Canadian Society of Cinematographers
$4 November 2010 www.csc.ca
The Long, Celebrated Career of
Guy Dufaux csc
Daniel Grant A Cinematographer Who Gets the Job Done
Paul Bronfman • Creative Post Turns 25 • Michael Jari Davidson
A publication of the Canadian Society of Cinematographers The Canadian Society of Cinematographers (CSC) was founded in 1957 by a group of Toronto, Montreal and Ottawa cameramen. Since then over 800 cinematographers and persons in associated occupations have joined the organization. The purpose of the CSC is to promote the art and craft of cinematography in Canada. And to provide tangible recognition of the common bonds that link film and video professionals, from the aspiring student and camera assistant to the news veteran and senior director of photography. 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 non-partisan groups in our industry but have no political or union affiliation.
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FEATURES – volume 2, No. 6 NOVEMBER 2010
The Long, Celebrated Career of Guy Dufaux csc By Maurie Alioff
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Daniel Grant: A Cinematographer Who Gets the Job Done By Allan Tong
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Anything Goes on an Indie Film: Michael Jari Davidson Talks about Shooting a Dark Comedic Feature By Jennifer Horn
Columns & Departments 2 From the President
5 In the News
21 Camera Classified
22 CSC Members
24 Productions Notes / Calendar
Cover: Guy Dufaux csc
Canadian Cinematographer November 2010 Vol. 2, No. 6 EDITOR-IN-CHIEF Joan Hutton csc CO-EDITOR-IN-CHIEF George Willis csc, sasc EDITOR EMERITUS Donald Angus EXECUTIVE DIRECTOR
From The PRESIDENT
Susan Saranchuk admin@csc.ca EDITOR Wyndham Wise mfa editor@csc.ca ART DIRECTION Berkeley Stat House PROOFREADER Karen Longland
I
received a telephone call the other day in which I took great delight. It was from an acquaintance who had just landed a directing job on a major television series. As I revelled in his good fortune, I thought of our first conversation over 20 years ago. He was young, freshly minted from film school, full of passion and he wanted help realizing his dreaming of becoming a cinematographer.
INTERN Jonathan Thomas WEBSITE CONSULTANT Nikos Evdemon csc www.csc.ca ADVERTISING SALES Guido Kondruss gkondruss@rogers.com CSC OFFICE / MEMBERSHIP 131–3007 Kingston Road Toronto, Canada M1M 1P1 Tel: 416-266-0591; Fax: 416-266-3996 Email: admin@csc.ca CSC Subscription Dept. PO Box 181 283 Danforth Avenue Toronto, Canada M4K 1N2 Email: editor@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.
We talked many times after that first call. I gave him direction maneuvering our business, taught him a few tricks of the trade, showed him my film gear, took him on sets and introduced him to people. Eventually, he landed his first job and started carving his own destiny. But he always kept in touch through the years, especially when he had achieved his career goal. Even today as a director and a DOP with his CSC initials, he still calls to let me know about his triumphs and how crucial and encouraging my guidance was during his early career years. While his updates are always welcome, the big high for me comes in knowing that I helped someone, who had as much passion for the film and television industry as I did, to further their career. Though, I didn’t know it at the time so many years ago, I was his mentor. The CSC has a wealth of knowledge and experience at its finger tips with its older and established membership. The Society would like to put this expertise to good use by embarking on its own mentoring program to help foster and guide younger cinematographers. However, in order to start a mentoring program we must first have mentors. We work in the world’s greatest profession that’s been very good to many of us. This initiative is an excellent opportunity to give back to this wonderful profession. The CSC is calling on those who can make the time and have the desire to be mentors, to please step forward and join our mentorship program.
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Mentoring can take many shapes. It can be as simple as talking with a young person over coffee about our industry or it can be as encompassing as taking a protégé on set. How involved you would like to be as a mentor is your choice. The bottom line is that we need you to make this work. So please call 416-266-0591 or drop us a line at admin@csc.ca and let us know if you are willing to be a mentor. The rewards are enormous for a young person and their mentor. However, the art of giving back goes far beyond that. It also helps to ensure the CSC and our craft have a strong, bright and vibrant future.
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Good shooting!
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2 • Canadian Cinematographer - November 2010
Always and Forever “From the first moment I walked through Clairmont Camera’s doors nearly 25 years ago, I was struck by the friendliness and respect the staff extended to me and especially from Terry and Denny. The whole crew goes above and beyond the call of duty. On my first anamorphic show, we had extensively tested our lens package. But when the dailies came back they looked odd; something was wrong. The lab assured us that everything was right on their end. Denny immediately flew up and proceeded to go through the entire chain –from film stock, to the camera, lenses, to processing where he discovered that a lens in the optical printer was slightly out of alignment. We switched printers and everything looked crisp. I think that without Clairmont’s assistance I would not have been able to break through the stonewall thrown up by the lab. Thanks for saving my job Denny! Another thing I really like about Clairmont Camera is their ability to take a DP’s crazy idea and turn it into reality. For me, it was being able to create an identical image to two strands of different negative —one B&W and one color—and dissolving back and forth between the two. I made a drawing of the rig and showed it to Denny, and then Clairmont built it for me! Over the years I’ve used a huge variety of Clairmont’s equipment. One of my favorites is their Blurtar lens set; when you shoot wide open they make the best soft focus, blurry effects. Naturally, I’ll vouch for their gear always being topnotch. It’s always properly serviced, updated, and works as well —if not better— than the day it was manufactured. I’ll gladly recommend Clairmont always and forever.” Thomas Burstyn, CSC
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When considering stereoscopic 3D technology, Toronto-based post-production facilities are among the elite of the world. Among this elite is Creative Post Inc., which celebrates its 25th year in the business this year. Creative Post started dealing with stereoscopic 3D technology in early 2006. “We’ve put the time in necessary to learn the ins and outs of [stereoscopic] and we feel like we’re just as capable as anybody with this technology,” said Jim Hardie, sales executive for Creative Post. Stereoscopic 3D is about to turn the corner where the learning curve meets the need for content. 3D content is already in the works to be broadcasted later this year, including a Toronto Maple Leafs game December11. When 3D content is explored further in the New Year, Creative Post will look to offer their expertise to the growing industry.
Paul Bronfman
WFW Moves Shortly to Its New Toronto Digs & CEO Paul Bronfman Is Honoured at TIFF Paul Bronfman, chairman and CEO of Comweb Group and William F. White International has announced the development of the William F. White Centre, the largest and most significant facility in the company’s 47-year history. The new $20-million dollar, world-class production complex will act as a hub for industry professionals, while offering a full-range of production and related support services under one roof. Located at 800 Islington Avenue, only a few blocks south of the company’s existing west-end location, the new 338,000-square-foot complex is situated on nearly 17 acres of prime real estate, on a corner lot just minutes from downtown Toronto. WFW will occupy nearly half of the building, with the balance of space earmarked to house additional production support service businesses including Bill White’s 3D Camera Company. The company is actively discussing tenancies with other professional production-service entities. In a separate announcement, Bronfman named Paul Roscorla to the company’s board of directors, effective immediately. Mr. Roscorla brings over 35 years of extensive production service management and sales experience to this position and will continue in his current role as VP sales and marketing Western Region for WFW Vancouver. In addition, Paul Bronfman was one of seven industry icons – the others being the actor Donald Sutherland, producer/director Paul Haggis, the late John Candy, producer Don Carmody, filmmaker Alanis Obomsawin, and television host David Suzuki – who were inducted into Playback‘s fourth annual Canadian Film and Television Hall of Fame at the 35th edition of TIFF.
