s going to hate this; Justin likes naturalistic images, that’s what he’s into.’ But he loved it, and I said of course this is extreme, there’s flares all over it, but we can control this, and we can use it in a certain way. And then it was about finding out so if this is what our flares are going to be like, how am I going to control this?” On the suggestion of a colleague, Klopko tested Panavision primo lenses with the RED HELIUM. “Since the HELIUM has this kind of red-coated sensor, when the light hitting the sensor kicked back into the back of the primos, we’ve still got this kind of warm tone in the image,” Klopko says. “It just made sense for this film for the environment we were going to be in, so that’s where we ended up.” Panavision provided the camera and lens package for the shoot, while the Atlantic Filmmakers Cooperative and the Newfoundland Independent Filmmakers Co-operative – who have “always been so supportive of Newfoundland filmmakers,” according to Klopko – helped with postproduction. For Klopko and Oakey, it was exciting to have an opportunity to frame Newfoundland in a different way. “The film has a beauty to it, but it’s not beautiful Newfoundland like in the commercials,” Klopko maintains. “Justin was focused on the interior of Newfoundland. In
fact, his goal, and we achieved it, is that he never wanted to see the ocean for the whole film. So as we explored interior Newfoundland, we found all these cool locations that really kind of built into this contemporary western vibe that the film was growing into, these kind of old industrial complexes, a gravel pit where the showdown happens in the movie. So it was an interesting new take on shooting Newfoundland and finding a whole different world that I hadn’t filmed before. “As we did the scouting and looking at the locations we were going to film in, it started becoming obvious how we could manipulate the locations we had into our colour palettes,” Klopko states. “I knew that we were going to do a lot of exterior night scenes, and in Newfoundland there’s a lot of sodium vapour street lighting, and that was the one hurdle that I had during camera tests; I really didn’t like how the RED HELIUM registered sodium vapour lights. So I spent time developing an internal camera LUT that brought the sodium vapour streetlights into this kind of warmish red-orange as opposed to this desaturated yellowy colour. So that was going to be part of the colour palette. Scott’s world is very much like Justin and I’s older style on previous films. It’s very naturalistic and handheld
following him around, and we kind of leaned into blues and greens for Scott’s world with hints of that warmer orange tone. And where he lives he’s not around sodium vapour lights, so he has the warmer tungsten for his world.” By contrast, Mona’s wood-panelled home reflects a cozier existence. “Scott’s world isn’t cozy; he’s just this hardened loner by himself in the woods and so when he first sees Mona, she’s got this warmth and comfort that draws him in,” Klopko says. “And we kind of played with that. Whenever he’s going through her house there’s just a warm soft light, and then I focused on creating softer lights in the windows in general so that when we used those Clear Streak Filters that the streaks to the light are soft and enveloping. Because there’s not much to go on with what attracts him to her in the story. It’s not really said, so the best way is to try to say it through the lighting and the imagery and the feeling of her space. “And then Cotton’s world is the kind of crime-associated world,” Klopko states. “You know, they talk about a downtown and it’s like industrial, so we hit the Clear Streaks harder so that it’ll be these harder beams of light across the frame; it’ll be a harsher environment. There’ll be lots of colours, lots of hard sodium vapour Canadian Cinematographer - September 2021 •
17
Top: Frame from behind-the-scenes image, where Scott is contemplating in a field. Bottom: A tender look between Mona and her child while they’re on the run.
lights, and more neon in a way to just show such a contrast from the warmth of Mona’s world and the kind of colder, naturalistic world of Scott. So we really had these three colour palettes that separate the characters, and that was the approach to the lighting generally.” Practical lights were often lighting the scenes, at least partially. “I always had maybe a fixture hung above the practicals to kind of give a better edging of light. Just a little bit of extra punch that I could dial up or dial down so that it just had a little bit more of an edge,” Klopko says. “In a lot of scenes indoors we were using the practicals to fill in space or give a bit of a contoured light to the character. Outside, a fun thing that we did was, since I already knew I was committing to
18 • Canadian Cinematographer - September 2021
sodium vapour lighting and there’s not a lot of colour detail, you’re really locked into what sodium vapour gives you and we liked the look of it, so at the Atlantic Filmmakers Cooperative they had two sodium vapour fixtures that were basically the same things that would be on the outside of like a school in Ontario, and they just put a 2K spigot on the bottom and we lit mostly every scene using that straight sodium vapour lighting instead of gelling a cinema fixture or trying to create the look with LEDs. So when we were outdoors there was always a mixture of sodium vapour lights that were there already and the sodium vapours that we were able to rent.” Camera moves while shooting on location in Mona’s house also helped sell her
appeal to Scott. “The dolly shots that are pushing through doorways or hallways, a lot of it is pushing towards her and we’re being drawn towards her and that’s kind of the motivation of Scott; he’s drawn towards her even though everyone is saying, ‘Don’t do this, don’t help her, she’s not your problem,’” Klopko says. “When you see these images of Mona you’re always getting drawn towards her. And then there’s the moment where he glimpses her through the mirror briefly, and it’s this weird, innocent moment. That little sliver through the doorway and the blurring light around her just makes it a kind of attractive world that he’s coming so close to being a part of in a way.” A combination of long dolly shots pushing in or out mixed with drone
Top: Cotton, the antagonist, realizing that he’s running out of time and he himself is in danger now. The red/sodium vapour light enhances the tension of this moment and echoes the previous exterior light of this location. Bottom: Mona consoles Scott near the end of the film. The collision of sodium vapour, tungsten and a green industrial lamp gives an exciting look that melds all three colour palettes together for a culminating scene of the film.
“
He very much focuses on atmosphere and the feeling of the film and the world around it, so he knew we were going to get some drone shots of interior Newfoundland, like how rugged and wild it is.”
shots of the landscape were used in exteriors. “And that’s very much Justin’s way of storytelling,” Klopko explains. “It’s really unique and great and he very much focuses on atmosphere and the feeling of the film and the world around it, so he knew we were going to get some drone shots of interior Newfoundland, like how rugged and wild it is. And there were definitely montage moments where we take a break from more conventional coverage or dialogue and we show slivers of all three worlds and what’s happening in all three. Shots that are very expositional but are pretty. It was just a good story mechanic thing because of these atmospheric shots.” Colour grading was completed at Artjail
Toronto with colourist Clinton Homuth, but while on set, “I worked with a Newfoundland crew,” Klopko says. “My key grip was Miles Barnes, who I’ve worked with a bunch, and he worked so hard on this film and is so dedicated; I was very grateful to have him. And Jeff Baggs was my gaffer; he was very great to work with, as well. It was my first time working with him, and those two together brought so much to the film for me. All the Newfoundland crew, even the camera assistants Herb Gibbons and Kyla Smith. The whole team was great to work with and everyone was so dedicated; I think they were excited and intrigued with what we were putting on screen, so everyone came motivated, and it was an awesome team.” Canadian Cinematographer - September 2021 •
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In Memoriam
Laszlo George csc, hsc (May 30, 1931 - June 7, 2021)
L
By Guido Kondruss aszlo George csc, hsc was the consummate storyteller, who through his elegance, wit and a seemingly bottomless bag of tales enthralled family, friends and colleagues. It was an inherent talent that Laszlo also utilized to create the stunning visual language for the hundreds of productions he worked on during his career as one of Canada’s top cinematographers. Born in Budapest, Hungary, Laszlo was raised by his grandparents in the village of Bozsok near the Hungarian-Austrian border. It was a village with no electricity. During the early part of his life, Laszlo was surrounded by candles and lanterns for illumination. Each evening, he was mesmerized by dancing flames casting unpredictable shadows on walls and surroundings, sparking his lifelong fascination with light. Laszlo’s interest in film and cinematography was piqued in high school, when he became the class projectionist and was captivated by the magical images appearing on the screen from 16 mm Russian movies. His growing love for film led Laszlo to enroll in the renowned Budapest Academy of Film and Dramatic Arts in 1950. At the Academy, he studied all aspects of filmmaking, as well as art history courses. He was particularly