Although Creative Post has invested a lot of time and money into the research and development of stereoscopic 3D, it also remains heavily focused on its post-production services, which have made them successful for the last 25 years. Creative Post works on a wide range of post-production services, including film transfer, colour correction, closed captioning, professional authoring services for Blu-ray and DVD and much more. “We’re constantly moving forward and getting involved with new technology in all areas not just 3D,” said Hardie. “There’s almost nothing we can’t or won’t do.” The Studio Upstairs, a division of Creative Post, recently completed colour correction, packaging and visual effects for eOne’s new comedy series Call Me Fitz, starring Jason Priestley. It also worked on colour correcting and finishing CTV’s “Believe” ads for the 2010 Winter Olympics, voiced by Donald Sutherland. Jonathan Thomas
3D Is a Boost to Toronto’s Production Facilities Creative Post is only one of several Toronto firms chasing the 3D dream. The long list of well known local players includes Don Carmody Productions, Cinespace Film Studios and the 3D Camera Company. Several have worked on some of Hollywood’s biggest 3D productions this year, including Saw VII 3D, the latest installment of the most successful horror series in movie history, and Resident Evil: AfterLife 3D (see the September issue of Canadian Cinematographer). With the Canadian dollar at par eroding Toronto’s competitive advantage as a place to shoot, many in the industry are banking on 3D technology to restore its edge. Spending by U.S. film and television production companies on locations fell 25 per cent over a five-year period ending in 2008 to $79.4 million as the dollar soared to 94 cents U.S from 71 cents U.S., according to the Toronto Film & Television Office. Total spending was down 23 per cent to $610 million, the Toronto office also reports.
Canadian Cinematographer - November 2010 •
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In The News
Creative Post Celebrates 25 Years and Rides the 3D Wave
In The News
That trend reversed in Ontario last year after the government announced more generous tax credits. Total spending by the film and television industry jumped 41 per cent to $946.5 million, according to the Ontario Media Development Corp. Still, industry members say it will be critical to offer 3D facilities, expertise and training as well. Outside the industry, skepticism about 3D technology remains high. Not all of it is being done well, particularly the “conversions” that take existing 2D images and make them 3D. Even industry insiders acknowledge the hastily done conversion of the movie Clash of the Titans 3D was a disaster. But this time is different, insiders insist. The advent of digital photography has made capturing and viewing 3D images simpler and more cost effective than in previous generations. For television makers and Hollywood studios, 3D raises the prospect of being able to sell millions more television sets and theatre tickets at premium prices as audiences trade up to the new format. 3D images are also much harder to pirate. Everyone from video game console makers, like Nintendo, to satellite television services, like Bell TV, has announced in recent months they’re making a bet on 3D. One of the catalysts was the success of James Cameron’s Avatar 3D, which at $2.7 billion U.S. is the highest-grossing Hollywood picture in history. Source: Toronto Star and The Globe and Mail
Force of Nature: The David Suzuki Movie Wins Documentary Award at TIFF & Christopher Ball csc Wins at AFF
Denise Robert Wins CMPA’s Producer’s Award at TIFF Quebec filmmaker Denise Robert became the first woman to win the CMPA Feature Film Producers Award at the Toronto International Film Festival – and then promptly gave the prize away to her latest collaborator. Robert – whose celebrated body of work includes producing husband Denys Arcand’s L’Âge des ténèbres and Les Invasions barbares as well as movies such as The Rocket, De père en flic and Ma vie en cinemascope – startled an industry audience gathered in Toronto as well as director Louis Bélanger when she turned over her $10,000 cash prize to him. Robert and Bélanger were at TIFF to promote their film Route 132. Presented by the Canadian Media Production Association, the annual award is now in its fifth year of honouring an outstanding Canadian producer with a film at TIFF for his or her body of work.
Graeme Ferguson csc Honoured at First Muskoka Film Festival This past September CSC honourary member Graeme Ferguson was honoured by the Film North Huntsville International Film Festival with its first lifetime achievement award. Muskoka resident Ferguson, now semi-retired, was the coinventor of IMAX, and the director/producer of a number of seminal IMAX films, including North of Superior (1971), the first shot in the IMAX process, Man Belongs to Earth (1974), Destiny in Space (1994), and he served most recently as the executive
Sturla Gunnarsson’s Force of Nature: The David Suzuki Movie won the People’s Choice Documentary Award at TIFF 2010. Suzuki, best known as the host of CBC’s David Suzuki long-running The Nature of Things, is a prolific author and a pioneering and passionate environmentalist. The documentary, shot by DOP Tony Westman csc at the University of British Columbia on the occasion of Suzuki delivering a legacy lecture, has been picked up for theatrical distribution by eOne Films. At the Atlantic Film Festival, the Ed Higginson Cinematography Award, sponsored by Sim Video and William F. White Inter-national, awarded to an individual for excellence in the craft of cinematography, went to Christopher Ball csc for Like Father and The White Archer. The Rex Tasker Documentary Award, sponsored by the NFB, went to William D. MacGillivray’s The Man of a Thousand Songs, DOP Kent Nason csc.
6 • Canadian Cinematographer - November 2010
Graeme Ferguson csc
producer on Hubble 3D. On the same weekend as he received his award in Huntsville, in Chattanooga, Tennessee, The Giant Screen Cinema Association honored IMAX’s Hubble 3D with four awards, including best picture (Toni Myers producer/director) and best cinematography (James Neihouse).
Canadian Cinematographer - November 2010 •
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In The News
Respected Independent Producer Ian McDougall Dies at 65
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Canadian production executive Ian McDougall, former head of production at Alliance-Atlantis, died of heart failure August 24 in Pennsylvania. He was 65. McDougall began his career in professional theatre in England. In the mid-1970s he served as first assistant director on Who Has Seen the Wind and production manager on Death Weekend. He went on to become deputy director and head of English-language production for the CFDC (now Telefilm Canada) from 1980 to 1982. From 1982 to 1996 he was a freelance producer and worked on movies such as Anne of Green Gables, Passion and Paradise and Clearcut. McDougall served as senior VP of production for Alliance-Atlantis from 1996 to 2003, overseeing production on shows such as CSI, Joan of Arc, Nuremberg and Life with Judy Garland. McDougall’s productions earned 12 Emmy Awards, as well as numerous Golden Globes, Golden Satellite and Gemini Awards. He had just completed production on the first season of the new crime drama series Shattered for eOne and CanWest Global.
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8 • Canadian Cinematographer - November 2010
The OMDC Film Fund enables Ontario-based producers to complete their financing with contributions of up to $25,000 for development projects and up to $400,000 for production funding, on a last-in basis. The eight recipients for production funding are Robin Cass for Don Shebib’s Down the Road Again, Robin Crumley for Aaron Woodley’s The Entitled, DOP David Greene csc, Suzanne Cheriton for David Weaver’s Lie Down with Darkness, Michael Dobbin for Endre Hules’s The Maiden Danced to Death, David Hamilton for Deepa Mehta’s Midnight’s Children, Mark Chatel for Dominic Desjardins’s La Sacrée, Susan Cavan for Sarah Polley’s Take This Waltz, DOP Luc Montpellier csc, and Debbie Nightingale for Barry Avrich’s The David Steinberg Documentary. The eight recipients for development funding are Jeanne Strømberg for Marni Banack’s The Ballad of Walter Bighands, David Miller for Emmanuel Shirinian’s Born into This, Martin Katz for David Cronenberg’s Cosmopolis, Wilson Coneybeare for Dead Sleep, Robert Budreau for Fight!, Damon D’Oliveira for Clement Virgo’s Fallen Heroes, Jeannette Laokman for Brenda Kovrig’s Painting by Number$ and Cher Hawrysh for Leslie Ann Coles’s Should’ve Been There. The Harold Greenberg Fund English - Language Program announced five projects that have been selected to receive support through its Equity Investment Program. The latest round of funding includes Take This Waltz, The Moth Diaries, written and directed by Mary Harron (The Notorious Betty Paige), Goon, written by Evan Goldberg (Superbad) and Jay Baruchel (The Trotsky), which will be directed by Michael Dowse of FUBAR fame, Bruce McDonald’s Trigger, which is already in distribution, and Rollertown, which was written by Picnicface, a Canadian comedy troupe that has produced several successful viral videos that have been featured on HBO Canada’s Funny or Die.
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The Long, Celebrated Career of
Guy Dufaux csc By Maurie Alioff
10 • Canadian Cinematographer - November 2010
S
ince the 1980s, Guy Dufaux csc has been considered one of the shooters who transformed this country’s screen images. During the nascent years of Quebec film production, most feature moviemaking emulated the rough visual poetry and open-ended spontaneity of NFB directors such as Gilles Groulx, or basked in the carefully framed, softly lit lyricism of pictures such as Jean Beaudin’s J.A. Martin, photographe (1977). Jean-Claude Lauzon’s Un Zoo la nuit, a hot title at Cannes 1987, shot by Dufaux, boldly announced a new direction. One of the projects that established Dufaux’s reputation as a DOP, Un Zoo la nuit was far more controlled than documentary-style shooting, and cooler, more hard-edged than the prettified image-making that at the time signalled art. Here was a movie highlighting cool blues and deep blacks, one that dollied elegantly through vast waterfront lofts and followed an ex-con in a leather jacket as he rode his chopper toward a tragic fate. Before working with Lauzon, Dufaux had already expanded Canadian cinematography with Sonatine (1983), actress-turneddirector Micheline Lanctôt’s meditation on teen suicide, and Yves Simoneau’s Pouvoir intime (1986), a movie demonstrating that Canadians could make genre pictures that have visual style and wit. During this period Dufaux and an A-list of auteurs evolved shooting approaches that were both classically formalistic and plugged into a moment when attention was shifting from rural stories, exemplified by Claude Jutra’s Mon oncle Antoine (1971), to a swing toward depictions of characters inhabiting an urban world of bars and bistros, glass and steel. During a recent interview, I asked the French-born Dufaux about his pivotal role in Quebec film history, and he was typically downto-earth: “It’s a question of timing. We were making a certain kind of movie.” Moreover, he and his collaborators worked with low budgets and “film stocks that were not as sensitive, so shooting was more complicated. We needed more lighting, and we had less money, and it was a question of finding clever ways to film. If I had been born 15 years later, I wouldn’t have done things in exactly the same way.” Taking on the role of a groundbreaking innovator “was not exactly planned in my head.” Since the early days Dufaux has shot numerous features, television movies and miniseries. His filmography includes many of the highest-profile Quebec pictures ever made, including Denys Arcand’s Le Déclin de l’empire américain (1986), Jésus de Montréal (1989) and the Oscar-winning Les Invasions barbares (2003). Jésus de Montréal and Un Zoo la nuit picked up best cinematography Genie Awards, while five others were nominated. In 2002 Dufaux received the CSC Kodak New Century Award.
Above: Maxime Collin as Léolo (the boy in the middle) in Jean-Claude Lauzon’s Léolo Middle: Scott Speedman, Emily Hampshire and Jay Baruchel in Jacob Tierney’s Good Neighbours Bottom: Stéphane Rousseau and Rémy Girard in Denys Arcand’s Les Invasions barbares
Canadian Cinematographer - November 2010 •
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Scott Speedman, Paul Giamatti and Rachel Lefevre in Richard Lewis’s Barney’s Version
Looking back at his prolific career, he makes it clear that he is particularly attached to his late friend Lauzon’s Léolo (1992), a major challenge that resulted in what he calls “an important milestone in the movies I did. I’m very proud of it on every level.” Léolo is an elegiac, achingly beautiful, mordantly funny, fictional reverie about Lauzon as a child growing up in Montreal, burrowing into private legends to escape his poverty-stricken, certifiably insane family. The film is gorgeous. It sinks into your bones; it gets to you. For Lauzon and Dufaux, the movie demanded extreme shifts in setting and lighting as it cut from realistic exteriors to hyper-stylized studio work, from the characters’ real lives to their crazed fantasies, and then to reallife situations that play like crazed fantasies. Dufaux emphasizes that he and Lauzon met the demands because the “fantastic adventure lasted for something like 10 weeks. We had had the time we needed. We didn’t have a bigbudget film, but Jean-Claude could think about the mise-en-scène, and I could find the best ways to light. It’s really mathematical. If you do two minutes a day, you have time to accomplish what you want, but if you do six minutes, you don’t.” According to Dufaux, almost no contemporary Quebec moviemaker, with the possible exception of Arcand, gets to shoot for so long. And ironically, while budgets in 2010 are bigger than they were in 1992 (when Léolo was made), “We have less money [today] because we have so many people on the crew, and I don’t even understand why. Money and time don’t guarantee a
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good movie, that’s for sure,” Dufaux continues, “but if you have imagination, if you have talent, then they are very useful.” For Montreal producer Kevin Tierney (Bon Cop, Bad Cop), who sought out Dufaux’s services for his son Jacob Tierney’s second and third features, the cinematographer is a class act who refuses to be intimidated by the ticking meter. On The Trotsky, “Dufaux was producer-proof. I could huff, I could puff, but he never changed his pace. He’s methodical. On an exterior shot of a taxi pulling up to a door, he’ll light the whole fucking block.” And the younger Tierney says that Dufaux’s “old school style gives you a richness of image that is amazing. He’s not a digital bypass guy. A lot of young cinematographers light in post. They often don’t have a lot of experience with film.” On a personal level, Jacob Tierney says, “There’s a Buddha quality to him, a mountain-to-Mohammed thing going on.” When I spoke to Dufaux, he had just completed shooting Barney’s Version, the highly anticipated adaptation of Mordechai Richler’s final novel. Produced by Robert Lantos, directed by Richard J. Lewis, the movie’s cast, headlined by Paul Giamatti, Rosamund Pike, Dustin Hoffman, Minnie Driver and Rachel Lefevre, deeply impressed Dufaux. A cinematographer whose greatest on-set pleasure is working with actors, Dufaux told me, “I’ve shot with many performers in my life, but this was a surprise for me, a kind of level that I’m not used to.” With any cast he works with Dufaux establishes a “professional relationship allowing me to feel that the actors are comfortable