20 • Canadian Cinematographer - September 2021
drawn to Renaissance painters, especially Caravaggio with his use of shadowing from a single light source. As a cinematographer, Laszlo adapted and modified this technique into his own unique style of lighting of which he said, “It’s not the light you add, it’s the light you take away” that brings life to a visual image. After graduation in 1954, Laszlo shot film footage for the newly formed public broadcaster Hungarian TV. Later, he was hired by Syncron, a leading Budapest feature film studio to work on their projects. Laszlo shot his last frame of film for the studio on October 23, 1956, the day Russian tanks rolled into Budapest, quelling the Hungarian uprising. Like many other Hungarians, Laszlo fled to the West, eventually making his way to Toronto in 1957. Within a month of his arrival, Laszlo was working in the nascent Canadian film industry shooting anything that presented itself from news and interviews to documentaries, but it was his creative flare with commercials that brought him into prominence. Laszlo was much sought after as one of Canada’s top commercial cinematographers, garnering many awards, including Clio Awards and the Hollywood International Broadcasting Award for his visual artistry. Laszlo was a member of the cinematography team that shot the 1967 groundbreaking film A Place to Stand, which won an Oscar for Best Live Action Short. Never one to stand still, Laszlo leapt into IMAX filmmaking and was the cinematographer, co-director/producer of the heart-pounding aeronautics documentary Silent Sky about sailplane gliding. Strapped to a helicopter, shooting twominute film magazines at a time, all the while soaring over the California coast, Laszlo was able to provide IMAX audiences with the rare sensation of flying without the help of any special effects. Laszlo also set his sights on scripted
narratives, achieving the status of one of North America’s upper tier directors of photography. While he shot numerous features and TV series working with international A list stars, directors and crews, it was with television movies that he hit his stride as the DP on more than 100 productions. To Laszlo, his career was never work, but rather days filled with creativity, motivation and challenges that he loved to conquer. On set he was a gifted professional with his calm, even demeanour. To those who worked with Laszlo, he was inspirational through his brilliance and kindness. Generous with both his time and knowledge, Laszlo mentored a countless number of people no matter their position. To him, all were equal, all were worthy of respect and support. Laszlo was also an abstract artist of note, using digital photography to push the boundaries of light capture with stunning images on large format “still frame” canvasses. His artwork can be found on the walls of the National Széchényi Library in Budapest, Vancouver General Hospital and various private collections. Laszlo’s career spanned an astounding seven decades, during which he received dozens of accolades for his exceptional cinematography. He was nominated for Genie Awards, Gemini Awards, Leo Awards and an American Society of Cinematographers Award for his remarkable visuals. Laszlo was also honoured with two awards from the Canadian Society of Cinematographers for Best TV Drama and Best Feature Cinematography. In 1995, Laszlo was the recipient of the CSC’s Masters Award for his “outstanding contribution to the art of cinematography,” and in 2019, the Hungarian Society of Cinematographers paid tribute to Laszlo with their lifetime achievement award. Laszlo was also a member of IATSE 667 (Toronto), 669 (Vancouver) and 600 (Los Angeles). He passed away on June 7 in North Vancouver at age 90.
Tech Column
Courtesy of Kron Technologies
Chronos 2.1 HD Review
A
few months ago, I had the opportunity to utilize the Chronos 2.1 HD cinema camera system, a high-speed cinema camera designed by Vancouver-based Kron Technologies, Inc. (krontech.ca). The camera boasts an impressive array of features, most notably the capacity to capture up to 1,000 frames per second in full HD RAW. I was able to glean some invaluable information on this camera system and its utility in a useful, real-world context. The Chronos 2.1 HD is a budget-friendly option for film and television productions and independent filmmakers who cannot afford to rent or buy a Phantom camera. The Chronos body retails for around $5K, and you can customize the package to suit your purposes. I utilized an EF-C mount adaptor so I could pair my Zeiss ZF.2 glass with the Chronos, enabling me to shoot at large apertures. I utilized the camera system for a couple of productions just to get a better sense of the true utility of the format, image quality and adaptability. My overall impression of the Chronos 2.1 HD was that it is an incredible vehicle for achieving an aesthetic that has been elusive for filmmakers. To have the capability to shoot up to 1,000 FPS in full HD 12-bit RAW in a Cinema DNG wrapper for less than $5K is a game changer for a multitude of people who have limited capital at their disposal. The camera system also provides an ergonomically sound and lightweight feel that makes it a more advantageous tool than many of the cumbersome Phantom cameras I have worked with.