with me. I’m shooting actors moving and saying lines on a set, a location. That is the most important part of my job, and of course it has to work according to the script. When it’s a good script with good actors, a good location and a good director, it’s like a miracle happening in front of your eyes.” For him, prepping a movie involves reviewing the story and pinning down a “general look.” With the director, he might check out paintings, photographs, other sources of inspiration. “Then on location, still in preparation, it’s more concrete, and you start to imagine the actors moving. Once it’s actually flesh and bone, it starts to live in my head – how the light will hit the actors.” Often, the late, great American indie director John Cassavetes didn’t block his actors. They moved wherever they wanted to, followed by his camera. Dufaux likes working with Denys Arcand because he makes movies in a similar way. “Denys doesn’t know what he will do up to the moment he’s on set with the actors,” Dufaux explains. “Then he takes the time. Sometimes we spend five minutes, sometimes 45 minutes, just the two of us with a script girl, as the actors move and play. Watching the actors, Denys decides where to put the camera and what to do. He has very precise ideas, but he needs to see the actors moving.” It’s not surprising that Dufaux dislikes the frozen imagery of storyboards, except when it’s absolutely necessary. And unlike shooters who fetishize certain equipment, Dufaux sees the stuff he works with as nothing more than the tools of his trade. “I don’t like equipment,” he says. “It’s not for me; it’s not fun. As long as it works and gives what we’re looking for, it’s fine.” On the other hand, Dufaux thinks a lot about his choice of lenses. On the dark comedy Good Neighbours, “I decided to go with Zeiss lenses, which are colder, more contrasty. On Barney, I worked with Cookes, which are very soft.” As for HD, it yields good results, but the “big, awkward, badly designed cameras” are a drawback. Dufaux speculates “maybe in five years everything will be in HD, but right now for me it’s still simpler to work in film. Shooting digitally you need more technicians, a data wrangler. The workflow is a lot more complicated than in film.” On top of that, “the films made by Kodak and Fuji are so good now, and the cameras are lighter.” Most importantly, “When I work in film I trust myself, and I can talk directly to the lab. There’s no in-between. When you work in HD, you can do so many things with the material. Somebody can completely change the look of the film.” Despite his reservations, Dufaux makes it clear that he doesn’t oppose working digitally. He takes numerous reference pictures with an electronic still camera, and his latest assignment, long-time collaborator Yves Simoneau’s crime comedy, L’Appat, is an HD movie. As for the future, Dufaux is working on a script he might want to direct, but he’s “very happy as a DOP.” There’s no rush. “At this point in my life,” he says, “my priority is to work with people I like or love. I would do another movie with Jacob Tierney, Denys Arcand or Louis Bélanger anytime. These people are not merely good directors; they are interesting people, nice people. It’s a delight.”
Guy Dufaux csc, recipient of the 2002 CSC Kodak New Century Award, with Gaston Bernier of Kodak Canada, Entertainment Imaging.
I sum it up for him. For Guy Dufaux, collaborating with imaginative, talented people who are trying to tell a story in an interesting way, that’s what it’s all about. Otherwise it’s just technique and business. “Exactly.” He laughs.
“When it’s a good script with good actors, a good location and a good director, it’s like a miracle happening in front of your eyes.” Guy Dufaux csc SELECTED CREDITS: Les Smattes 1972; Les Dernières Fiançailles 1973; Le Vieux pays où Rimbaud est mort 1977; Avoir 16 ans 1980; Les Fleurs sauvages 1982; St. Lawrence: Stairway to the Sea 1982; Le Jour ‘S…’ 1984; Sonatine 1984; Bach et bottine 1986; Le Déclin de l’empire américain 1986; Equinoxe 1986; Pouvoir intime 1986; Un Zoo la nuit 1987; Pin 1988; Milk and Honey 1988; Jésus de Montréal 1989; Moody Beach 1990; Montreal Sextet 1991 (co-ph); Sam and Me 1991; Léolo 1992; Camilla 1994; Le Polygraphe 1996; Stardom 2000: Les Invasions barbares 2003; La Rage de l’ange 2006; Days of Darkness 2007; The Trotsky 2010; Barney’s Version 2010; Good Neighbours 2010.
Canadian Cinematographer - November 2010 •
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Daniel Grant W
A Cinematographer Who Gets the Job Done By Allan Tong
hat do a serial killer, a miscarriage and a Cree generation gap have in common? They were all shot by CSC associate member Daniel Grant. The Maritime-born cinematographer lensed not one but three short films at the recent Toronto International Film Festival. On top of that, each film looked completely different, ranging from the lens flares of Nadia Litz’s How to Rid Your Lover of a Negative Emotion Caused by You! to the quasi-vérité of Danis Goulet’s Wapawekka. To say that Grant is popular with directors is stating the obvious. He’s lost count of the number of shorts he’s photographed in the past year. Prior to TIFF, he flew back from India after completing work on a Bravo! short and is prepping another instead of attending TIFF. Surprisingly, Grant doesn’t look jet-lagged despite Toronto’s muggy summer weather. Tall, lanky and bespectacled, the 28-year-old resembles an English undergrad rather than a man who shoots movies. His three TIFF directors agree that Grant is a calming presence on set. He listens, never raises his voice, and stoically gets the job done. “Split the difference,” he always says when instructing a gaffer where to position a light or asking an actor where to stand.
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With all this shooting, Grant must have dreamed of being a cinematographer since he was a kid, right? “In high school I was really interested in still photography,” he confesses. In fact, when he started film school at Ryerson he was a photographer. He grew up in PEI and Halifax adoring Ansel Adams’s sweeping American landscapes, but when a friend introduced him to Stanley Kubrick, something clicked. “I remember seeing Dr. Stangelove and thinking there’s something really interesting going on behind the camera.” He went to Ryerson aiming to win the coveted CSC Student Award, which he did in 2005. His studies encouraged him to replace his still camera with motion picture. After Ryerson, he volunteered, like countless others, on crewing the Canadian Film Centre’s short films. How to Rid Your Lover of a Negative Emotion Caused by You! is one of those projects. It takes a jaundiced look at modern relationships where girl-meets-boy turns into girl-slices-boy. Unable to communicate with her lover, Sadie (Sarah Allen) literally removes the negative emotion from Dennis’s (Joe Cobden) body, in a scene reminiscent of Videodrome. When Nadia Litz began her CFC term, the actor/writer/director wanted to build a relationship with one particular DOP throughout the program rather than trying a few different ones. “In making the switch from acting to directing,” she explains, “the thing that scared me the most was the technical aspects of the camera itself. So I needed someone who I could communicate with.” A mutual friend recommended Grant who calmly listened to Litz’s cinematic, photographic and emotional references to achieve the tone of her film. Typically, Grant sits, patiently absorbs what a director says, then asks pointed questions. After shooting three short warm-up films together on video (called “exercises” at the CFC), Litz and Grant developed a dialogue and agreed on Sofia Coppola’s films as a guide,
From the left, Don Berns, Lise Moule, Jon Baldock and Sarah Kolasky in Darragh McDonald’s Love.Marriage.Miscarriage., one of three films shot by CSC associate member Daniel Grant that were screened at TIFF 2010.
particularly Virgin Suicides. “We liked their pastel colours and soft lighting,” Grant explains. Lost in Translation offered the same sort of dislocation they were trying to achieve. Negative Emotion is drama, comedy, thriller and horror all blended to create a claustrophobic universe where only the two lovers exist. “We wanted a look that was timeless and didn’t look contemporary,” says Grant. “You can’t tell what time period it takes place in.” Grant achieved this style by shooting on a 500-speed, 35-mm Kodak stock, the 5229 Expression. “We did tests comparing 5229 with Kodak’s newer Vision3 500-speed stock (5219),” he says. “Although the 5219 was beautiful, we liked the softer contrast and more muted colours of the 5229, especially when that stock is under-exposed. For the night scenes, I under-exposed as much as three stops, and ‘printed up’ in the DI, which creates a slightly milky black softening the look.” Negative Emotion adopts several tones, starting with the establishing shots of the couple on contemporary lenses shot in a sterile way with direct light. The surgery scenes were to resemble love scenes, so Grant employed Cooke Speed Pancross lenses. “The difference between the Cooke Speed Pancros and the S4s were not as different as you might expect,” he explains, “but once they are flared, they create a very distinctive looking flare that has an unmistakable 1970s look.” Darragh McDonald’s Love. Marriage. Miscarriage. was told in a complete different style. “We wanted the photography to be invisible,” says Grant. “It’s all static, not even panning and tilting. There’s little variation in shot sizes within scenes. We chose the Canadian Cinematographer - November 2010 •
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Photo credit: Danijel Margetic
minimal amount of coverage just what Darregh felt was necessary to capture the performance.” The film follows Magda (Morgan Davidoff ), who is recovering from a miscarriage, while she spends the day in the country with her sister-in-law, who is pregnant. Magda is caught between denial and acceptance. A tortured soul surrounded by posh relatives and blissful nature. Naturally, Grant shot the film from Magda’s point of view. “In almost every scene with Magda, she’s in the frame alone. The family members are often in a two-shot and rarely have a single.” Director McDonald wanted to use a lot of static shots. “The protagonist is trapped somewhere she doesn’t want to be,” he explains. “I thought that would be a good way to bring the audience into her position.” The shoot was literally a trip to the cottage where Grant, a gaffer and soundman slept with the cast. Grant brought so little equipment that he shot interiors only at certain times of day when he could light the interiors to match the exteriors. Car work demanded even more patience. “That can be a challenge if you don’t have a process trailer,” he recalls. They waited for the right time of day to shoot and exploited the little sunroof to allow some light. “It was tricky. “ McDonald fondly recalls Grant, clutching a Red camera and crammed into the backseat of an SUV
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Above: Danis Goulet’s Wapawekka; on the left, Sarah Allen in Nada Litz’s How to Rid Your Lover of a Negative Emotion Caused by You!
“quiet hand-held” using the EasyRig to stabilize the image. After considering the Red, Grant opted for the Sony F900R for its portability. “The lenses have a wide range in the light, and are easy to use without a focus puller,” he explains, adding that it’s the same camera he used on Love at the Starlite Motel, a 2009 documentary about a lover’s motel in Florida, directed by Alison Rose. “There wasn’t any lighting. It was all natural.”
with the sound recordist. Neither where perturbed. After all, they had agreed to collaborate on a no-budget film, because they admired each other’s work. “I know that Dan has been on some great shoots, traveling around the world and using great equipment, but on our shoot, Dan was crouched in the back seat of an SUV with me and the sound recordist crammed in there too, and never complained once.” Grant would return to nature to shoot Danis Goulet’s semiautobiographical Wapawekka. Framed like a vérité documentary, Wapawekka follows Goulet’s real cousin, Josh, and his father on a visit to their family cottage for the last time. Surrounded by the beauty of Saskatchewan’s Lake Wapawekka, hip hop artist Josh listens to his earbuds all the time and can’t really connect to his traditional heritage. Where Love.Marriage.Miscarriage. relies on dialogue, Wapawekka is told in pictures. The long silences speak of the gulf between the generations. To capture this meditative tone, Grant shot most of the film in
Goulet storyboarded her film, but also wanted a flexible approach during the shoot. “I remember on the first day breaking a rule that I had set for myself in regards to shooting style,” she recalls. “Daniel was capturing amazing footage, and I remember telling him, ‘Just ignore what I said earlier and keep doing what you’re doing. This stuff is beautiful.’” Indeed, of all his TIFF shorts, Wapawekka best showcases Grant’s work. True, he had the natural beauty of Prairie sunsets on his side, but Grant excels when he minutely moves his camera to reflect the wind blowing through the foliage or the waves calmly rippling across the lake. “We wanted to create a rich, but naturalistic tone,” he says. “We didn’t want the look to create a distance between audience and film.” After TIFF, Grant is busy shooting. Most often he’s operating the Red camera, which he appreciates for its ever-improving quality and its affordability. However, at root Grant loves film, harkening back to his first love of photography. “I love how digital allows you to improvise a lot more,” he says after a moment of contemplation, “but I’m glad I have a background working in celluloid. As much as possible I try to shoot film because I love the way it looks. I don’t want to lose that discipline.” Canadian Cinematographer - November 2010 •
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Anything Goes
on an Indie Film: By Jennifer Horn
C
Photo credit: All images from the set of Anything Goes by Jennifer Horn.
Michael Jari Davidson Talks about Shooting a Dark Comedic Feature
hange is constant. An inevitable force that pushes and pulls, even when one pushes back. Revolutionizing the film industry is a constant struggle for image-makers. Standing out and making an impact is a competitive sport, one that CSC associate member Michael Jari Davidson relishes as he takes on more than any rational human being ever should.
look at the how a romantic gesture can go horribly wrong when unexpected role players come into the picture. What starts off as a light-hearted film suddenly transforms into a fast-paced ride full of twists and turns. Davidson found himself reading down the pages of the script as opposed to across the page, working to predict what would happen next.
There are two sides to Davidson. Much like what he describes as a Dr. Jekyll and Mr. Hyde personality; the good vs. evil style that he has embraced since day one of his film career has helped guarantee a spot on his challenging road to success. He shies away from creating a toxic or abrasive environment on set, and instead combines eccentric and militaristic techniques to earn respect and dedication from his crew.
During production, the DOP often uses his eccentricity to release the pressure and stress that comes with shooting for 21 days on an independent film. To understand, one would have to picture Davidson’s set, his crew and the rituals that they use to take the edge off. “We are always looking for ways to build on that camaraderie and that bond,” Davidson explains. “This is a really aggressive production schedule. We are just looking for ways to blow off steam.”