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I was able to integrate the camera into a production for a North Carolina-based coffee company that I was shooting on an ALEXA MINI. When my editor and I brought the Chronos footage into DaVinci Resolve, we were struck by the beautiful image quality and how well it matched the sequences we shot on the ALEXA. As an experienced colourist, I built numerous LUTs for the Chronos 2.1 that mirror the ALEXA’s colour science, thus providing us with a strong foundation upon which to seamlessly intercut the footage from both camera systems. One observation my entire team had was that to obtain the beautiful imagery this camera system is capable of delivering, we had to set our exposure prudently and light each studio scene scrupulously. I spent years shooting on celluloid so I am well versed in the logistics of lighting for a medium that can be unforgiving if you make decisions in haste. I appreciate the fact that shooting on such a medium forces you to be purposeful in how you compose and expose your scenes. The camera is relatively easy to use and the large LCD screen on the back is bright enough to use outside without any difficulty. My only complaint was that the camera was a little slower than I would have liked. Inputting information and reviewing your settings can take a little longer than most are accustomed to. The internal battery does not hold a charge for very long, which is to be expected in the realm of high-speed cinematography. The Chronos is capturing images at exceedingly high bit rates and frame rates, thus it consumes more power than most of us are used to with other camera systems. Planning in advance and charging the camera periodically throughout the day ameliorates the issue of limited battery life. The Chronos 2.1 HD is a powerful tool that can complement most filmmakers’ favoured acquisition formats and workflows at an affordable price point. It is reliable, user-friendly and lightweight. It also offers gorgeous colours, high dynamic range, and a RAW format that provides the flexibility we all look for in postproduction to realize and build upon our visions. This is an accessible package that punches well above its weight class in terms of utility and image quality.
John Lyden is an associate member and CEO of Mountain Eagle Media, LLC.
In Memoriam
Graeme Ferguson (October 07, 1929 – May 09, 2021)
By Guido Kondruss
I
van Graeme Ferguson was a filmmaker and cinematographer with a huge field of vision. It was so enormous in fact, that he was instrumental in designing and building a new cinematic system to capture and project his vision. To house Ferguson’s grand vision, colossal innovative theatres were built, spawning a magnificent cinematic experience that has been delighting movie audiences for more than 50 years. Ferguson was one of the co-founders of IMAX Corporation and the co-inventor of the IMAX system. Born in Toronto, Ferguson began his cinematic journey as an inquisitive young boy, shooting stills and making home movies with a keen interest in the filmmaking process. Later, as a political science/economics student at the University of Toronto, Ferguson continued with his filmmaking interests as a cameraman for the school’s film society, shooting parodies of avant-garde movies. This led to a summer apprenticeship in 1950, with the National Film Board of Canada in Ottawa. He was also the lighting assistant for notable experimental filmmaker Maya Deren, who taught a workshop for a semester at the university. Ferguson was highly influenced by Deren, who in turn was impressed with Ferguson’s talents and encouraged him to set his sights on a career as a filmmaker. It was advice Ferguson followed after graduating and migrating to New York City to work in its film