“I don’t see the value in treating people poorly and demeaning them. I don’t understand the ‘end justifies the means’ mentality or rationale,” Davidson says of his management style. “I would rather keep it civil and have a good time, especially when you are working 16 hours a day together. There really is no point in me creating a toxic environment with my crew during production. I can motivate them if I need to, but there are also times to let loose.” His style holds true in his most recent independent feature film, Anything Goes. The dark comedy provides a humorous
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What better way to let loose than to parade around in Viking helmets one night after wrap? What better way to bond than to pretend it’s that time of the year, and have a Secret Santa? Lunch without a jam session to Rage against the Machine for Michael and his crew is like a sandwich without the bread. While some may find his foolery slightly odd, others find it a breath of fresh air. Director of Anything Goes, Bruno Marino, says he quite enjoys it. “It really just shows a human side to him. It’s refreshing when someone brings his personality to set.”
N E W O N -S E T S E RV I C E S State of the art colour grade and conform tools On-set asset verification and backup Faster than real time data back up to multiple locations SD, DVD, HD, BluRay, iPhone or web dailies on demand Technicolor Toronto Grace Carnale-Davis Director of Sales grace.carnale-davis@technicolor.com 416 . 585 . 9995 www.technicolor.com
ON SET AD-F.indd 1
4/13/10 2:05:10 PM
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Michael Jari Davidson. Below, Davidson speaks to his team via comtac while watching the monitor with director Bruno Marino on his right.
Marino admires Davidson’s ability to bring life to a set and speaks highly of his technical skills and creative insight. “He makes an independent set feel Hollywood,” he says. “Michael brings a level of professionalism that you don’t normally see on an indie level. He definitely knows his craft and any shot that I’ve imagined or conjured up in my head, he executes flawlessly. He brings my vision to life and I’m pleasantly surprised by how easy he makes something that I would assume to be quite difficult.” Marino also points out the way the crew interacts as a unit rather than as individuals on an assembly line. He talks of how the six-person crew that Davidson has cultivated over the years will finish each other’s sentences. They know exactly what must be done when, without even a word exchanged. According to the director, Davidson will just give a look to one of his technicians and before anything is said, the framing of a shot is corrected. His crew has been affectionately named the Navy Seals in reference to their strict routine and regimented workflow. “We come in with a set amount of equipment, we each have a defined role, we come in to perform a job and we fulfill our obligations and the operation with precision,” Davidson explains. “That’s how I look at it, as a military procedure. We only have so many soldiers and so we have to make strategic plans. Everything is tactical. We’re are always early, the gear is always there, and we plan everything.” Davidson talks of his love of film and how he went from life as a musician, playing in a band, touring and producing albums, to life as a filmmaker. He graduated from the University of Western Ontario. Even before entering the industry, Davidson had already made a name for himself as he worked on any and every set he could get his hands on. Growing up in an immigrant blue collar family has helped him to embrace a standing-on-shoulders mentality. “I have this respect for anyone who has come before me in this role. I look at all the greats, all cinematographers, with the utmost respect and reverence,” he says. He understands the chain of command, the way the film industry works and the line of image-makers that have made a mark in movie history. “I don’t
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just look at it as me being a cinematographer. I look at it as though I am a part of this long chain that’s been going for 120 years. I find myself as an integral link in that chain. So, in 50 years or so, someone might look at me with reverence and say this person did it this way and now they are following my footsteps.” Being mentored by George Willis csc, sasc pushed him to be creative with little funding and time in order to make a lowbudget film feel high budget without all the expensive toys. “He taught me to read the script and imagine what it should look like,” says Davidson. “Use your imagination to find out how you will create a great film with those limited resources.” The punk rock ethic he brings to the set means he knows what he wants and takes it. Where some may talk of taking chances and not follow through with their plans, Davidson demonstrates an innate ability to take the bull by the horns and just do it. “It all really boils down to tenacity and determination on what you want to be in life,” he says. With just five years of filmmaking under his belt, Davidson has managed to develop a distinctive style to his work while creating award-winning films that will be the groundwork to his successful career. To add to his rise in the film industry, he became a director ex-officio of the CSC executive in March 2010 and was accepted as a director of photography in IASTE 667 in September 2010. His inspiration being foreign films and gritty 1970s American cinema, Davidson plans to continue making dramatic narrative films that he hopes will place him on the historical film-industry map, all while continuing to let his eccentric artist loose.
Visiting Vancouver for a shoot? One-bedroom condo in Kitsilano on English Bay with secure underground parking, $350 per week. Contact: Peter Benison at 604-730-0860, 416-698-4482 or peter@peterbenison.com. Equipment for Sale Portable Gel Bin great for studio or location use, holds 24 Rosco or Lee colour correction, diffusion, reflective, scrim, etc., rolls outer dimensions measure 17.5x24x 63 inches, not including wheels and sturdy wooden construction, painted black, bottom and back wheels, side handles hinged front & top, locks for added safety, handy reference chart, $300 obo; Darkroom Safety Lights popular Model D type, accepts 10x12 inches safelight filters (possibly included, depending which kind you’re looking for), takes 7½-, 15- or 25-watt bulb, excellent condition, $50 each. Contact: Andrew at dp@andrewwatt.com. Panasonic AJ-HDX900 Camera package: One DOP owner, for sale or rent, regular Panasonic service. Includes viewfinder, microphone, portabrace and raincover, $13,900 obo. Canon 16eX7.7 HD lens, mint, $8,000. Canon HJ11x4.7Birse HD WA lens, regular Canon service, $15,000. Panasonic 8.5-inch HD monitor with portabrace, $3,000. Sony LMD 9050 9-inch HD field monitor with portabrace, $1,500. Panasonic 17-inch LCD monitor with portabrace and screen protector, $1,200. Sachtler video 18 with carbon legs and soft case, $5,000. Petroff 4x5 mattebox three stages, top and side flaps, tons of adapter rings, 4x4, 4x5.65, 4x6 filter trays, $1,500. Sennheiser evolution 100 wireless mic kit with wireless lav and wireless handheld mics and receiver, mint, $750. Transvideo multi-channel video transmitter, $1,150 – Sold. Single chanal 30 video transmitter, $200. Camos portable wireless “director’s monitor” with v-lock plate, $300 – Sold. Lilliput wireless monitor with v-lock plate, $150. Contact: Dave Woodside at 416.553.3356 or davidwoodside@rogers.com. Briese 77 Light, full kit, including Tungsten and HMI flicker-free setup, two Eggcrates and Manfrotto Mega-Boom. Excellent condition, $ 22,000. Contact: pierredp1@gmail.com Sony Beta SP DXC-D30WSP/PVV3P, PAL, 262hours drum time, $ 2,500; Sony Beta SP DXC-D30WS/PVV3, NTSC, 251hours drum time, $2,500; Sony BetaCam SX DNW-7, NTSC, 257hours drum time, $5,000; and IKEGAMI DV-CAM HL-DV7AW, NTSC, mint condition, as new, 61hours drum time, $7,000. All cameras with porta-brace covers. All owned by me and serviced by Sony Hong Kong. Sony Beta SP/SX player/recorders, DNW-A25P X2, PAL & NTSC, 500 & 644hours drum time, $6,000; Satchler 575 HMI, open-face, mint condition with spare bulb, $2,500 & case. The lot for $20,000. Contact: François Bisson at blitzvideo@mac.com. Oxberry Computer Controlled Animation Stand. This stand is in excellent working condition. Our animation studio is closing, and we are in the process of selling our equipment. The stand is computer controlled by the famous Kuyper Control software driving stepper motors connected to different axis of the stand. Here is a list of what is driven: camera zoom in and out; table – north-south axis, east-west axis; rotation, 2 pegs (top and bottom); camera – focus, take-up drive for mag and shutter. The camera comes with interchangeable gates and can be use for16 mm, super 16 or 35 mm. This kit comes also with 400ft –16-mm mag, 400ft – 35-mm mag, 1,000ft – 35-mm mag and 400ft bi-pack mag. The sidelights are 650 watts Red Heads with polarised filters. The lights are suspended on Manfrotto Pole Cats. The table’s backlight is connected to a rheostat with a solar electric current regulator. This is a great stand for any independent filmmaker or small effect animation company. Sorry we cannot ship this item. It has to be picked up. Item is located close to Montreal. Price: $ 4,800.00. Contact: Erik at 514-637-5077 or erikgo@videotron.ca. 16 – 35 mm Film Equipment for sale: Our animation studio is closing, and we are in the process of selling our equipment, here is a short list of items we have for sale: Densitometer McBeth Td903 for calculation of film density, $300. Split reel (16 and 35 mm) various sizes, Moviola Rewinds, 35-mm film synchroniser, Scan-0-scope converter lens system, Scope lens to “squeeze” and “unsqueeze” anamorphic, $3,500. Tilt Plate for heavy cameras, $800. And more. Contact: Erik at 514-637-5077 or erikgo@videotron.ca.
Sony BVW-400a Betacam SP Camcorder camera used by professional cinematographer (one owner), never rented out. Comes complete with Fujinon A15x8BEVM-28 lens, Petroff matte box with 4x4 and 4x5.6 filter holders, remote zoom and focus control for lens, six Cadnica NP-1 batteries, Sony BC-1WD battery charger, Porta-Brace fitted cover with rain jacket (like new) and Sony factory hard shipping case and manuals. Lens and camera professionally maintained by factory technicians. Usage hours are: A – 1,918 hours; B – 1,489 hours; C – 4,286 hours, $10,000.00 obo. Contact: Craig Wrobleski csc at 403-995-4202 Aaton XTR Super 16 package including body, video relay optics, extension eyepiece, three magazines, Cooke 10.5-mm–60-mm S-16 zoom lens, Zeiss 9.5 prime lens, 4x4 matte box, 4x4 filters (85,85N6, polarizer, ND6, clear), follow focus and cases $17,500. Nikon 50–300-mm F4-5 E.D. lens with support, $1,000. Kinoptik 9–8-mm 35-mm format lens c/with sunshade. Contact: stringercam@ shaw.ca or mike@imagegearinc.com New Video Camera Rain Covers. Custom rain covers for sale. New design that fits and protects most Sony PMW EX3, Canon XHHDV, Panasonic VX200 cameras with the viewfinder extending toward the rear of the camera, $200. Noiseless rain cover for the external camera microphone, $30. Onboard Monitor rain cover, camera assistants can see the focus during the shot. No more hassles in the rain, $60. Custom Red One camera covers available upon request. Also can sew various types of heavy-duty material. Repairs and zipper replacement on equipment and ditty bags. Contact: Lori Longstaff at 416-452-9247 or llong@rogers.com. Sony Camera DSC-D50WS, PVV3 (Beta SP) and DSR-1 (DVCam) Recorder Backs with Anton Bauer battery plates, Angenieux 15x8.3 zoom lens, Angenieux zoom control, C.P.O. wide-angle adaptor, power supply, Sony PVM 8844Q monitor with Anton Bauer battery plate, PortaBrace cases for camera and monitor. $4,500. Contact: Andre Paul Therrien at 514 831-8437. Betacam SP Camera package including BVP550 Betacam SP camera with BVV5 recorder, complete with Fuijinon 15x8 broadcast zoom lens, “Red Eye” wide-angle adapter, 6 IDX Li-Ion batteries, IDX quick charger with AC adapter, flight case, soft carry case, Sony monitor and 10 fresh Beta SP tapes ($140 value), $2,500. Contact: Christian at 416-459-4895. Fujinon XA17X7.6 BERM-M48 HD Lens in new condition, bought and mounted but never used. As new in box (camera is sold), $7,900. Panasonic Digital AV mixer WJ-MX50 (missing a few knobs from the lower right corner on the audio mixer), $400. JVC TN-9U 9-inich colour monitor, $60. Photos available for everything. Contact: johnbanovich@gamail.com or 604-726-5646. Betacam SP D30 camera, PVV3 Recorder Back, Fujinon 16X, 9-144 zoom lens, six batteries, charger, power supply and case, Sony PVM 80Q 7 1/2inch monitor and case, $3,500. Contact: Joan Hutton at 416-693-9776. For Sale 28-Foot Black Camera Trailer with new brakes and tires, 20-foot awning, dark room, viewing lounge, two countertops with lots of storage space, heating and air conditioned, side windows and three access doors. Contact: jwestenbrink@ rogers.com Digital audio natural sound effects library for sale, recorded in various countries. All recorded on VHS digital with analog audio search on audio channel 1 and time code on audio channel 2. Completely catalogued by time code and includes Sony PCM decoder. $3,500.00 OBO. Contact: rvbocking@rogers.com.
Camera Classified is a free service provided for CSC members. For all others, there is a one-time $25 (plus GST) insertion fee. Your ad will appear here and on the CSC’s website, www.csc.ca. If you have items you would like to buy, sell or rent, please email your information to editor@csc.ca.