industry. By the 1960s, Ferguson was making a name for himself as a young cinematographer known for his cinéma vérité camera work. It was this probing style that Ferguson put to good use as the cinematographer on the acclaimed 1961 Oscar-nominated documentary short Rooftops of New York. While New York was now home for Ferguson, he was lured back to Canada for a project that would become the genesis for IMAX. Ferguson was commissioned to design and direct Polar Life, an eleven-screen panorama installation that became the hit of EXPO 67 in Montreal. It was a complicated exhibit, which Ferguson felt could be simplified and made even more impressive by combining all those screens into a single dynamic image of similar scale. Together with partners Roman Kroitor (who had a similar multiscreen exhibit at EXPO 67) businessman Robert Kerr and engineer William Shaw, Ferguson set about creating just that. The solution lay in 70 mm film, with its frame surface 10 times that of standard 35 mm film being projected horizontally onto a screen six stories high. To turn IMAX theory into reality, Ferguson and his team pioneered new cameras, projectors, lenses, sound systems and theatres, laying the groundwork for today’s large format film industry. The first IMAX film was the 17-minute Tiger Child, projected in the first IMAX theatre in the Fuji Pavilion at EXPO 70 in Osaka, Japan. However, it was their next film, the award-winning North of Superior, on which Graeme was director and cinematographer, that defined the majestic and awe-inspiring IMAX style. Ferguson served as IMAX president during its major formative years, from 1970 to 1990, and continued to produce projects for the corporation after it was acquired by U.S. investors. His impressive IMAX filmography has taken audiences into the dangerous kaleidoscopic depths of the oceans and excelled with breath-
taking journeys into space. Ferguson produced and directed The Dream is Alive (1985), the first IMAX film shot in space, which was seen by more than 40 million people and was for a time the most viewed documentary in cinema history. Through the years, Ferguson kept up his drive to innovate by continuously refining IMAX technology, expanding its theatres and adding to its film catalogue. With the dawn of the digital age, IMAX jumped into high def and 3D feet first, catching the eye of Hollywood. There are 3D IMAX versions of blockbuster movies such as Avatar, while IMAX cameras were used in many sequences for films such as The Dark Night. Using their digital media re-mastering process, movies such as Skyfall brought James Bond into the IMAX experience for audiences to savour. Today, IMAX is a flourishing conglomerate with more than 1,600 screens located around the world in more than 80 countries. Its immersive technology continues to be an important feature at museums and science centres, and a major platform for top Hollywood movies, with films such as No Time to Die, Dune and Top Gun: Maverick, slated for release this year. Ferguson was personally honoured with many awards during his lifetime for his IMAX work, including a Special Achievement Genie in 1983. He was appointed to the Order of Canada in 1992, and in 2005 he was paid tribute with the Kodak Vision Award from the Large Format Cinema Association. In 2013, Ferguson was named the recipient of the CSC Bill Hilson Award “for outstanding service contributing to the development of the motion picture industry in Canada.” He was also the first winner of the Outstanding Achievement Award from the newly formed Giant Screen Cinema Association in 2016. Ivan Graeme Ferguson, “the man who showed us how to see the world and the universe differently,” passed away at age 91 in his home at Lake of Bays, Ontario, after a short fight with throat cancer.
Canadian Cinematographer - September 2021 •
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Production Notes & Calendar
CHRISTMAS TIME IS HERE (MOW)
DP Randal Platt csc
to September 3
BILLY THE KID I (series)
DP (Blk 1) Paul Sarossy csc, bsc, asc DP (Blk 2) Ronald Richard
to October 13
Calgary
BONES OF CROWS (feature)
DP Vince Arvidson csc
to Jan. 7, 2022
Vancouver
BRING IT ON: HALLOWEEN (feature)
DP Adam Swica csc
to October 22
Winnipeg
CORONER IV (series)
DP Samy Inayeh csc (alternating episodes) Camera Operator Keith Murphy 1st Assistant Kyryll Sobolev B Camera Operator Micha Dahan csc
to December 2
Toronto
COYOTE CREEK CHRISTMAS (MOW)
DP Thomas Harting csc
to September 3
Burnaby
CRIMES OF THE FUTURE (feature)
DP Douglas Koch csc Operator Andreas Evdemon
to November
Athens, Greece
DAN BROWN’S THE LOST SYMBOL (series)
DP Fraser Brown csc DP Boris Mojsovski csc, asc (alternating episodes)
to October 7
Toronto
DC’S LEGENDS OF TOMORROW VII (series)
DP David Geddes csc, asc
to Jan. 21, 2022
Burnaby
DEVIL IN OHIO (series)
DP Corey Robson
to December 7
Burnaby