Canadian Cinematographer - November 2010 •
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James D. Holloway Suave Hupa George Hupka David Johns Jorma Kantola Ali Kazimi Ernie Kestler Shannon Kohli Douglas John Kropla Charles Lavack Jim Laverdiere Robin Lawless soc Allan Leader Byung-Ho Lee Philip Letourneau James Lewis John V. Lindsay Matthew J. Lloyd Dave Luxton Robert Macdonald Mario Anthony Madau Jeff Maher Alfonso Maiorana Roy Marques Kelly Mason Andris D. Matiss Paul McCool Patrick McLaughlin Tony Meerakker Tony Merzetti Bentley Miller Paul Mockler Sarah Moffat Robin Lee Morgan Helmfried Muller Brian Charles Murphy Keith Murphy Christopher M. Oben Eric Oh Alexandre M. Oktan Ted Parkes Deborah Parks Pavel “Pasha” Patriki Rick Perotto Allan Piil Scott Plante Ryan A. Randall Cathy Robertson Peter Rosenfeld Don Roussel Christopher Sargent Andrew W. Scholotiuk Ian Scott Neil Scott Neil Seale Wayne Sheldon Simon Shohet Sarorn Ron Sim Barry E. Springgay Paul Steinberg Rob Stewart Marc Stone Michael Strange
Joseph G. Sunday phd Peter Sweeney Aaron Szimanski Peter Szperling André Paul Therrien George (Sandy) Thomson John Thronberg Ian Toews Kirk Tougas Lloyd Walton Glenn C. Warner Douglas H. Watson Roger Williams Richard Wilmot Peter Wayne Wiltshire Kelly John Wolfert Carolyn Wong Dave Woodside Peter Wunstorf asc Steven Zajaczkiwsky CSC Affiliate MEMBERS Donald G. Angus Derek Archibald Robin Bain Iain Alexander Baird Peter Battistone Russell Bell Jacques F. Bernier Tyson Burger Gordon A. Burkell Joseph Calabrese Arnold Caylakyan Bernard Chartouni Johnny Yan Chen Brent J. Craig Maggie Craig Brad Creasser Ana Cunha Colin Davis Dominika Dittwald Tony Edgar Zachary Finkelstein Randy French Richard Gira James D. Hardie Stephen Hargreaves Bruce William Harper John Richard Hergel BA CD Adam Christopher Hickman Perry Hoffmann Brad Hruboska Marcel D. Janisse Michael Jasen Rick Kearney Matthew Casey Kennedy Guido Kondruss Boris Kurtzman Ryan Lalonde Charles Lenhoff Tony Lippa John Lipsz
Lori P. Longstaff Robert H. Lynn Megan MacDonald Jill MacLauchlan Parks Yoann Malnati Justin McIntosh Ian McLaren Andrew Medicky Alejandro Muñoz Kar Wai Ng Peter Osborne Andrew Oxley Gino Papineau Graeme Parcher Kalpesh Patel Greg Petrigo Craig Pew Douglas B. Pruss Lem Ristsoo Susan Saranchuk Chirayouth Jim Saysana James Scott Alexey Sikorsky Brad Smith Kyryll Sobolev Michael Soos Gillian Stokvis-Hauer Steve Thorpe Steven Tsushima Paula Tymchuk Anton van Rooyen Trevor J. Wiens Irene Sweeney Willis Ridvan Yavuz CSC LIFE MEMBERS Herbert Alpert csc, asc Robert Bocking csc Raymond A. Brounstein csc David Carr csc Marc Champion csc Christopher Chapman csc, cfe Robert C. Crone csc, cfc, dg Kenneth R. Davey csc David A. De Volpi csc Kelly Duncan csc, dgc
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Glen Ferrier John C. Foster csc Leonard Gilday csc John Goldi csc Kenneth W. Gregg csc Edward Higginson csc Brian Holmes csc Brian Hosking Joan Hutton csc Douglas Kiefer csc Rudolf Kovanic csc Les Krizsan csc Naohiko Kurita csc Harry Lake csc Duncan MacFarlane csc Harry Makin csc Douglas A. McKay csc Donald James McMillan csc Jim Mercer csc Roger Moride csc George Morita csc Wilhelm E. Nassau Ron Orieux csc Dean Peterson csc Roland K. Pirker Norman Quick csc Roger Racine csc Robert G. Saad csc Josef Seckeresh csc Michael S. Smith John Stoneman csc Y. Robert Tymstra Walter Wasik csc Ron Wegoda csc James A. Wright Keith Young CSC HONOURARY MEMBERS Roberta Bondar Vi Crone Graeme Ferguson Wilson Markle
indicates demo reel online, www.csc.ca
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Canadian Cinematographer - November 2010 •
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PRODUCTIONS & CALENDAR
Production Notes Being Human (series); DOP Pierre Jodoin csc; to December 6, Montreal Call Me Fitz II (series); DOP Ian Bibby; OP Perry Hoffman; B Cam OP Christopher Ball csc; to November 26, Wolfville, NS Dan for Mayor II (series): DOP Milan Podsedly csc; OP Peter Battistone; to December 8, Toronto Falling Stars (series); DOP Chris Faloona; OP Michael Soos; B Cam OP Brian Gedge; to November 5, Toronto Final Destination 5 (feature); DOP Brian Pearson csc; OP John Clothier; 2nd unit DOP Roger Vernon csc; to December 14, Vancouver Fringe III (series); DOP Gregory Middleton csc & Thomas Yaksko (alternating episodes); OP Chris Tammaro; to April 1, 2011, Vancouver Haunting Hour (series); DOP Michael Balfry csc; OP Dale Jehraus; to December 28, Burnaby, BC Heartland IV (series); DOP Craig Wrobleski csc; OP Rudy Katkic; to December 17, Calgary Hellcats (series); DOP Stephen McNutt csc; OP Kevin Hall; to November 18, Vancouver Hiccups II (series); DOP Ken Krawczyk csc; OP Daryl Hartwell; to December 1, Burnaby, BC Human Target II (series); DOP Robert McLachlan csc, asc; OP Junichi Hosoi; to January 14, 2011, North Vancouver How to Be an Indie II (series); DOP Yuri Yakubiw csc; OP Brian Harper; to December 21, Toronto King (series); DOP Luc Montpellier csc; to February 6, 2011, Toronto Murdoch Mysteries IV (series); DOP James Jeffrey csc; OP Mark Hroch; to November 1, Toronto Nikita (series); DOP Rene Ohashi csc, asc; OP Gilles Corbeil; B Cam OP J.P. Locherer csc; to December 10, Toronto Plazaverse (series): DOP Gerald Packer csc; OP Kaelin McCowan; to November 12, Mississauga, ON Rookie Blue II (series); DOP David Perrault csc, OP Frank Polyak; to January 21, 2011, Toronto Skins (series); DOP Mitchell Ness csc; OP Andrew Cull; to December 15, Toronto Smallville X (series); DOP Glen Winter csc & Michael Wale csc (alternating episodes); OP John Davidson; to March 22, 2011, Burnaby, BC Stealing Paradise (TV movie); DOP Daniel Villeneuve csc; to November 15, Montreal Supernatural VI (series); DOP Serge Ladouceur csc; OP Brad Creasser; to March 31, 2011, Burnaby, BC Tall Man, The (feature); DOP Kamal Derkaoui csc; OP Norbert Kaluza; B Cam OP Danny Nowak csc; to November 22, Nelson, BC Wingin’ It (series): DOP Kim Derko csc; OP Antony Ellis; to November 15, Toronto XIII (series): DOP David Greene csc; OP Colin Hoult csc; to February 20, 2011, Toronto
Calendar of Events November 3–7, Sheffield Doc Fest, Sheffield, UK, sheffdocfest.com 9–15, Reel Asian International Film Festival, Toronto, reelasian.com 24–28, Winnipeg Aboriginal Film Festival, Winnipeg, aboriginalfilmfest.org 27–Dec. 4, Plus Camerimage, Bydgoszcz, Poland, pluscamerimage.pl December 1–5, Whistler Film Festival, Whistler, BC, whistlerfilmfest.com January 31, CSC Awards entry deadline, csc.ca February 1, CSC Annual General Meeting, Technicolor, Toronto 4–13, CSC Camera Assistant course, Toronto, csc.ca April 2, CSC Awards, Sheraton Centre Hotel, Toronto, csc.ca May 14–15, CSC Lighting Workshop, Toronto, csc.ca
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24 • Canadian Cinematographer - November 2010
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