FEUDAL II (series)
Camera Operator Forbes MacDonald Jr B Camera Operator Jeffery Wheaton
to October 14
Hubbards
FIREFLY LANE II (series)
DP Vincent De Paula csc
to April 20, 2022
Burnaby
FLASH, THE VIII (series)
DP Brenton Spencer csc (alternating episodes)
to March 31, 2022
Vancouver
FROM (series)
DP David Greene csc, asc DP Christopher Ball csc DP Michael Wale csc (alternating episodes)
to October 18
Halifax
GINGERBREAD MIRACLE, THE (MOW)
DP Kamal Derkaoui csc
to September 2
Burnaby
GOOD SAM I (series)
DP Mike McMurray csc DP Kristin Fieldhouse csc (alternating episodes)
to March 22, 2022
Oakville
GUILLERMO DEL TORO PRESENTS (series)
DP Jeremy Benning csc DP Colin Hoult csc (alternating episodes) C Camera Operator Monica Guddat (to September 1)
to January 22, 2022
Toronto
HARDY BOYS II (series)
DP D. Gregor Hagey csc Camera Operator Colin Akoon B Camera Operator Bruce William Harper
to October 6
Mississauga
HEARTLAND XV (series)
DP Brett Van Dyke csc
to Sept. 21
Calgary
INFINITY POOL (feature)
DP Karim Hussain csc Operator Yoann Malnati
to October 22
Hungary/Croatia
JOE PICKETT (series)
DP Jarrett Craig (alternating episodes)
to Sept. 3
Calgary
JUBILEE (series)
DP George Lajtai csc DP Gavin Smith csc (alternating episodes)
to June 28, 2022
Toronto
KINGSWOOD (series)
DP Marc Laliberté csc (alternating episodes)
to Sept. 15
Mississauga
LAKE, THE (series)
DP Robert Scarborough csc 1st Assistant Pierre Branconnier Digital Technician – DIT Andrew Richardson
to Sept. 21
North Bay
LILY & ISAAC I (series)
DP Glen Keenan csc (alternating episodes)
to Sept. 30
Mississauga
LOCKE & KEY III (series)
DP Dylan Macleod csc (alternating episodes) B Camera Operator Brad Hruboska C Camera Operator Rion Gonzales
to Sept. 10
Toronto
MADELINE I (series) DP (Blk 1)
Claudine Sauvé csc DP (Blk 2) DP Elie Smolkin csc
to October 22
Vancouver
MALORY TOWERS II (series)
B Camera Operator Arthur Cooper csc
to Sept. 24
Toronto
MAYOR OF KINGSTOWN (TV series)
DP Maya Bankovic csc (alternating episodes) Camera Operator/ Steadicam Brent Robinson
to Sept. 24
Toronto
MIDNIGHT CLUB, THE I (series)
DP Corey Robson
to Sept. 10
Burnaby
MOONSHINE II (series)
Camera Operator Forbes MacDonald Jr B Camera Operator Jeffery Wheaton
to October 8
Hubbards
MURDOCH MYSTERIES XV (series)
DP Yuri Yakibuw csc 1st Assistant Kevin Michael Leblanc
to Feb. 14, 2022
Toronto
NANCY DREW, THE III (series)
DP Nick Thomas csc
to December 9
North Vancouver
PORTER, THE I (series)
DP Jordan Oram
to Sept. 17
Winnipeg
PRETTY HARD CASES II (series)
DP Kristin Fieldhouse csc B Camera Operator Robert J. Barnett
to Sept. 20
Toronto
RIVERDALE VI (series)
DP Bernard Couture csc
to June 4, 2022
Langley
RUN THE BURBS (series)
DP Gerald Packer csc
to November 5
Scarborough
SON OF A CRITCH (series)
DP Alan Poon csc
to October 2
Mount Pearl
SILVER (series)
Operator Michael Soos
to December
Budapest, Hungary Mississauga
Vancouver
EQUIPMENT FOR SALE
TAMARACK (TV series)
DP Brendan Steacy csc
to November 5
TRADE WINDS I (series)
DP (Blk 2 & 4) Michael Balfry csc
to April 22, 2022
WOMEN TALKING (feature)
DP Luc Montpellier csc B Camera Operator Lainie Knox
to Sept. 10
Toronto
WORKIN’ MOMS VI (series)
DP Ben Lichty
to Sept. 23
Toronto
YELLOWJACKETS (series)
DP C. Kim Miles csc, asc, mysc (alternating episodes) B Camera Operator Nathan McTague
to Sept. 29
Burnaby
ZONE (series)
DP Rion Gonzales DP Justin Black
to December 7
Toronto
CALENDAR SEPTEMBER 9-18, Toronto International Film Festival, tiff.net 23-26, Cine Gear Expo, Los Angeles, cinegearexpo.com/la-expo OCTOBER 13-24, Chicago International Film Festival, chicagofilmfestival.com 9-13, NAB Show, Las Vegas, nabshow.com/2021 24, 64th CSC Awards Gala, Toronto, csc.ca
NOVEMBER 2-7, American Film Market Fest, Santa Monica, americanfilmmarket.com 5-21, New Orleans Film Festival, neworleansfilmsociety.org 19-20, ProFusion, Toronto, profusionexpo.com 13-20, EnergaCAMERIMAGE International Film Festival, Torun, Poland, camerimage.pl/en DECEMBER 3-6, IBC, Amsterdam, show.ibc.org 14-17, SIGGRAPH Asia, Tokyo, sa2020.siggraph.org
24 • Canadian Cinematographer - September 2021
Classifieds 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 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 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.
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